I use porcelain as a way of holding memories and traces of cultural histories. I am drawn to textures, patterns, imprints, architectural details, and decorative elements. The small physical traces that connect us to places, people, and the past. Through layering light, material, and form, these fragments are carried forward, shifting between what was and what is.
Through imprinting, moulding, carving, piercing, and layered construction, I translate these references into contemporary porcelain forms. Rather than reproducing historical objects, I fragment and reconstruct their surfaces, allowing familiar elements to become part of new sculptural languages.
My recent residency at the Ding Kiln White Porcelain Contemporary Ceramics Art Centre in Quyang, China, marked a significant turning point in this practice. Working within the historical birthplace of Ding ware, I developed Layered Histories, exploring the relationship between inherited ceramic traditions and contemporary material expression. Chinese Zodiac Hierarchy, created during the residency, became a pivotal work within this research.
I am now extending this investigation towards a broader exploration of material culture and cultural memory. I am particularly interested in historical artefacts, textiles, architectural fragments, and culturally significant objects as sources for new porcelain surfaces. The work is developing into larger sculptural cylinders and vessels, wall-based works, tiles, plates, and installation-scale forms.
I see each work as a tactile archive: layers of material, history, interpretation, and time brought together in a contemporary object. Through porcelain, I explore how histories are preserved, transformed, and continually reassembled, creating connections between past and present and between cultures across geographical boundaries.