If function is removed from the vessel, can the remaining form speak as sculpture in its own right?
Shambhala begins with the ceramic vessel, a form traditionally shaped by use, and gradually removes function to examine the moment when the object becomes a presence in itself.
Opening, body, surface and balance are no longer conditions for utility, but sculptural relationships. The work is less concerned with what a vessel contains than with how it stands, holds tension and produces sensation through form.