Material Memory

My practice is a meditation on labour; its histories, its intimacies, and its erasures. I use ceramics, drawing, found objects, and installation to surface the quiet, often invisible work that underpins cultural memory. Rooted in a Black feminist perspective, my work engages with the politics of the domestic, where beauty and burden frequently coexist. Ceramics are central to my practice; not only through shaping and molding clay, but also through the use of found ceramic objects. I work with materials that hold memory: vintage plates, mass-produced forms, and slip-cast elements become carriers of cultural history and symbolic meaning. By intervening on their surfaces or altering their context, I treat ceramics as both artifact and medium, layering contemporary narratives onto historically charged objects. The curly line recurs throughout the work, both as a mark of beauty and a disruption of order. It is at once a formal gesture and a conceptual device, referencing Afro-textured hair, the aesthetics of the archive, and the fragility of what is remembered. I work intuitively, but my materials are never neutral. Each object carries a story, often buried or overlooked, that I try to reframe through attention and care. Through form and material, I explore how identities are shaped and understood.