When the outer world denies personal struggle, it leaves a silent space to absorb suffering inwards; in my past experience in ballet, this has been through body dysmorphia. The 4-foot tall coil pot is sculpted with curves and left intentionally unblended to distort the projection of me dancing. I pushed the medium to its limits on the brink of cracking, as dancers push our bodies, and this project pushed me to display my body with a total front/back view. The pot is spray-painted white: I still recall my first time buying stage makeup, the saleswoman advising me “ballerinas just have to be white.” It rotates on a pottery wheel, as I wanted to make the vase spin for the audience. The mechanistic process of extruding coils informed my repetitive choreography, a simple barre piece, as body dysmorphia starts from the basics.