"Human" is not a subject to be depicted but a metaphorical charge animating my practice—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. Clay offers responsive materiality for this inquiry; it records touch, hesitation, and force, becoming both material and epistemology—a medium that enacts narrative through form and content. Each vessel 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. Through the tactile, chromatic registers of the work, my practice engages with the fractures that shape subjectivity, tracing the persistent legacies of colonial violence. The labour of shaping becomes a method of reckoning with inherited dissonance and historical ruptures. 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 refusal of simplification. My practice is a recorded testimony to resilience that does not announce itself. Each act of making holds space for cultural identities denied normativity, uncovering the strata of self and other, and in so doing, gestures toward what I consider the most profound testament of human existence.