“Human” is not a subject to be depicted but a metaphorical charge that animates the entire field of my practice. It is not a stable essence but a condition, fragmented, inherited, and in motion. My work in ceramics attends to this condition by interrogating the ways in which intersectional identity is lived and felt, shaped through the convergence of race, gender, displacement, and cultural memory. In the expressive tactility of clay, I find not only material but epistemology, a medium that does not simply carry narrative, but enacts it through its form and content. The vessel, for me, becomes a site of inscription, where the dialectic of presence and absence, rupture and repair, speaks to the afterlives of migration and the psychic weathering of diasporic life. Form, texture, and colour operate not as embellishment, but as intensities, drawing the viewer into contact with unresolved inheritances, with the quiet unrest of subjectivities shaped within the long shadow of colonial modernity. The work demands attentiveness over legibility. It resists closure, not to obscure meaning, but to keep open the conditions under which meaning emerges. To work in a decolonial mode is not to assert identity as a fixed display, but to hold space for its complexity, vulnerability, and its refusal of simplification. My practice is a recorded testimony to resilience that does not announce itself. At its most intimate level, it is a gesture toward connection: an ethics of attention, humanity, and a belief that the layered act of perceiving one another is itself a form of care.