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This series captures juxtapositions: thick walls set on a narrow form; hollow, petite, and contained, yet dense, grainy, and imperfect. The final interpretation leaves room for ambiguity: how does the work and its individual pieces read when the vases hold a dainty flower; a dried branch; or, remain empty? I think that, in hindsight, this body of work relates to my personal understanding of myself, my femininity, and my place in the world: raw, gritty, enigmatic, iterative, and slightly off-center.
Clay, organic material sources
2021
Immediately prior to conceptualizing this body of work, I discovered that I had double-jointedness in my hands and body, which meant my fingers had weak joints from years of misuse. The cause for my not recognizing the double-jointedness earlier, as I was also learning, was because my interoceptive senses were not operating accurately. This meant that wheel-based ceramic work was too much for my brain and body to process; yet, I envied the quantity and pace of wheel-based potters. The extruding process provided a safe space for me to work in multiples and iterate quickly through my ideas. The clay body in this series is heavy, and the extruded forms feel satisfying to grasp, in the hand.
Clay, organic material sources
2021