A form resembling the female body, built from white kaolin. Over time — months, years — copper dust applied to the surface oxidises, gradually darkening, covering the white beneath. The work changes as it ages: what began pale and ceramic is becoming iron.

The Iron Maiden is not a torture device here but a second skin — the armour women construct for protection that becomes, over time, its own constraint. The material enacts the subject: a surface that started open, slowly covered.

A flower exists in this work twice — once as form, once as shadow. The shadow is not incidental: it is the preserved memory of the initial mark, the trace of a structure that subsequent layers have covered but not erased.

The title carries both meanings simultaneously: the physical relief of a textured surface, and the emotional relief of allowing form to simplify, to breathe, to exist at the edge of legibility.

Being in love makes the world abundant. Seeping Love does not depict that state — it enacts it. Layers of acrylic, charcoal and oil sticks build a surface that refuses containment, shapes sliding towards the edge of the paper, colour seeping through every boundary.

The work is not falling apart. It is overflowing.