Me, my body, my self worth. With this piece I want to celebrate the parts of myself I once hid or discarded—those I believed were too ugly, unworthy, or unacceptable in the eyes of others. But my imperfection and my scars are what makes me beautifully unique. I am unapologetically me. 

More in general, this sculpture explores the societal pressure placed on women. Referencing traditional fertility goddess statues, the piece carries a visceral quality that embodies the duality of the female form: revered as sacred, yet simultaneously deemed excessive and in need of reduction by contemporary beauty standards. 

Under this pressure to conform, too many women feel forced to hide and discard parts of themselves, cutting and scarring their bodies and identities through surgery, by changing behaviour, by hiding their needs and desires. This is represented by cuts near the sculpture's most abundant forms. In contrast, both cuts and forms are celebrated and highlighted with gold, a reference to kintsugi and a reminder that imperfection is not just acceptable but inherently beautiful. Similarly, what was cut away remains inside the hollow structure, gilded with gold as well. Finally, the interplay of black and white glaze speaks to inclusivity: this struggle affects all women regardless of skin colour.

Stoneware and gold leaf, 40x25x20 cm, 2025