introduction
I work with Nerikomi, a traditional Japanese technique of mixing and layering differently colored clays to create patterns that run through the body of the form. For this exhibition, I explored Ikat as a visual language, translating its blurred geometry into black and white clay. Instead of seeking sharp precision, I allowed the patterns to shift, stretch, and soften, echoing the way Ikat textiles carry movement and imperfection.
My process is slow and intuitive, shaped by repetition and touch. The clay is built in layers, cut, reassembled, and compressed, allowing the pattern to emerge gradually rather than being imposed. I chose a surface treatment that evokes aged wood and textile tactility, grounding the work in a sense of time and use. Working primarily with clay and minimal additives, I remain attentive to material economy and reuse, allowing offcuts and remnants to inform new forms. The work reflects an ongoing dialogue between craft, memory, and material transformation.
reflection
I explore Sonder by letting clay take on the softness and presence of fabric, inviting people to look, touches, and pause. The Nerikomi patterns flow through each form and the quilted, textile-like surfaces catch you off guard, creating a quiet tension between what you expect and what you see. The pieces hold movement, memory, and energy within their stillness. Each work is a reminder that beneath every surface whether in objects or in lives there is depth, story, and unseen life waiting to be noticed.
