My work explores the traces people leave behind and the stories that survive after their voices are gone. I am drawn to abandoned homes, not because they are ruins, but because they have become archives. As walls weather and ceilings collapse, layers of paint, wallpaper, plaster, brick, and wood emerge like archaeological strata. Each layer records a decision, a repair, a season of care, or a period of neglect. Together they form a material history of ordinary lives.

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I translate these layered histories onto ceramic orb jars whose rounded forms reference both domestic storage vessels and funerary urns. These vessels become containers not only of physical space but of memory itself. They ask what remains after a life, a family, or a community has passed, and how objects continue to bear witness when the people who shaped them are no longer present.

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Clay is uniquely suited to this inquiry. Like the buildings that inspire me, it carries the evidence of every touch, every addition, every subtraction. Fired into permanence, each vessel becomes its own archaeological record—a quiet testament to the relationship between human hands, the passage of time, and the persistent forces of the natural world.