My practice began with a single act—shaping a clay replica of a soda can and crushing it by hand. This gesture, transforming a fragile handmade object into a distorted echo of industrial form, became a way to reclaim meaning from the language of mass production.

Rooted in my background in packaging design, a discipline where surfaces sell illusions, my work reverses this process, transforming commercial language into a philosophical tool. I unpack objects, memories, the layered shells of human experience, and ultimately, myself.

I’m drawn to what lies beneath the gloss of the ordinary. Working within the field of contemporary ceramics, I use clay as a language of transformation. I work with contrasts: industrial and organic, controlled and accidental, to reveal the fragile balance between creation and decay. Each hand-formed can is both sculpture and commentary, a reimagined relic of consumer culture and a subtle act of appropriation. Symbols of mass production become a metaphor for the human condition, the intimate vocabulary of touch, and the authenticity of imperfection.  

I invite the viewer to their own act of unpacking: to look beyond the surface and to question what we value and discard.  In the end, the crushed can becomes an imprint of deliberate vulnerability and resilience, a way to unlearn the perfectionism of the advertising world.