Isola San Michele (2024) takes its title from the island cemetery in Venice, a place where architecture, water, and remembrance converge. A compact ceramic vessel rests atop slender blackened steel legs, elevating it into a poised, almost architectural presence. From its surface rise dark, attenuated flower forms—spare and upright—interrupted by a single bronze bloom that quietly distinguishes itself from the others.

The subtle introduction of bronze suggests both preservation and transformation, as if one form has shifted from organic matter into something enduring. Balanced between monument and offering, the work reflects on fragility, commemoration, and the tension between ephemerality and permanence. In its restrained composition, Isola San Michele proposes remembrance not as spectacle, but as a measured and intimate gesture.