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Three small scenes in which garlands, seeds, and a dodo rehearse the moment before something goes wrong.
Ceramic bodies and faint smells turn each trap-like structure into a stage for almost-accidents, where vulnerability never fully resolves into damage.
In Bait of the Unsaid, five ceramic trap-forms hold objects that seem unrelated—garlands, seeds, a hand-sculpted dodo bone, a small toy—each carrying a quiet trace of a world outside the trap.
These structures never function as traps; instead, they behave like stages for near-events. The objects rest in that suspended instant before meaning hardens, before harm becomes harm.
The series thinks through how cultural symbols, extinct animals, devotional gestures, and children’s toys drift across time and circulation, losing the narratives that once defined them.
Ceramic bodies and faint smells sharpen the sense of “almost,” turning each scene into a rehearsal of vulnerability without resolution.
What remains is a set of misaligned encounters—small attempts at connection that never fully declare their purpose, yet refuse to disappear.
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