Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

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  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

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  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Found Ming Dynasty Saggar and Porcelain. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
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  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Jindezhen Porcelain with Glaze. 2017 - on going  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
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  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.
  Saggar | Form Series , Digital Print, Ming Dynasty Form overlaid in cast form. 2019  Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019

Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.

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