Celebrated for his ability to deftly combine the inventiveness and vitality of modern art with the rich traditions of Portuguese ceramics, Mario Reis is among Portugal's most eminent ceramic artists.
Every one of his creations is a new, original statement enhanced with significance, humor, and a great regard for workmanship.
His works span complex ceramic sculptures to massive murals redefining public areas. Working with some of Portugal's most esteemed art institutions, Mario's work is found in private collections all over, therefore defining him as a major player in the development of contemporary ceramics.
Raised in an atmosphere where clay and fire sculpted not just materials but also creative vision; he comes from a line of ceramicists. Currently living and working in Caldas da Rainha, a place known for its centuries-old ceramic traditions, where creativity and workmanship abound, he is.
Mario Reis's path provides insightful analysis for new craftsmen on how to pursue a successful career in ceramics while honoring creative integrity
My grandfather João dos Reis
My uncle João Reis
My grandfather João dos Reis
Mario, your ceramics reflect both tradition and a modern artistic approach. How did your journey as a ceramic artist begin?
I received training in ceramic modeling between 1990 and 1991 with Master Herculano Elias, an exceptional modeler who was the great-nephew of Francisco Elias, the favorite disciple of Bordalo Pinheiro.
In these lessons, I learned to model various elements, from plants and fruits to animals and, finally, the human body. These works were executed both in bas-relief and in three dimensions. I also learned how to turn plaster and create molds.
The purpose of this course was to prepare us to create original models that would later be produced in factories.
My uncle João Reis
My uncle João Reis at my grandfather working place
A piece made by my uncle João Reis
My uncle João Reis
My uncle João Reis at my grandfather working place.
My uncle Armindo Reis
My uncle Armindo Reis working on the pottery weel.
Although I have developed my own artistic language, which is quite different from what I learned in these classes, the training proved to be extremely useful.
Even today, I occasionally use modeling techniques in my pieces, but in a more stylized way.
In addition to modeling and wheel pottery, which I learned from my uncle Armindo Reis, I have always experimented and developed new techniques.
I enjoy combining different techniques in my work and incorporating traditional methods into contemporary pieces.
I do this often with pottery, not only for aesthetic reasons but also as a way to honor the generations of my family who have been dedicated to pottery since around 1850.
How do you find and attract clients in the ceramics industry? What strategies have worked best for you?
My clients have come to me naturally over time. Throughout my career, I have worked on various projects for public spaces, hotels, restaurants, and museums, which has helped introduce my pieces to a wider audience.
Nowadays, I am often contacted by clients who visit Nazaré, where several of my works are displayed in public spaces.
With the rise of the internet and social media, this exposure has increased significantly. These platforms have become essential tools for showcasing my work.
I don’t follow a specific strategy—I simply share posts about what I create, and interested people reach out to me naturally.
In short, my clients either discover my work in person or come across it online.
My seagull sculptures at the fort of Nazaré
Detail from a panel i made for a house in Nazaré
My seagulls sculptures at the fort of Nazaré
Detail of the work i made for a street in Caldas da Rainha
In my house withe the work i made for a street in Caldas da Rainha
Can a craftsman create a living right now from their work? Along with what difficulties accompany this road?
In my case, this has been possible for quite a few years now. It is a great challenge, especially in the beginning.
To make a living from the art we create, it is not enough to have creativity alone—it also requires dedication and discipline.
Creativity takes a lot of work. Ultimately, it is born from the experience we have gained in the past and our ability to put emerging ideas into practice by applying that experience.
Working on orders of seagulls to send to several countries
What are your key secrets to success in the craft industry?
I believe that the key to success lies in dedication and enthusiasm, two aspects that go hand in hand.
The enthusiasm I have today is the same as when I first started. This excitement keeps me constantly eager to create.
I don’t always have the time to bring all my ideas to life. Many times, I keep them written on paper or stored in a corner of my mind, waiting for the right opportunity to put them into practice.
How important is it for a crafter to be active on social media and maintain an online presence?
Currently, most of my communication with clients happens through social media. That’s where people reach out to me via messages when they want to place an order.
I try to maintain a regular presence on social media without overwhelming my audience. I don’t usually put my pieces up for sale through these platforms, although I do so occasionally. However, many of my commissions come through these channels.
It all happens very naturally, without any major marketing strategies.
Do you incorporate sustainable practices into your work? What materials or techniques do you use to reduce environmental impact?
I would say that the techniques I use in my work are so artisanal and manual that their environmental impact is minimal. Even the leftover material from my pieces is recycled and used in future creations.
The surf one is in Garret McNamara house in Hawaii
What advice would you give to emerging crafters?
Numa altura em que se vive de forma muito acelerada e há uma procura imediata de resultados, continuo a achar que a persistência em fazer bem é o caminho. A criatividade é fundamental, mas sem uma boa técnica para executarmos uma ideia, de nada serve.
Um outro conselho é o de trabalharem até encontrarem a sua própria linguagem. Uma linguagem que os identifique em qualquer parte do mundo.
Work inspired in Nazaré
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