Hieronymus Bosch’s The Garden of Earthly Delights is a masterpiece of storytelling through structure. This ceramic work takes the DNA of Bosch’s triptych, and the obsession with the number three, and pulls it into a secular, three-dimensional space.

For me, the beginning, middle, and end is not just the parts to a story but a physical assembly. My first piece reimagines the surreal pink towers of Bosch’s Eden panel as a three-part ceramic puzzle. Each segment relies on the one below it, moving from a grounded, leaf-like base to a sharp, soaring apex.

The second piece pivots to the Hell panel, focusing on the grotesque beauty of its humanoid figures. Here, I explored the complexity of double-walled vessels to form a body, head, and hat. I used slip-work to unify these sections together with organic, vein-like lines, ensuring that even though the sculpture is fragmented into three parts, it pulses with a single, balanced energy.