My practice investigates the body as a site of internal experience rather than outward representation. I am concerned with what remains unseen, the sensory negotiations, adaptations, and subtle transformations that shape our lived experiences. Through ceramic vessels, I explore how material form can register these conditions without literal representation, allowing abstraction to function as a carrier of embodied knowledge.

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The vessel operates as both structure and proposition. Its hollow interior suggests containment but is defined by tension, pressure, and responsiveness. Form emerges through throwing, compression and adjustment, processes that parallel the body’s own capacity to endure and adapt. Clay is treated not as just a material but as an active participant. It yields, resists, slumps, and stabilizes, recording each gesture and memory of touch.

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This work is situated within broader conversations surrounding illness, sensory differences, and material agency. The work explores how abstraction can express experiences that resist clear explanation. Rather than depicting the body directly, the sculptures translate internal states into weight, imbalance, and curvature. Forms may lean, swell, fold in, or remain unsettled, suggesting adaptation rather than resolution. The ceramic process, moving from pliable to permanent, reflects the body’s shifting balance between vulnerability and resilience.

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This work rests in a place between fragility and endurance. Each form emerges through negotiation, between gravity and touch, and pressure and release, allowing the sculpture to register the subtle forces that shape it. They offer a place where unseen experiences can exist materially and offer a shred awareness of the often-unseen forces that shape how we inhabit our bodies.