Ritualistic eating is a showcase of primitive form and daily habit.

Diners, alike puppets who exercise a lack of control, accept

pleasantries as morally guided but desire an escape from the

mundane procession of a formal dinner. Surrounded by displays

of roast animals, extravagant floral arrangements, silver and

crystal abound. Drawing inspiration from vintage pin-up

aesthetics and period films, these raised porcelain platters are

designed to be used at heavily ornate and formal dinner

occasions in Northern European or Edwardian settings. The dolllike

form is inspired by idealism and perfection while exercising an

element of fantasy. The works stand trophy-like as if to be

handheld, and when part of a table setting, are characterisations

of the female form.

To eat is to honour the body. These works are a testament to

eating as a unification of body and soul. Its legs are symbolic to

invert the ways dining pedestals formality and civil behaviours.

Attributing humour to the idea of primitivity, their glazes are

starkly contrasted in tone and texture, meant to embody the

binary notions of good and evil; light and dark; heaven and hell.

Exploring the notions of animism in ceramics, each piece stipulates

an erring of food consumption from the nature of living. The idea

is that food, like many other aspects of consumption, is becoming

increasingly visual and lacking quality. Thus, diners receive this work

as peculiar but intuitive, a recognisable image that praises dining

rituals as emotional, morally charged, disciplinary, and purely

human.