Sentimental representations of natural phenomena are a central topic in my recent research and ceramic forms. They not only extract and represent aspects of an unseen nature but also explore the visual possibilities of a mutated human world and its regeneration. My obsessiveness toward nature is driven by Object-Oriented Ontology, which rejects the privileging of human existence over the existence of nonhuman objects and makes distinct claims about the nature and equality of object relations. By incorporating different materials into one integrated object, my practice echoes this equality, as they have been employed for the creative process no matter where they come from—nature or an industrial factory.

Much like an archaeologist excavating the remnants of ancient civilizations, my work explores the imagined future relics of humanity, capturing the traces and resistance of both humans and nature under systemic oppression. This endeavor challenges viewers to reconsider their perceptions of nature, industry, and the human role within these realms. I aim to create a surprising material symbiosis that reflects an apocalyptic shift in human-nature relationships in the Anthropocene, emphasizing the interconnectedness of all life forms.