This sculpture explores the immense societal pressure placed on women regarding their bodies—an expectation so pervasive that it becomes internalized. Over time, we begin to scrutinize ourselves, wishing certain parts were different or didn’t exist at all.

Referencing traditional fertility goddess statues, the piece carries a visceral, almost unsettling quality. It embodies the duality of the female form: revered as sacred, a vessel for life, and a symbol of fertility, yet simultaneously deemed excessive, unattractive, and in need of reduction by contemporary beauty standards.

The sculpture features cuts near its most abundant forms, symbolizing the pressure to conform—manifesting, for many, in aesthetic surgery. These cuts are accentuated with gold foil, subtly drawing the viewer’s attention. Looking closer, one can see that the removed fragments remain inside the hollow structure, gilded with gold as well. This represents the tragic irony: in our pursuit of acceptance, we have discarded the most beautiful parts of ourselves, only to keep them hidden within.

The gold detailing is a nod to kintsugi, the Japanese art of repairing broken pottery with gold, reinforcing the idea that imperfection is not just acceptable but inherently beautiful. Finally, the interplay of black and white glaze, merging fluidly, speaks to inclusivity—this struggle transcends race, affecting all women regardless of skin colour.

Stoneware and gold leaf, 40x25x20 cm, 2025