Through the ancestral logic of the ziggurat — the stepped, axial and ritual structure — ceramics rise as a bridge between earth and transcendence. This tiered organization, grounded in the idea of contained ascension and stratified construction, transforms the pieces into structures of permanence.

Each sculpture stands as an autonomous construction, simultaneously monument and repository. They are geometries of containment that evoke structures built in an arid and timeless landscape, arks intended to safeguard something — archives of memory and knowledge — that endure time and oblivion.

Constructed as fortress-shields, the wall panels combine the cold reflection of metal with the tactile matter of clay — a brutalist language defined by joints and reliefs. This defensive monumentality is translated into authorial design and into the scale of habitable space.

Protrusions, ridges, and rigid surfaces suggest ancient mechanisms and systems of defence. The sandy surfaces recall erosions and traces of imagined civilizations. The earthen tones, ranging from neutrals to terracottas and deep greens, reinforce this ancestral weight.