Existing in the unstable threshold between the inside and the outside, through the interplay of ceramics and textiles.
Driven by a curiosity of the intangible and the hidden, my practice is an exploration of the liminal, the unstable and dialectical threshold between the inside and the outside. It investigates the physical trace of time embedded within material through the interplay of ceramics and textiles: two inherently temporal materials blanketed in gesture and trace, living matter that carry intimate histories of touch and memory. Rooted in autoethnography, the work draws from lived experiences of dream states, sleep paralysis, nostalgia, and fractured memory, exploring the continuous push and pull between past and present occurrences of the self. These tensions emerge materially through fragmented forms, voids, shadows, and structures that hover in suspension. The interconnected, interweaving and permeating forms that hold passages and voids explore notions of interiority, the uncanny, the unseen and intangible, revealing the existence of an interior world, and thereby the suggestion of a liminal realm. The work then becomes a partial suggestion to something that is not graspable from the outside, not even to me.
The Harbour, 2026
Both materials do not exist separately but interdependently, echoing the entangled dialectics of inside and outside. The ceramic body becomes both vessel and loom: an interior structure through which yarn, wire, and tension are threaded and suspended.
Untitled, 2025
Nature’s Whisper, 2024
Helter Skelter, 2025
Influenced by Tim Ingold’s writing on material agency, I approach making as a conversation with material rather than the imposition of predetermined form. Using immaterial forces of gravity, compression and tension to create form positions the making process itself as liminal and continuously in flux. I share agency with the materials and forces I work with. Rather than beginning from fixed sketches, forms emerge intuitively through bodily movement and repetitive gesture, where the material’s tendencies and resistances guide the work. The tactile processes of coiling, weaving, crocheting, casting and repairing allow gesture, touch and repetition to remain visible as lingering traces of bodily presence and time.