Porcelain, this material considered immutable over time, is at the foundation of my research. Through representation of iconic signs and technological manipulations, my work evokes the cycle of transformation of this material and a perpetual slippage of meaning in the perception of natural phenomena.
I start with the premise that before its firing, clay is a soft material that can be perpetually transformed if it stays wet. The process of firing renders this material stable and permanent, thereby conserving its characteristics of stability and immutability for millennia. My explorations with this material have led me to develop different strategies for unsettling the inherent characteristics of ceramics and suggesting that this material could collapse again into a soft state. My sculptures and installations are hence proposals of potential movements in this material considered immutable over time. Using different materials and technologies, I activate ceramics to create sculptures and installations — often time-based with motion and sound — that suggest a perpetual slippage of meaning in language and in the perception of natural phenomena.