Contemporary ceramic sculpture artist in London
On understanding the interest and desire of Rafael Atencia in communicating his origins and his personal history, it is not random the choice to express himself above all through the artistic medium of ceramics and its derivatives. In fact, it is among the most used artistic techniques during many centuries, not only in Andalusia, the native region of the artist, but throughout all the Iberian Peninsula. This expressive artistic modality characterises the historical and cultural identity of these places where the Arabs played a decisive role. In about 800 years they have dominated this territory, leaving a strong legacy in various sectors of culture, such as the artistic ceramics.
Lost of Traditions
Through his work, Atencia first of all wants to carefully preserve the memory of the traditions of its family history and its homeland. This territory suffers the imposition of strong transformations that distort its ancient identity. These events are imposed by the current economy and society, dominated by a globalisation that tends to cancel the identity of the traditional millennial communities, in harmony with nature. Globalisation, in fact, tends to massify tastes, traditions, quality and originality of the products. Hence, following some of the main contemporary artistic trends, Rafael contributes to the storage of information to preserve the identity of peoples and to preserve that part of humanity that contemporary world tends to cancel. The artist’s reflection and research focuses on the traditional anthropization of his territory of origin, on the special relationship that for many centuries has characterised the reciprocal relationship between the people and their territory (Mediterranean lifestyle, amiability, the lively community life of the local people, its open character that are signs of identity of the inhabitants of the Costa del Sol).
The influence that populations historically had on their territory and the their land on the economic and cultural identity of the local people, is disappearing, due to the dynamics of globalisation. This discourse includes the distortion of the identity of his people. That sense of solidarity, of collaboration, the close relationship with the territory, punctuated by ancient knowledge and crafts, seasonal and quality products that the territory offers, solidarity and mutual aid, is in clear contrast with the denatured lifestyle present in the industrial and post-industrial big cities, like London, where the artist lives. In these contemporary metropolises, alongside the interesting ethnic and multicultural comparison that has been added in recent centuries, consumerism, globalisation and excessive exploitation of the territory have led to an impoverishment of local identities and a massification of culture and taste of the society.