The central theme of my practice is the moment when a familiar object ceases to be simply utilitarian, but does not yet become pure sculpture. In this gap, a tension arises that I explore.
In ceramics, I create both utilitarian objects and attempt to remove the object from the automaticity of recognition. The familiar, everyday role of an object dissolves in the sculptural plasticity of biomorphic form, inspired by marine organisms, sea anemones, and corals. I chose them precisely because this world is detached from everyday human experience. For me, the sea is a reservoir of the alien, which simultaneously attracts and disturbs.
I work not with direct citation of natural form, but with its fragmentary extraction: individual morphological elements are taken from a marine organism and transferred to the matrix of an everyday object. I borrow the ability to be simultaneously open and protected, solid and porous, living and frozen. I am excited by contact with form, which doesn't answer whether it is alive or not.
My artistic language is hand-sculpting, organic asymmetry, and textured surface elaboration. It never remains smooth or neutral. The methods of elaboration vary: color, gold, growths, contrasting textures, rhythmic holes, monochrome relief, structural protrusions, but the surface is brought out of its state of rest. This is not decoration, but a way to make an object an event for the eye and the hand—regardless of whether it is a vessel or a sculpture.
The resulting objects are artifacts with their own corporeality. They do not impose interpretation; the viewer is presented with an open question: is this a vessel or an organism, function or form, protection or vulnerability, living or petrified?
