I lived in Cuernavaca nine years ago, and I always loved visiting the Robert Brady House Museum.
It is the kind of house I remember from my childhood visits to Cuernavaca~
colorful, generous,
with talavera-tiled kitchens,
lush green gardens,
and of course a pool that holds the light.
The Robert Brady House is full of surprises:
art, objects, and stories all mixed together,
rooms where friendship, ritual, and creativity coexist,
and where collecting raises its quiet questions:
who gathers, who is gathered,
and when meaning slowly settles into décor.
The house brings together objects from Mexico, Africa, Alaska, Peru, and beyond
not as trophies, but as companions
each piece carrying a life once lived elsewhere,
now learning how to coexist~
Some of my favourite tile tests from the past few months / experimenting with engobes, studio-made glazes, and clay bodies prepared at the studio. Working in Oaxaca has expanded not only my knowledge and technical skills, but also the way I approach making. Leaving my comfort zone pushed me into a new rhythm and a deeper understanding of materials, which has changed my vision of what I want to create and continue learning through my practice.
Special thanks to my team at Terrenazo Caliente for sharing their knowledge, time, and process with me along the way. @tttttrevi@yalc.clay@_____waz@cristinarodriguezcastano
Book of the day: Artes de México
Found this beautiful vintage issue of Artes de México dedicated to Mexican silverwork. I love how these publications document craft not just as objects, but as history, ritual, labor, and design. Always happy to read about my hometown and discover vintage pieces that no longer exist. The photography, typography, and aged paper feel like an archive from another time.
Book of the day: 40 siglos de arte mexicano
40 siglos de arte mexicano was a landmark exhibition that opened in 1990 at the Metropolitan Museum of Art.
It brought together hundreds of works to tell a continuous story of 4,000 years of Mexican art, from pre-Columbian civilizations to modern and contemporary artists. What made it so impactful was this idea of continuity, showing that Mexican artistic identity evolves over time while remaining deeply connected.
The exhibition drew major international attention and large audiences, becoming a key moment of cultural visibility for Mexico. It helped shift global perceptions by presenting Mexican art not as isolated periods, but as a rich, unified tradition.
The book, conceived alongside the exhibition, extends this vision, allowing the narrative to exist beyond the museum space.
The Museo de Arte Prehispánico de México Rufino Tamayo offers a different way of looking at prehispanic art. The collection, assembled by Rufino Tamayo, brings together pieces from regions across Mexico, including Oaxaca, Colima, Jalisco, and the Valley of Mexico. Rather than a chronological display, the focus is on form, composition, and material, creating a dialogue where ancient ceramics feel strikingly modern.
