Zhu Ohmu’s practice investigates the resurgence of the handmade and the ethics of slowness in an age of mass production and automation whilst exploring the conversation between nature, the artist’s hand and new technologies. 


Working primarily with ceramics, the artist’s coiling technique imitates the machine methods of 3D printing. Built through stacking, folding, and pressing, the vessel is dictated by the weight of moist clay with the form emerging intuitively, pushed to its structural limits. By spending time with the clay through play and observation, insight into plasticity and workability allows the artist to manipulate the material. The artist’s hands are able to build forms that the present-day 3D printer cannot, and this is because humans are capable of the patience, care, and curiosity needed for an intimate relationship with clay. 

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