Appearances and first impressions are deceiving. My figurines represent the twisted world where everything on the surface appears to be perfect, but there are skeletons in everyone's closet.

Pottery is a kind of craft which requires retentive training. The only way to achieve each technique is to practice in repetition till the skill has been absorbed into the hands and body of the practitioner. The most obvious problematic achievement in pottery skill is ‘wheel throwing’ technique. With the long history in straight forward training, one needs to free the mind and allow oneself be a ‘copy machine’ in order to learn the technique properly. The paradox of traditional practice of having mastered the skill, but could not break through, is one of typical obstruction to many crafters. ‘Flood’ as theme for investigation in clay was an attempt to set up a method in order to find the ‘breaking through’ in term of ‘thinking’ and ‘making’ for traditional pottery practitioner to be relevant in the pace of contemporary surrounding. The investigation was planned to de‐familiarize my perception over my tradition and practice, and it was an eye‐opening to how I positioned myself personally and professionally to the discipline, the society and the world.