My practice explores the space between discomfort and curiosity through the body’s relationship with material. Working with clay, I use improvised movement and choreography to physically engage with the medium, allowing my body to shape and transform it through direct contact.
The outcomes bear witness to a specific moment within this process, recording an event in which the body moved through a state of transformation and left behind a physical trace. The ceramic form becomes a document of movement, time, and the ongoing shapeshifting process.
Within my work, some pieces are fired only, glazed after being fired, some fired while having glazes inside the structure, or simply left to dry. These variations emphasise the different states of the material and highlight the time, motion, and individuality of each piece. The ceramic structures, therefore, exist not only as sculptural forms but as records of a process in which both the body and the material continuously adapt and transform.
This shapeshifting process is also inherent within ceramics itself. Clay is an unpredictable material; its final form is never fully known until it passes through stages of drying, glazing, and firing. I am drawn to this uncertainty. The process is alluring precisely because control is never absolute. Each piece carries the potential to shift, crack, warp, or transform in unexpected ways.
An exploration of the structure and details of living organisms, seeking to reveal the inevitable natural process that defines flesh and biological masses.
