Artistic practices directly related to craft are inseparable from the handwork and natural elements that make up the materials. The distance between the resources found on earth and the pottery, glass, or textiles is particularly short. But how to find a relationship with the material not from the position of the ruler but in cooperation with it? Is it possible to create with the material instead out of it? Through my artistic research, I seek to draw attention to, discuss, and promote a different way of perceiving the world – by accepting the environment around us and the elements within it as equal to us, living and non-living beings and objects. This research is based on the concept of material intelligence, a definition introduced by art critic Glenn Adamson, which we might otherwise call material cognition. This kind of intelligence means we know, perceive, have experienced from whom, how, and where the things around us are made. The research is carried out deliberately on the basis of clay material and ceramic discipline techniques. This choice is made, because of my experience in the ceramic field and the opportunity to be critical in this area. Different ways of perceiving the environment, especially the sense of touch, are particularly important in my artistic research. Tacit knowledge – a term introduced by Michael Polyani – which can also reflect the skills needed to do one or another handwork, is one of the axes of my creative practice. Excerpts from the creative diary play an important role in the art project. They help to reveal my relationship as a creator and researcher with materiality, the childhood experiences that influenced it, the opposition of material to intellect, its existence in the context of contemporary art.