A sculptural-architectural methodology informs my ceramic practice, placing emphasis on material performance and embodied engagement. Clay operates not only as a medium but as a mode of inquiry, allowing ideas to emerge through touch, resistance and transformation. The work draws on the Renaissance tradition of bozzetti, where preparatory clay models become sites for exploring figuration and mass through intuitive, hands-on processes.

Each piece unfolds through a physical dialogue between body and material. The clay is pressed, scored and reshaped in response to momentary impulses, with every indentation being a recording of gesture. These forms sometimes hover between the anatomical, the architectural and the sculptural, inviting interpretation.

Colour plays a central role in this through experimental glazing techniques that embrace the unpredictability of the kiln. Multiple firings, layered slips and unconventional additives produce surfaces that are textured, visceral and chromatically rich. These glazes are not decorative but integral to the sculptural language, extending the tactile qualities of the clay into a polychromatic register.

These ceramic works often serve as prompts for further digital and spatial investigations. Scanned and reassembled in virtual environments, they inform architectural drawings and immersive models that reimagine the role of the body in design. Whether glazed or raw, fired or unfired, these ceramics are active participants in a broader design process that operate at the intersection of sculpture and architecture, the manual and the digital, and the historical and the contemporary.