Marsica Fossati’s work is a dialogue between eras, materials, and philosophies. Her latest project in collaboration with Fundación Wabi, Space Is a Magic Place (But Earth Is Better), continues this exploration. Inspired by her travels through Mexico and her encounters with both natural landscapes and architectural wonders, Fossati envisions a world where design is deeply symbolic. Drawing on sci-fi narratives, ancestral traditions, and the interplay between spirituality and materiality, she crafts a speculative reality where extraterrestrial visitors have shaped human creativity—not as conquerors, but as mentors.
In this conversation, we discuss the evolving role of craftsmanship in an increasingly digital world, her fascination with objects as vessels of memory, and how this exhibition transforms the idea of space—both cosmic and physical—into something intimate, immersive, and profoundly human.
Design & Creativity
Q: As someone with a background in design, what do you see as the fundamental difference between design and art? Where do they overlap, and where do they diverge?
A: Design and art share a deep connection, yet they serve distinct purposes. The fundamental difference lies in intent: art is driven by self-expression and interpretation, while design is solution-oriented and functional.
Art exists to provoke thought, emotion, or aesthetic appreciation, often without a defined "right" or "wrong" outcome while design functions within specific constraints, including user needs, functionality, timeframes, and practicality.
But the boundary is increasingly fluid nowadays . Contemporary artists integrate design principles into their work, while designers often venture into the domain of art.
Q: Your work often merges craftsmanship with a sense of narrative and atmosphere. How do you approach creativity—does it emerge from intuition, research, material experimentation, or something else entirely?
My creative process is a blend of intuition, research, and experimentation, all working in dialogue with one another. Intuition often serves as the initial spark… an idea, a feeling, or a mood that sets the direction.
With my background in interior design, envisioning the space where an object will exist is essential . The surrounding environment deeply inspires me, often serving as the starting point for my creative process.
I have a deep passion for craftsmanship—everything made by hand represents a true expression of creativity and vitality. That’s why each of the pieces I have designed till now is carefully and “skillfully” handcrafted.
Q: You’ve spoken about nostalgia for objects from the past and the value of craftsmanship. In a world increasingly defined by rapid production and digital environments, how do you see the role of handcrafted, tangible design evolving?
A: Yes ! In a world dominated by rapid production and digital experiences, handcrafted design holds even greater significance as a way to preserve authenticity, storytelling, and human connection. Craftsmanship has a soul and as technology accelerates, I think there is a growing appreciation for objects that carry a sense of history and imperfection.
Unfortunately, I see handcrafted design evolving separately from technology. I don't believe the human touch and traditional techniques can truly coexist with technological advancements.
"Space Is a Magic Place (But Earth Is Better)”
Q: Tell us about how the idea for this exhibition was born. Was there a particular moment, image, or thought that set the entire project in motion?
The creative flow that led me to create Meteorite and Starship began three years ago after my visit to Casa Wabi in Puerto Escondido.
At that moment, I envisioned a stainless steel Temazcal, resembling a spaceship that had landed in a desert of cacti, mirroring the beauty of the surrounding landscape. This vision was rooted in an experience I had just days earlier during a trip to Baja California. Wandering through the desert, I came across a gleaming, abandoned Airstream, which, from a distance, looked like a spaceship that had landed on Earth long ago.
At the time, I was deeply immersed in Mexican ancestral medicine, frequently engaging in temazcales as a way to heal my spirit. This convergence of experiences shaped the foundation of the pieces I would later bring to life.
Q: This project imagines alien visitors returning to Earth to assess our spiritual development. If they were to evaluate us today, do you think they’d be impressed, disappointed, or something in between?
I think it really depends on where they land. hehe
But in general, If alien visitors were to assess our spiritual development today, I believe they would find a paradox.
On one hand, they might be disappointed by our increasing detachment from nature, the rise of materialism, and the way technology often isolates rather than connects us on a deeper level.
Wars, environmental destruction, and a loss of ancestral wisdom might signal to them that humanity is still struggling with its own ego and short-term vision.
Yet, at the same time, they might also be intrigued and hopeful (as I am).
There is a growing global awareness of mindfulness, sustainability, and a return to spiritual traditions. More people are seeking meaning beyond consumerism.
Future & Dreaming Forward
Q: This exhibition imagines a past in which aliens influenced human creativity. If you could design an object to send into space—an artifact representing Earth’s design philosophy—what would it be?
Nothing too extravagant. I would stay grounded in our ancestral roots. I would send a silver ceramic sculpture into space, perhaps in the form of an animal. It would symbolize our deep connection to nature while embodying our endless curiosity about the universe. The silver finish would add a futuristic “fashion” touch, a bit spacey, just to let them understand how humanity has envisioned space in the collective imagination up until now.
Q: Looking to the future, what’s next for you? Are there any new projects, materials, or conceptual explorations you’re excited to dive into?
I want to keep exploring more conceptual objects and expand beyond what I’ve done so far. My goal is to continue incorporating traditional techniques while experimenting with the fusion of past and future, art and design. I have so many ideas, and I can’t wait to start bringing them to life.
Q: You’ve built a career bridging luxury, craftsmanship, and storytelling. If you could dream beyond the limits of reality, what would be your ultimate project—the one that feels almost impossible, but that you’d love to create?
A: If I could dream beyond the limits of reality, my ultimate project would be a monumental, immersive structure.. part sculpture, part sanctuary… where art, nature, and spirituality converge.
Also in this project would merge ancestral craftsmanship with futuristic vision.
Imagine a floating temple on the Oaxaca coast, with whales passing by, or set in the middle of a desert or deep in the jungle in Chiapas, crafted from materials that evolve with time, reflective metals, ceramics that age beautifully, wood and organic elements that breathe with the landscape.
I imagine a space for contemplation of the skies, gathering, and real connections, where design becomes an emotional and almost mystical experience.
EXPLORE MORE:
Experience the Meteorite and Starship at Fundacion Wabi.
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