Artist Description

My ceramic practice explores the relationships between time, material, gravity, and transformation. Over years of working with porcelain, I have gradually developed a forming process in which fabric is cut and sewn to construct an initial structure, then combined with specially prepared porcelain slip. Through repeated applications of slip, drying, and reduction firing at 1320°C, gravity, heat, and the inherent properties of the material continue to reshape what I have constructed. The final form therefore emerges through a dialogue between artistic intention and material response.
Central to my practice is what I describe as “fluid structures.” Fluidity, for me, does not simply refer to softness, curves, or the appearance of movement. It exists within the structure itself: surfaces fold from exterior to interior and emerge again; solid and void continually reshape one another; forms extend, intersect, collapse, and reconnect. The structure remains present, but its boundaries and relationships are never completely fixed.
Time is both a recurring subject and an active part of this process. Each layer of slip records an interval of making; drying allows gravity to alter the form; firing transforms softness into hardness and movement into permanence. Time is therefore not only represented—it becomes physically embedded in the work.
I do not seek to completely control these transformations. Instead, I establish conditions in which intention and uncertainty can coexist. I construct, calculate, test, and guide, while leaving space for the material to respond. For me, respecting material means understanding it deeply enough to know when to intervene and when to allow it to become itself.
Ultimately, I create the conditions and let clay find its own form.