Where Table Ends, 2025
Site-Specific Installation at Hotel des Trois Couronnes in Vevey. Part of Sobremesa Food Culture Days.
In Egypt, a mold maker designed an unusual object meant for a banquet that never took place. It embodied intimacy and shared experience, too subversive for those in power. The molds were ordered destroyed. The object, never to be cast.
Years later, in the skeletal remains of a colonial-era ceramics factory, an artist discovered a mold unlike any she’d seen. While researching the overlooked work of a mid-century sculptor rumored to have buried his pieces to shield them from political censorship. She recalled a story her mother once told: of five sets of fine china hidden in a rain barrel during a fire, submerged to protect their fragility. But rumors persisted. Some say the mold maker cast a single version and submerged it by flood or by will. That act of care, urgency, and improvisation resurfaced like a map.
These forms, once made for mass production and repetition, now serve as vessels of rupture and repair. They speak of preservation not only as care, but as resistance. They ask: What do we save when the world burns? What do we submerge when we cannot carry everything with us? Where does the table ends.
