These objects were not created by me; they were found. In Jingdezhen, China, historically renowned for porcelain production, I encountered an abandoned factory mid-demolition. Within the rubble, I identified a series of unusual forms that could not be classified by anyone present around.
I collected these objects without a clear objective,
guided only by the intuition that they required further study. Initially, I intended to produce work from them. Over time, however, it became clear that the objects themselves prompted the intervention.
Unable to identify their origin or function, I approached them through the lens of contemporary archaeology. They presented as fossil-like artifacts, demanding investigation through material analysis, X-ray imaging, and contextual research. This process was guided by the working hypothesis: the forms, their material presence, and their spatial arrangement might inherently encode narratives waiting to be interpreted.