Gallina Clueka: El mundo (2026)
Danna Gutiérrez (Gallina Clueka) released El mundo in 2026 — a drop of hand-pinched jars painted with red circles and black dogs, made during Colombia’s earthquake.
What happened — and why it matters
Danna Gutiérrez, who works as Gallina Clueka, released El mundo in 2026. The collection is a small run of white, hand-pinched ceramic jars marked by a tiny red circle, running black dogs and phrases scratched into the surface such as The Light of the World and The Sound of the World. Made quickly and intuitively, the pieces gained new meaning when an earthquake struck parts of Colombia a week before the set was finished.
For collectors and fans of contemporary craft, El mundo matters because it compresses drawing, jewellery-scale gesture and domestic use into objects that are both personal and public. Gutiérrez treats drawing as a starting point — a sketch that can depart the page and become a vessel people can hold, set on a shelf or wear. That way of working makes the pieces readable as images and useful as objects, which is a rare sweet spot in small-batch ceramics.
“I like thinking of my drawings as something that can leave the paper, become something that can be touched and used,” — Danna Gutiérrez
How she makes it
Based in Bogota and originally from Cali, Gutiérrez has practised ceramics for around five years, largely self-taught and informed by peers. She works almost entirely with the pinch technique, shaping clay by hand rather than a wheel. The finger-marks remain visible on many pieces, a deliberate trace that ties the finished object back to the drawing and the maker’s body.
Gutiérrez releases work in themed "drops" — focused runs of pieces built around a single idea. Sometimes the concept emerges from pages of reference and drawing; other times the form arrives only through the act of pinching. For El mundo she allowed intuition to lead until the jars signalled they were complete.
Where it goes next
Alongside continuing drawings, Gutiérrez will begin a printmaking residency later this year and plans to widen her practice through collaboration and exchange. El mundo stands as a snapshot of that transition: humble, tactile objects that carry an urgency born from community response, and a maker reaching outward from paper into shared space.
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