From Under the Sea began with thoughts about marine pollution, crude oil spills, and the industrial plans that increasingly shape the ocean. I was interested in a seascape formed by more than marine life alone: one in which human structures, released substances, and living organisms continually meet and alter one another.

The three works explore this encounter through ceramic forms that seem to flow, attach, divide, or grow beyond a stable outline. In Spillage, a dark form spreads outward, its coarse surface meeting areas of iridescent lustre. It holds the gesture of a spill after movement has stopped. The sheen attracts the eye, making the surface difficult to judge by appearance alone. Twinning places a pale and a dark form in an unequal relationship, connected by a visible chain. In Parasoma, the chain links forms that suggest bodily remnants or unfamiliar marine organisms. Connection may allow them to endure together, but it also carries weight and restraint.

Through clay, metal, oxides, lustre, and chain, I explore mutation as a material process and a visual uncertainty. A form can appear to be growing or deteriorating; an attachment can suggest symbiosis or dependence. These distinctions are difficult to hold steady in a sea shaped jointly by industrial activity and living things.

The series imagines what may emerge from that shared, altered environment. Its unfamiliar forms ask how we recognise life, damage, and survival when each can leave traces on the same body.