My work is an archaeology of the unspoken rules that govern our bodies and desires. I track the moment when the natural and familiar tips into the taboo, the repressed. Among others, Louise Bourgeois' ‘corporeality’ and Michel Foucault's analysis of norms haunt my studio.

My work is neither purely figurative nor abstract; it is a caustic form of conceptual visual poetry. For me, clay is not just a material but a cultural archive carrying centuries of utility, decorum and symbols. I deliberately divert classic and familiar forms to question this very history, I subvert expressions of language or lived experiences, by exposing their symbolism. My works often evoke fragments of bodies to provoke a fertile visual and visceral short circuit. Beauty and disgust serve as decoys to question what our society glorifies, obscures or rejects and its impact on our being.

My process embodies this conceptual tension. I contrast geometric precision and control, with the collapse and limitations of clay as a material. This duality between rigour and chaos reflects my central theme: social norms are rigid architectures, but human experience remains fluid, organic, sometimes chaotic. I use ceramics as a medium capable of speaking about the invisible and visceral nature of conventions with a relevance that complements that of words.