There is a particular way that makers look at things.
A ceramic vessel not simply an object, but a collection of decisions: the grain of the clay, the weight of its walls, the curve of its body and the finishing of its lip. A flower is not simply placed into an arrangement, but observed for the way it naturally bends, falls and occupies space.
For Amelia of @amo.world, this way of seeing began in architecture school.
Ceramics was initially a side pursuit - a way of returning to the shapes and physical process of making that she had always loved. Floristry came later, almost by accident. After leaving her full-time architecture job, she found herself working a temporary job with flowers and discovered that arranging them felt unexpectedly familiar.
“Floral arrangement is actually uncannily similar to my sculpture practice, but in a different medium.”
Today, her practice moves between ceramics and floristry, two disciplines that ask her to pay close attention to material, form and the peculiarities of the things in front of her.
