My practice focuses on ceramic material research and investigates how objects function as vessels for cultural memory. I approach clay as a collaborator in a dialogue about displacement, beauty, and the sensory experience of belonging.
My methodology is informed by two decades of commitment to cross-cultural dialogue, which I integrate into a teaching practice built across three languages and four countries.
In my studio, I think about how stories are authored and told, alongside the aesthetic value of the sculptures and installations I produce. My research into glaze formulation and application — such as the low-fire luster reduction, a technique historically rooted in the Islamic Golden Age and the Silk Road, which I applied to a historical vessel, the Sufi beggar bowl pictured above — is a rigorous technical pursuit that allows me to think through cross-cultural pollination and to physically understand the paths of that cultural exchange. The ever-shifting history of migration becomes a reflective surface on the organic shape of the vessel, drawing the viewer in to sit, briefly, inside a history that is intimate and universal.