Medium: Unglazed Porcelain I Size: Variable I Year: 2021 to ongoing
In this series, I transform barbed wire—a material sign of borders, exclusion, surveillance, and state control—into fragile porcelain forms. From afar, it appears as Scribbles on a board, braille for the visually impaired, and ocean waves. But in reality, it appears at national borders, prisons, detention centres, military zones, private properties, refugee camps, and sites of occupation. It marks who may enter and who must remain outside; who belongs and who is rendered illegal, threatening, or unwanted. For me, this material transformation is a form of resistance. In this sense, porcelain is not a neutral material. It carries histories of extraction, colonial commerce, and aristocratic taste. By transforming the object, the work reverses the logic of power: the border, which pretends to be permanent and unbreakable, is revealed as something brittle, constructed, and historically produced.