When I was a child, my mother had a ceramic water jug that sat on our kitchen table, accompanying us during every meal time. As years passed and various milestones were reached, from birthdays, to funerals, to the eventual separation of my parents, it remained an unwavering constant. Sitting at the dining table, often my thoughts would wander, trying to imagine the hands that crafted the jug and understand the meticulous process behind its making.

For centuries, we have filled and adorned our surroundings with utensils and objects, becoming familiar fixtures in our daily routines, nestled in our most intimate spaces. Yet, in an age of excess, it is seldom that we pause to appreciate, acknowledge, or understand the craftsmanship and effort invested in their creation. Throughout this project I wanted to explore if an object can be crafted to transcend the intangible boundary between ceramic pieces and processes that made them.

Through appreciation of the work by photographer Alastair Philip Wiper in his series Inside Adidas, I wanted to understand how one can evoke understanding of craft through simple visuals. For technical information the work of Florian Gadsby, a ceramic artist that meticulously documents his work through video, was useful to inform my own making process. I wanted to delve deep into the intricacies of ceramic craftsmanship, so I conducted research through reading The workshop guide to ceramics (2012) and I engaged and worked with professionals to understand diverse ceramic-making techniques, ranging from hand building and wheel throwing to slip casting. I used hands-on experimentation, which allowed me to appreciate the subtleties of the craft first hand and most importantly, it enabled me to confidently remake the jug that once sat on our kitchen table. Simultaneously, I documented the process of its creation by using the clay itself. The clay was used as a medium to print all the ways in which our hands touch the clay while making it, from wedging to sealing to centring. Experimentation was necessary so the prints were as clear as possible, from paper testing to clay/water consistency testing. Once I was happy with the printing process, I create a booked of clay prints to sit alongside the jug.

I appreciate that borders and boundaries are often ephemeral - they do not have to exist physically but are ultimately successful in separating two states of existence. This project endeavours to break the discrete boundary that appears to isolate ceramic objects and their process of creation. The very nature of the making of ceramics addresses the idea of multiples, repetition, and seriality as it is a multifaceted practice, involving various processes, techniques and iterations. I showcase this seriality through revealing the craftsmanship involved in this artistry.