In this body of work, I’ve been exploring how to capture the fluidity of fiber arts and natural forms—like the folds of leaves or the way water moves—within the rigid structure of fired clay. The rope-like coils and twisting rhythms give the feeling of both unraveling and holding together at the same time, blurring the line between movement and stillness.
That balance between structure and spontaneity is something I’m always drawn to in my work. I like letting each piece take shape organically while still keeping a sense of order. It’s all about that push and pull, where contrast and transformation brings everything to life.
Each piece is made from white stoneware clay and handbuilt using a unique, repetitive process. Stoneware is a high-fire clay, making it more durable and able to retain its shape during the intense heat of the kiln.
To create the vessels, I begin by preparing a large slab of clay—a flat, pancake-like sheet. Using a thin knife, I cut precise strips and hand-roll each one to form the rope-like elements seen on the surface of the vessels. These ropes are then carefully layered to build each form, resulting in subtle, rhythmic textures.
Finished with a clear matte glaze, the surface is smooth and buttery to the touch—soft and tactile, yet visually striking.
Photo Credit: Matteo Bellomo,
Press: www.archiscene.net/interview/zeynep-arolat-omnia-alcova/
https://www.stirpad.com/news/stir-news/omnia-sports-braided-clay-forms-and-living-mycelium-grids-at-alcova-in-milan/