As a child, Gabriela del Sol remembers the few heirloom dishes in her home, along with a Dutch teapot from Delft. Those familiar with this name will recognize it as the birthplace of one of the most celebrated artists of the Flemish Baroque period, Vermeer of Delft. But more importantly for ceramicists, it refers to a pottery tradition dating back to the late 16th century, characterized by vitrified white clay and the traditional cobalt blue, with designs so stunning that never go out of style, even after all this time. This is the core memory from which Gabriela has developed the universe of Ave Migratoria, a studio that, though relatively new, has already taken flight, and one where she feels completely at home.

She speaks of time with caution, almost with reverence, for she knows she has reclaimed it. This slower pace has distanced her from the chaos that, for too long, occupied her life. Listening to her, it’s clear she speaks with full honesty: she studied Industrial Design, a field she never truly identified with; she became a photographer and performer, danced, worked in cultural management, and even sang in a rock band. Oh, and she learned to embroider. But perhaps the closest she’s come to this present moment in her life was when she pursued a Master’s degree in Live Arts, a decision she made when she felt truly ready—when the questions became clearer, and she was at peace with discovering her own identity. And, in that journey, craftsmanship entered her life.

She returned to clay just under five years ago. As the saying goes, sometimes you have to go around the world to come back home. And she remembers with joy the feeling of being a kid, with her hands deep in the mud. When she returned to it, she remembered how the clay made her feel—it was where she truly wanted to be. This is the inspiration behind the name of her brand, because, just like a migratory bird, her own journey took her from the city to the countryside, and back to the city again. In this back-and-forth, the beauty and stillness of nature took root in her, and it grounded her. Now, she has no intention of letting it go—it’s her greatest triumph.

It was then that the memory of Dutch ceramics and the design and perfect functionality of Japanese pottery merged in her mind. She knew that these two influences would guide her, imprinting her Ave Migratoria with its unique signature. She began creating tableware, where blue and white dominate. Dots and stripes became her guiding patterns, and it’s clear that behind these choices lies much meditation. Every little white dot is a slip she made herself, a gesture of care as she crafts a piece to accompany our moments of quiet. For her, sitting at her wheel is an opportunity to shape and mold a piece, taking as much time as needed. She’s run too fast through life, and she doesn’t want to repeat that.

Like many ceramicists in the country, she works with clay provided by Jorge Pérez, who recently passed away, and whom all his colleagues mourn. From his workshop, she uses yellow and white ash clays. She also works with the white clay from Barichara. Gabriela mentions that she recycles, blending different clays to give them new plasticity. For her functional pieces, she fires at very high temperatures, and ensures her ceramics are lead-free.

When asked about her collections, she notes that they have been built by her own customers. They gather a cup here, a plate there, a teapot, a bowl, a shot glass for aguardiente, a jug that could also be a vase, a gravy boat for vinaigrette or the cream for ajiaco. These are designs with which she resonates, inventions she crafted along the way, focused on sgraffito—scratching the clay when it’s at the leather-hard stage, halfway between wet and dry.

She honors the clay and knows she is part of a rich pottery tradition in the country. She celebrates the tinajeras of Juana Sánchez, the potters of Ráquira, the beauty of the clay from El Carmen de Viboral, and the boldness of Gres del Pato and La Cruz. And there she is, Gabriela del Sol, finding her own sun as she kneads the clay.