The name derives from the Portuguese no ar - in the air - and refers to a suspended, open condition that is not entirely predetermined. Clay is treated as a field of inquiry into the relationships between matter, time, and systems of production.

The practice interrogates the concept of optimization as an implicit value: the collection of non-industrial clays, the experimentation with self-produced glazes, and the deliberate integration of trial-and-error as method constitute an operative stance from which aesthetic outcomes follow directly, shaped by the character of the materials collected. What ultimately emerges is not an isolated object, but the sedimentation of a process. Series, fragments, and variations make visible an ongoing negotiation between control and the gradual loss of it.

no/ar does not pursue efficiency or formal stability: it explores conditions in which matter and production may temporarily withdraw from the prevailing logics of acceleration and perfect standardization.