At the boundary between utilitarian object and sculpture, each form invites free interpretation: to welcome, contain, or simply inhabit the space.

These objects do not seek to be merely useful. They are states of matter. They arise from a dialogue between heterogeneous clays, raw sandstone, fragments from elsewhere, and carry within them a displaced geography, recomposed by fire.
Firing is not a step, but an ordeal: an irreversible transformation where matter contracts, resists, yields, and then asserts itself anew.
The forms thus emerge, unstable yet anchored. They oscillate between container and landscape, between artifact and vestige. Use, if it exists, remains open, almost secondary, like a possibility left to the gaze.
In this wabi-sabi approach, the object becomes a trace: of a gesture, a constraint, a passage of time. A silent, rough presence that is not immediately apparent, but is experienced.