installation

 

Paper Cutting versus Clay

Similarity

Fragile and Ephemeral -can break, snap, tear, shatter

Organic materials born from the earth or tree barks

Ancient- Ceramic is as old as time  18000 BCE, Paper originated in 200 BCE , Papercutting originated in 2nd century BCE in China

Laborious Processes- Both are time-consuming , laborious and meditative

Translucent- Light can pass through paper and porcelain

Work produced in both these mediums can be very delicate and fine

Both can be layered or suspended from the ceiling

Differences

Paper a light material, clay is heavy

Paper is ubiquitous clay required a lot more tools and equipment

Paper can  curl, flop Clay is stiff

Easier to transport paper because it can be rolled or bent clay  cannot be altered when fired and can break in transit

Praying Mantis

 

This is a hybrid between a human and an insect, and also a pun on the word preying because the praying mantis is a predatory insect, though it appears to be praying. This work has several parts to it, which need to be assembled. Like the dragon copter and the octopus sculptures, the parts are not joined.

 

Cloud Number 9

 

Useless Objects

 I created a few objects that have lost their functionality.

Hair on Soap

Slippers with thorns

                                                           Cactus on chair

Cutting Ties

Most of these works are separate parts that need to be assembled / put together making them movable and playful 

Edited Artist Statement

 I am a visual storyteller, and my stories emerge from existing stories I reinterpret, stories I might have overheard in passing, or half-remembered stories from my childhood experiences. Drawing is an important part of my practice. I begin by observing commonplace, everyday objects that are usually overlooked but essential to daily life and drawing them in pen and ink.  These objects are not inherently special or extraordinary, but rather represent the ordinary and routine aspects of existence. These objects represent our time on this planet. Everyday objects will become historical artefacts that reflect our culture, technology, and daily life. Future archaeologists might study these objects to understand our society, just as we analyse artefacts from the past. I document these objects in illustrative forms, resembling 2D drawings rendered in clay. 

I let some of these objects challenge rational thought and carry me to seemingly unconnected realities. I tend to place them in surrealist settings in the spirit of Lautreamont's famous metaphor, "beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella." I take these everyday objects and playfully alter them to generate bizarre juxtapositions that subtly prompt the viewer to question their own eyes or, at the very least, shift perspective. I ask myself, "What if these objects had their own minds? What if they weren't only passive observers but active participants , sentient beings with agency? What if they were given the power to be something more?" I then transform these man-made objects into living, breathing hybrid creatures by fusing parts of them with elements from the natural world. I believe the boundaries that seperate the non-living things and the human realm are porous allowing free movement between the two. Drawing inspiration from stories, proverbs, and idioms, I redeem the object from mundane to extraordinary.