1 - In your work philosophy, how do contemporary work processes intertwine with traditional ways of doing things?

Based in Tetouan, our work focuses on the preservation and evolution of Tetouani zellige and Rifian pottery, two traditions at risk of disappearing. We are Amine Asselman (Doctor in Contemporary Art and Zellige) and Rita G. Rivera (Creative Director and Designer), and our approach combines ancient techniques with design innovation, exploring new possibilities within these disciplines.

Amine: I have developed an innovative method that allows for generating infinite geometric compositions from the same frequency, playing with the rotations and permutations of lines on a gridded plane. I apply this geometric play to zellige, but in a novel way: I don’t treat this discipline as a mere architectural ornament, but rather free the zellige from the walls, valuing it as an inherently artistic object. In a way, by pushing its conventional boundaries, we claim zellige as a purely identifying element of Islamic culture, and in a plastico-symbolic way, recognize it as an artwork in itself.

Rita: I am inspired by traditional tribal pottery, but I interpret it in a unique, deeply feminine language. Although the first collections made at SANIA clearly reflected the influence of Rifian and Mediterranean pottery, over time they have acquired a more personal character, linked to my experience as an illustrator and the imagery of fairy tales. I don’t aim to create simple functional objects, but rather small sculptures where the form carries almost symbolic meaning.

Inevitably, my perspective as a photographer also influences my work. The landscape surrounding the workshop, with its mountains dotted with poppies and flowers of every color, the traditional clothing of the farmers, the sea, and the vegetation… Everything forms a vibrant and contrasting palette. The deep blue of the Mediterranean and the pink of the sky at sunset here are a marvel, and from that, the main glaze palette of SANIA was born. All my pieces are unique and handmade; I don’t work with molds. To me, the fact that each one is unrepeatable gives it a special value. I’m not interested in mass production, but in the creative process itself and the surprise it entails. This way, I feel like I’m infusing life and personality into each creation. That’s why sometimes it’s hard for me to part with them.
For me, working with clay is a process of exploration and wonder. I may start with an idea, but it is through modeling, allowing myself to be guided by intuition, that I reach the final form. It’s like a dance with the unpredictable.

2 - How does your work serve as a tool for dialogue between Moroccan culture and other cultures?

Moroccan craftsmanship is the result of centuries of cultural exchange, and its richness lies precisely in that dialogue with other traditions. From Andalusian and Mediterranean influence to Berber and Arab heritage. Today, Moroccan craftsmanship continues to engage in dialogue with other cultures through contemporary design, and at this point, we find ourselves, reinterpreting ancient techniques to integrate them into global contexts, while maintaining the essence of their origin, but in constant conversation with new aesthetics and needs.

We are of Spanish (Rita) and Moroccan (Amine) origin, and, in essence, our practice is also a journey into our roots. Learning from our history is, in a way, learning from ourselves. With our hearts divided between Spain and Morocco, we are guided by the invisible thread that unites both cultures: a shared past of legends, mythologies, and landscapes reflected in the architecture and heritage that surrounds us.

We like to think that, in some way, we are part of this story of encounters, adaptations, and beauty in constant transformation.

3 - Why do you consider manual processes important in contemporary decorative arts?

Industrial processes are gaining ground, and with that, the cultural and historical identity of many territories is being threatened. Morocco is globally recognized for its craftsmanship, but in the north, especially in Tetouan, qualified artisans are increasingly rare, and the new generations show little interest in continuing these trades. The disappearance of potters, brass workers, or weavers doesn’t just mean the loss of traditional techniques, but also of the identity and social relations of the community.

The reasons are clear: reducing costs, for example, using cheaper artificial pigments rather than natural ones and adjusting to market speed. Interestingly, what was once everyday and accessible is now almost a luxury due to the scarcity and time required for its creation. Still, we don’t believe in a strict division between the handcrafted and the industrial. We rely on new technologies to innovate in design and create models, but we maintain artisanal production with special care for the quality of materials. Additionally, connectivity, ease of travel, and social media allow us to work in a rural environment while still meeting market demands and spreading our work globally.

4 - Beyond the material, do you try to make your work engage with space, light, and sound? How? Do you consider your work a way of affecting and contributing to the atmosphere surrounding it?

In addition to our standard collections at SANIA, we also collaborate on projects with architects and other professionals. We carefully choose those who share our work philosophy and aesthetic vision.

In these projects, design is not just an isolated piece, but each element engages with the space. Architecture, light, layout, and the environment intertwine to shape a scene where everything makes sense.
We create a setting where architecture, light, and the layout of the space all come into play. All of these elements guide our decisions to shape a design that captures the atmosphere and evokes the sensations or emotional value we wish to convey.

5 - How do you conceive integrity in your products?

We value the beauty and quality obtained from craftsmanship. We actively collaborate with artisans, supporting the local economy of Tetouan. Our practice is based on slow and respectful production, where each piece follows its own rhythm to ensure quality, value, and uniqueness.

In essence, we promote a meaningful symbiosis between art, design, and craftsmanship.

6 - How would you define your work in just three words?

Dreamlike – Necessary – Authentic/Honest

7 - And in just one?

Genuine

8 - Do you pay a lot of attention to raw materials?

We take special care in choosing our raw materials, from clays to pigments. Whenever possible, we opt for locally sourced materials.

We love the experimental aspect of our work, especially creating our own glaze recipes, as was traditionally done.
The “know-how” of craftsmanship refers to knowledge passed down through generations orally and through learning in workshops. Master artisans (maalems) guarded their recipes and processes closely, reserving them for the elite: royal palaces, governors’ houses, merchants, and viziers.
In our workshop, every test is a surprise, like a game, a treasure hunt where every time we open the kiln, there’s the possibility of finding something wonderful.

9 - What is your desire when integrating into people’s domestic space?

Rita - It’s a fun and beautiful question. Hmm… We want to move away from the capitalist idea of obsolescence with which most of the objects we buy are consumed. I like to think that an object is not just a tool or a decorative piece, but a container of stories, memories, emotions, and meanings.

In the Rif region, in northern Morocco, there is a unique ceramic tradition, exclusively female, passed down from mother to daughter as an immaterial legacy. We like to imagine that from the moment we begin creating our pieces, their own biography starts, weaving a network of stories and relationships that intertwine either willingly or accidentally.

Our desire is for our pieces to last over time, filling up with memories and the future owner’s memories. We want our vases to be those objects that accompany you throughout your life, or that object you inherit from your father, grandmother, or friend, which reminds you of that person, as if it carried a piece of their essence.