Out of Body
Exhibition Statement

These vessels emerge from a process of making in which I meditate on specific emotions while shaping the clay. In doing so, the work begins to act in line with Hegel’s notion of objectivity: the physical object becomes a site where feeling is externalised and can be observed apart from myself. Once embodied in form, the emotions are no longer internal loads but become tangible objects to be viewed, studied, and understood with greater clarity.

Their surfaces resemble patterns found in nature: spines, ridges, and growths inspired by Karl Blossfeldt’s botanical studies. I have considered the way the natural world adapts to overcome threats, evolving sharp embellishments that act as protective measures against predators. Through these forms, the vessels suggest both vulnerability and resilience, resembling nature’s defensive adaptations of thorns and spines.

This search is also a resistance to the grip of technology – the addictive cycles of social media and information overload that dominate daily life. In the studio, I look for a return to slowness, tactility, and the living rhythms of nature.

Each vessel stands as a relic of this process: an object both personal and otherworldly, holding the trace of what was once felt but now belongs to the world beyond me.