In the world of artistry, some choose traditional canvases, while others opt for unconventional mediums to give life to their creative vision. One such artist is Pedro Sanchez Morales, a self-taught pyrographer whose work is a testament to the beauty and intricacy that can be achieved by burning intricate designs onto wood. We had the privilege of sitting down with Pedro to delve into his artistic journey, inspirations, and the craftsmanship behind his striking pyrography creations.
How did you get started with pyrography? I heard you’re self-taught.
In 1979, with the help of a friend’s father who was already working with pyrography, it all began. Since then, it has been a journey of experimentation and training in complementary skills like drawing, charcoal, and more.
What materials do you typically use for your pyrography work?
Although pyrography can be done on leather and wood, I work exclusively on the latter. The other essential tool is the pyrography machine, an electric device connected to a handle with interchangeable tips that vary in temperature.
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Where do you find inspiration for your pyrography pieces?
I find inspiration in my experiences and surroundings including the places I travel to.
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Could you tell me about the process of creating one of your pyrography pieces? How long does it typically take to complete one?
It all starts with an idea, which is then sketched onto the wood. The work begins linearly and progresses to volume and shading. In some cases, I incorporate color and, finally, apply six coats of lacquer. The time varies depending on the complexity and size of the piece, but on average, it takes about a month (with no more than an hour of continuous work in each session).
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Are there specific themes or subjects that you enjoy working on the most in your pyrography art?
When choosing a theme, I try to enjoy the creative process.
Close-up detail of dress.
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Can you share any memorable or challenging experiences you’ve had during your journey as a self-taught pyrographer?
The most remarkable experience was the incorporation of color into my pyrography, which I believe to be a unique approach, involving burning paint into the wood’s pores.
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How do you see your pyrography evolving in the future, and do you have any upcoming projects you’re excited about?
Currently, I’m focused on enjoying my current exhibition, “MUSICA A FUEGO LENTO.” However, a new idea is already taking shape in my mind for a future project.
Every work of art, or craft, as I prefer to define my work, requires the activation of different attitudes—creativity, patience, determination, accepting mistakes, study, and education. All of this significantly influences one’s personal growth. As a restless person, it has brought me tranquility and moments of peace.
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What advice would you give to aspiring pyrographers who are just starting their journey in this art form?
Above all, have patience because it is slow work.
Do you have any favorite or particularly meaningful pyrography pieces that you’d like to share the stories behind?
From each of my exhibitions, I keep fond memories. If I had to highlight something, it would be everything related to the history and images of my city: ALICANTE.
What led you to choose pyrography as your artistic medium, and what drew you to working with wood?
It was the warmth of the results, the convenience, and simplicity of the necessary materials that captured my interest.
I use poplar wood due to its soft texture and knot-free surface. It’s essential to sand the wood thoroughly before starting work.
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Are there any cultural or regional influences that inspire your pyrography pieces?
As I mentioned, everything related to the culture of Alicante and its villages—traditions, music, manifestations, monuments—inspires my work.
To capture a beautiful and warm moment that people enjoy contemplating.
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Apart from numerous group exhibitions, I’d like to highlight my individual exhibitions, each of which holds significant meaning for me.
1990 – Loyola Center – Alicante
2001 – Sella Town Hall (Ayuntamiento de Sella)
2004 – Culture House – Torremanzanas (Casa Cultura – Torremanzanas)
2005 – Loyola Center – Alicante
2007 – Caja Mediterráneo – Alicante
2009 – Alicante Town Hall (Ayuntamiento Alicante)
2012 – Provincial Council of Alicante (Diputación Provincial de Alicante)
2014 – Sella Town Hall (Ayuntamiento de Sella)
2019 – Basilica of Santa Maria – Alicante
2023 – Provincial Council of Alicante (Diputación Provincial de Alicante)
Awards:
First prize for color pyrography in the Valencian Community Contest Exhibition 2001 (Concurso Exposición Generalitat Valenciana 2001).
Honorable Mention from Caja Mediterráneo.
Can you talk about the challenges and rewards of being a self-taught pyrographer?
The challenge lies in getting the creative process, inspiration, and the muses just right, along with the subsequent work. The reward is presenting your work to others, and even better, when they purchase it.
How do you balance artistic freedom with fulfilling custom requests from clients?
I accept only those requests that I believe I can complete.
Do you have a preferred time of day or environment in which you find it most inspiring to create your pyrography art?
Primarily during the evenings.
Can you share some tips or tricks you’ve learned over the years for achieving fine details and shading in pyrography?
Work, work, and patience.
How do you handle mistakes or imperfections in your pyrography work? Any advice for beginners on overcoming these challenges?
In pyrography, mistakes are challenging to correct. It’s essential to work slowly, and if something goes wrong, start over. We learn from our mistakes.
Can you discuss the role of patience and precision in your creative process, especially with such a detailed art form?
As I mentioned earlier, patience is vital in pyrography; there is no room for haste and deadlines.
Are there other artistic mediums or crafts you’re interested in exploring in the future, alongside pyrography?
I’m drawn to watercolor painting, which is the opposite of pyrography. I’ve even taken some courses. Perhaps, someday…
How do you organize your workspace and maintain safety while working with hot pyrography tools?
Caution is necessary when working with incandescent materials. I’ve sustained minor burns due to carelessness, and a shirt or two has been ruined. The most crucial aspect is to turn off the pyrography machine when not in use, take breaks, and so on.
One particularly memorable project was my research and location of murals by a renowned artist from Alicante, Gaston Castello, who has been a significant source of inspiration for my work. After completing the research, I painstakingly recreated his artwork through pyrography, tile by tile, and this exhibition garnered significant attention and success.
Reproduction of a bronze sculpture into a pyrographic piece.
Photo by ©suitcaseinspain.