Mare Fecunditatis is a cycle of six vessels developed under the distant pressure of Mishima’s The Sea of Fertility. In carbonized ceramic and steel, the work takes carbon, not simply as matter, but as residue: an index of combustion, memory, and historical exhaustion. Ancient funerary typologies are subjected to measured technological incursions, producing forms suspended between relic and instrument, sepulchral object and engineered artifact. What emerges is not a narrative of collapse, but a condition of persistence within collapse—where beauty, violence, and transmigration remain bound to the same material destiny.
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We Will Design 2026 — HELLO, DARKNESS embraces design as a tool for subverting hierarchies and weaving together ecologies and technologies to imagine the cities and societies of the future.
It is an invitation to recognize the abyss — political, ecological, aesthetic — we’re living in, not as a place of fear, but as a space of regeneration, resistance, and imagination. Darkness here is not absence, but a fertile condition that embraces invisible gestures, marginalized knowledge, and luminous forms of resistance.