Let

                       approaches form as something that occurs rather than something that is decided. The works unfold through gravity, material response, and duration, allowing outcomes to emerge without compositional assertion. Authorship is deliberately partial. What emerges is not composed, but received.

The series draws attention to processes that precede intention. Form unfolds through settling, collapse, and imbalance, holding traces of moments where direction gives way to inevitability. Chance is not understood as randomness, but as a mode of organization that resists prediction while remaining coherent. These marks are not deviations, but evidence of encounter between matter and condition.

Ceramic functions here as a sensitive register of pressure and release. Deformation, tension, and subtle irregularities are not corrected or concealed, but allowed to remain as traces of encounter. These marks do not signify error. They attest to a negotiation between will and matter, where meaning arises through submission as much as through mastery.

Let aligns itself with processes that unfold beyond intention. Settling, compression, and gradual transformation shape form through necessity rather than expression. Calm emerges incidentally, arising from the absence of authorship. By allowing form to surface through material conditions alone, the series creates a space where outcomes are encountered rather than produced.

Within Siika's practice, Let occupies a position of restraint. Rather than stepping away from social inquiry, it presses inward, toward the threshold where agency becomes uncertain. The works dwell on moments where intention loses traction and outcome can no longer be steered. Coherence emerges not through adjustment or correction, but through yielding to conditions already in motion.

Let proposes surrender not as retreat, but as attentiveness. By relinquishing compositional authority, the works foreground patience over direction and listening over assertion. The series suggests that coherence, calm, and structure may arise not through intervention, but through allowing what is already at work to reveal its form.

[Hadbuilt porcelain, engobes, glaze, lustres. Size varies, about 30...40 x 20...30 x 15...20 cm. 1200 °C, oxygen.]

Engobe 2500 €, pearl lustre 5000 €, Au lustre 7500 €, Pt lustre 10000 €, Plain porcelain 15000 € ( + tax 10 %). Edition: 10 + 2 AP per variant.