His father and mother in Siladice were dedicated to ceramic production. The local ceramics have roots in the Haban style, to which the Sklenar family remains faithful. Young Alexander helped his father Ján and mother Antonia prepare the clay from a young age. He sat at the potter’s wheel at the age of ten and naturally decided to pursue training as an artistic ceramist when choosing a secondary school. His studies were organized by the Center for Folk Art Production – he studied theory in Bratislava and practiced at home with his father, thanks to a special exemption, allowing him to carry on the family ceramic tradition.

His wife Janka also became involved in this tradition, although she did not study ceramics formally. During her maternity leave, living in her in-laws’ house, she gradually learned the secrets of production and ceramic painting, and continues to practice in tandem with her husband.

From the beginning, the Sklenar family’s story, like that of the previous generation, has been intertwined with ULUV (Center for Folk Art Production). They supplied most of their products to ULUV stores continuously for a quarter of a century. Due to financial reasons, they halted their ceramic business and sought employment in other fields. However, their love for ceramics endured, and in 2016, they returned to intensive production. A key motivation was the exhibition for ULUV, “Majolica Masters Today II,” where they were approached by curator Eva Ševčíková alongside other majolica artists. “That’s when we regained the desire to create. We feel it’s meaningful, and we do it to prove that we still have the skill. Ironically, the fact that ceramics no longer sustain us in recent years has brought us greater freedom,” admits Alexander Sklenar.

In the meantime, their three children have started their own families, giving the Sklenar family more freedom and financial independence. Independence – not just financial – is the goal and ornament for most craftsmen. For instance, Alexander Sklenar prepares his own clay. He has heaps of it in the garden, each from a different region of Slovakia. To achieve the desired quality and color, he must mix them in precise proportions. The clay preparation process takes a month, but the master finds it worth the effort.

Wheel throwing is also a strong suit for Master Sklenar; he can finish a medium-sized vase in three minutes. He considers post-firing retouching of flaws crucial, as any imperfection is visible on the glossy glaze. His wife Janka handles the painting of the products. She primarily paints blue patterns on a white base but also enjoys the yellow-blue-green palette typical of Haban ceramics and adapts to current trends. Currently, mass taste leans towards simpler decorated utility items like bowls, cups, and milk jugs.

During the creative process, Alexander Sklenar values the ability to invent new things. While materializing his ideas, he experiments a lot and makes mistakes. It’s precisely the freedom in creation, while seated at the potter’s wheel, that gives him the necessary motivating feeling of happiness.