Ana Hillar maintains to have chosen "clay as a meterial for its dimension of simple intimacy". The artist loves looking for that interiority but also for form: "So time stands still and I find myself following a ritual that has been repeated thousand of times in the history of mankind." Working the soil, the material of all place s, means establishing a contact with local tradition and travelling back to the memory of a place through its material culture. Ana Hillar is an extraordinary sholar of what I defined as the "poor" face of ceramics, the typical "terracotta style" of archaeological production, recovered by art in our century through certain post-informal experiments. The clay chosen by Ana Hillar is a clay taken from soil, from a physical place that confers an inexhaustible potential of metaphorical, symbolic and especially energetic content on the material. "The soul of a place is in it's soil. In Hillar's work, the comouflage of the sculptures in the landscape, that buds as the sculpture's and location's will to integrate, can also transfer from a natural landscape to an artificial environment crated within a gallery; installed like the material tracks of a journey or an outline, contemporarily seen by the artist in direct contact with the elements of nature and then synthesized and transported elsewhere, to make one think of certain proposals, dear to the experiments of the so called European Lan art, in particular to the interventions by Richard Long.