For many years, my work has explored the connections between gesture, material, memory, and place. The corded ceramics, shaped through the repetition of a single thread, revisit ancient gestures, where the imprint of the cord inscribes both ornament and memory into the surface. My early training in design had already placed questions of use and our relationship to objects at the heart of my research.
This body of work, developed alongside other directions, now turns toward forms that carry a sense of utility. Not in order to surrender to function, but to question its symbolic and relational dimensions. Usefulness becomes a ground where the object engages more directly with the body and with daily life, while still holding its depth of meaning. The cord, ceramics, and the transformation of materials remain central, yet are displaced into a field where use and memory intersect. In this way, the utilitarian object does not stand apart from artistic research: it extends it, weaving material into a new continuity between gesture, history, and presence.
