Urban and industrial remnants costantly recur in the work. Their incorporation becomes a tool to investigate on their ambiguous status, circulation and alternative possibilities to diminish the impact of the industry.
At the core of her practice lies an interest in daily repeated gestures and in process as a form of knowledge. This extends beyond objects into the design of shared workspaces. They are intendend as environments that support exchange and collaboration.
The project began with a gesture of preservation of form, material, and process. The focus shifted to reinterpreting the traditional hama, the porcelain props used to avoid cracking and helping the shrinking. The large majority of objects made in porcelain are fired on a hama, that is daily tossed away after one use.
A large quantity of hama was once produced in Arita, Japan. Following the retirement of a local Hama maker, the Saga Potters Association acquired his moulds to support continuity among regional kilns. Through this initiative, the project gained access to communal moulds—offering a foundation rooted in the region’s ceramic heritage.
Among a vast and largely undocumented variety, the moulds selected were those used by the recently assigned Arita kiln, Housem. Renting these moulds eliminated the need for new forms, ensuring alignment with shapes already integrated in local kiln practices.
In its early phase, we produced over 200 Hamas in three sizes, using a jiggering machine typically reserved for mass production. With the support of Eguchi-san from the Saga Research Laboratory, this system was adapted to suit a more exploratory context. The Hamas were kept leather-hard for several weeks—paused in transition—while the next design phase unfolded.
Further development required an understanding of porcelain variation and its subtle shifts during drying and firing. Theproject drew from the expertise of master mould maker Mr. Yamaguchi.
Parallel to the form-making, the project investigated the archival potential of colour—specifically the pink hue of bisque porcelain. Using nerikomi techniques, pigments were blended into the porcelain body, with extensive testing to determine the ideal ratios reproducing the pale pinky shade of the bisqued porcelain. Under the guidance of Masami Kuwabata, three porcelain grades were mixed, tested, and refined. Over time, the process established its own rhythm—of timing, thickness, and drying—repeated across multiple forms.
The outcomes were presented in a Tashiro Japanese-Western house in Arita,a symbolic hybrid site combining harmoniously and sharing a blend of cultures. Displayed on traditional green crates used for porcelain transport, the pieces reflected a continuous dialogue between tradition and its reinterpretation.