Through the act of working with clay—a deeply biological process—I explore the boundary between myself and my works: the inanimate "yakimono" (ceramics).

My handiwork is an extension of my own body, but once a piece leaves the kiln, it becomes an independent entity, existing in a different time from my own. I feel a deep sense of longing for, and find solace in, that rigid, quiet stillness that never demands to be "alive."

For me, creating is a ritual of dialogue between the burdened, living self and the silent, inanimate work. These pieces are mirrors that reflect me, and at the same time, they are the quiet friends who share my solitude. I am fascinated by the unique nature of ceramics—how they emerge from the kiln with unexpected transformations that are both beautiful and playful.

Within this practice, my Neriage-Ceramics(marbling) technique serves as a visualization of randomness. By layering and folding clay, I invite chance to intervene in the process. The resulting curves and patterns are not merely designs; they are the physical manifestation of uncontrollable moments, frozen forever in the clay.

I stand at this threshold between the "living me" and the "lifeless them," aiming to articulate the absolute beauty and fascination that exists only in that space between us.