In this show, many of those initial marks reappeared as variations on a single motif: the vessel. I am drawn to the vessel as an archetypal figure, but also as a container—both physical and symbolic—of the residual, the liquid, the formless. Ceramics, through its link with the body, with clay and digestion, appears here as an ancestral technology that simultaneously models interiority and exteriority. It is in that fold—between what contains and what is contained, between what remains and what passes—that the heart of this exhibition resides.

The works materialize a movement from the unconscious to form. Some are self-contained, others interlinked: the excess of one becomes the content of another, as if together they composed a chain of transfer and resonance. Though each piece is singular, all respond to a common impulse: to translate the vibration of intimacy—what cannot be easily said—into visible matter. Rather than representing an idea, they embody a sensation.

This exhibition is also an essay on the fragility of boundaries: between art and life, between the conscious and the dreamlike, the external and the internal. I am interested in art as a space where darkness can find meaning, where impulses and free associations need no logical justification. In this sense, imagination emerges not as escape, but as a form of active meditation: a space where things—like in dreams—touch and transform each other.

Personal Objects is a material drift of a way of thinking. More than an exhibition, it reveals how intimacy—when allowed to be affected—can generate shared forms. It is a testament that even in what is most private, something collective is always at play: what moves us, what we remember, what sustains us.