My work begins with flat sponges: soft, porous, humble objects made to absorb. I sew them together, allowing their flexibility to become a soft mold for porcelain slip. Through a process I have developed, the delicate movement of the sponge is transferred into ceramic, where textures, seams, tensions, and subtle imperfections are captured and made permanent.

I am fascinated by this material paradox: a porous, yielding object becomes the source of a work in porcelain. The sponge is peeled away, yet the imprint of its presence remains. the sponge is released from its original function. What was flat becomes volumetric. What was ephemeral becomes lasting.

The resulting forms are shaped as much by the mold as by the volume of the liquid porcelain itself. The surface records the encounter between the two materials—a kind of memory of touch and transformation. I do not seek to erase the evidence of making. Instead, I allow the process to remain visible, so that the object carries within it the story of its own becoming.

I am interested in this shifting of materials: between softness and rigidity, experimentation and intention, process and object. By giving an everyday material a new role, I explore how, through making, an ordinary object can acquire a new character, and a new presence.