The physical touch involved in the ceramic process not only emphasizes the marks made to reference the literal act of touching, but also the vulnerability and potential of the material itself. Ceramic fragments and frames contain images and actions: fingerprints preserved and highlighted with glaze, photographic ceramic-decals of my body, as well as adorned shards and cracks of ceramic pieces that highlight the fragility of the ceramic process and specific details of photographs. Fabricated pedestals also contain digital iterations of touch scanned from my own fingers and body. These pedestals support ceramic objects (which I refer to as viewfinders), photographic images, and/or reflective surfaces that direct the viewer’s experience of the other objects and images within an installation. The navigation of the exhibition space is like a dance, wherein the viewer can choose how and what they interact with— this physical exploration elicits a more queered nuance and consideration of the intentionality of the space, objects, and viewer.
— Anthony Kascak