I make site-responsive sculptures of potential breakage, using fired ceramic as a primary material in precarious installations which threaten to crash, fall, and push against institutional signs and signifiers of surveillance, caution, and control. Ceramic vessels, drawing from ancient to contemporary forms, serve as allegorical devices loosely narrating trans and queer roadways across the US, navigating expanding obstacles of systemic bureaucratic exclusion. The installations produce a grammar of materials, tools, and artifacts of survival, of pleasure, and refusal, alluding to humorous subtexts, double meanings, and coded languages. I practice bad craft as a method of mark-making, constructing fragile vessels with visible cracks to prioritize and value the rips, fissures, and evidence of action– an archive of the materials’ transition and transformation from clay to ceramic.