Clay is categorically lumpy, unpredictable, and stubborn. Rather than fighting those qualities, they are central to the meaning of the work. The physical irregularities of the sculptures mirror how the artist experiences her own body and mind: not as something smooth or uniform, but as something fluid, shifting, and nonsensical. Multimedia art is often housed inside digitally fabricated structures, a practical choice when working with delicate electronic components. But multimedia art doesn’t have to rely solely on contemporary technology. Ceramics, a technology debuting over 30,000 years ago, offers its own possibilities for transformation and storytelling. Screens embedded in the ceramics distort and reshape the hand-drawn animations they display. They are bodies, imperfect, ever-shifting, and alive.