Finding myself in an intense learning tunnel since switching medium to clay, holding total focus on developing technique—yet more importantly, on connecting to an origin of my art beyond the analytic mind.
Whether ceramic pieces—specifically vessels—can transport a message or evoke inquiry is an important theme in my practice, at times introducing a serious or black-humored tone.
My core objective is to express sentiments of criticality, mystery, and beauty in my work. Or, in the words of Koyo Kouoh: “The time for radical joy in art has come.”
I am exploring a variety of techniques in my ceramic process—from coiling and slab building to altering wheel-thrown pieces. Mixing clays and media, working with assemblage, and developing glazes and engobes are all part of the journey to shape my own form of expression in clay.
I combine a classical approach to sculpture in clay with an eye on correct anatomy, drawing deeply from the ideals of ancient Greek sculpture. Through this foundation, I explore contemporary abstraction to develop a personal visual language—balancing precision with emotional and conceptual freedom. This duality allows me to honour tradition while carving out a distinctly modern voice.
My figurative sculptures are fixated on the female body—I am reclaiming it from thousands of years of male expression. It feels like a total home coming: a terrain I feel so very comfortable with, positioning myself in the world – not only a being with a past but a human with history.