Borella (2024) takes its name from a cemetery in Colombo, Sri Lanka, continuing Jaeger’s subtle engagement with sites of remembrance. A compact ceramic vessel—its surface mottled and weathered—rests on elongated blackened steel legs that lift it into a quiet, almost architectural poise. From its earthen body rise a sparse cluster of dark, stylized flowers, their forms restrained and upright, suspended between bloom and stillness.

The work balances fragility and monumentality. Elevated yet modest in scale, it recalls a memorial structure distilled to its essential elements. In Borella, Jaeger reflects on containment and commemoration, suggesting that beneath the formal language of tribute lies a quieter meditation on endurance, vulnerability, and the persistence of life in spaces shaped by loss.