Artist Statement
My work originates in ceramics, where the vessel has functioned as both an object of use and a site of containment. Within my artistic practice, I have used pottery forms as a framework for examining how material, structure, and memory intersect. Clay initially provided a sense of permanence and control; forms hardened through fire, sealed, and stabilized. As my practice evolved, I began to question the authority of ceramic material itself and the expectations it carries.
In response, I shifted toward fiber and found materials, translating traditional ceramic vessels into materially unstable forms. Fabric vessels are sewn, folded, and suspended, mimicking the silhouettes of pots that were used for containment while resisting their intended function. They slump, collapse, or remain porous, suggesting containment without protection. Discarded materials introduce histories of use and wear, reinforcing the vulnerability embedded in these forms.
Porcelain slip is incorporated to partially reintroduce clay, coating and stiffening fiber surfaces until they become fragile shells, remnants of what once was. This process collapses distinctions between soft and hard, permanence and decay, allowing the vessel to exist in a suspended state between structure and collapse.
This material shift parallels an excavation of childhood memory shaped by attempts at preservation, suppression, and endurance. Fabric functions as both skin and archive—soft, absorbent, and marked by time. Through coating, repair, and restraint, I reconsider how memory is held in the body and how personal history is altered through acts of reinforcement and erasure.
This body of work presents the vessel as a psychological and emotional container rather than a functional one. Existing in a state of instability, these objects balance strength and fragility, control and collapse. Through material substitution and formal repetition, the work proposes that what we carry is not fixed, but continuously reshaped by touch, pressure, and time.
