The leather cord becomes the connecting thread, drawing separated ceramic parts into relation while refusing seamless unity. The join remains visible; the ceramic pieces stay distinct.
This series asks what a vessel can become once its wholeness is interrupted. What becomes possible when a decorative pot is cut, broken, and reassembled—or built from disparate parts and clays from the outset? At what point does it shift from vessel to sculpture: an object with its own narrative and tension? The work began with a technical problem—binding different clays with different shrinkage rates—and arrived at a conceptual one: how do we hold together without becoming the same? Stitching, knotting, and tension are not merely solutions; they are the work’s language of connection and separation.
From there, the forms open into a wider logic: life is a continual movement between connection and isolation, between making contact and holding distance. The “perfect” vessel dissolves into an exploration of continuum and discontinuity—of how things belong together without fully merging—held open by play, curiosity, and the insistence that connection can remain real even when parts stay distinct. (Selected works from the series).
