My ceramic installations draw from Minimalism’s visual language of repetition, line, and spatial rhythm. Built from dozens of repeated, hand-made tiles, the work explores the relationship between place and touch, writing and memory.
Each tile carries the subtle inconsistencies of the human hand—slight shifts in line, variations in glaze, and gestural marks created by tracing personal writings and reflections into the clay. While the surface records touch and pressure, the embedded text becomes increasingly obscured through firing and glaze, mirroring the instability of memory and the way lived experience changes over time.
Clay functions as both object and archive. Its ability to hold touch creates a direct relationship to the body, time, and process, preserving traces of intimate and often vulnerable experiences. Installed across architectural space, the repeated forms activate walls, corners, and boundaries through color, rhythm, and accumulation. The work creates spaces of recognition, asking how memory shapes our understanding of place and our need for belonging.
