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该项目的概念来源于3D陶瓷打印技术的普及。设计师基于仿生学，以徒手的形式复制了3D打印机的做法，将一个个圈状结构堆叠起来。通过堆积、折叠、挤压和推拉等常见于湿黏土的塑造方式，形态各异的容器被制作出来。这些容器的外观随着制作方式的变化呈现出起伏不定的状态，几乎被推向结构的极限。与机器不同的是，设计师能够觉察到黏土在不同的环境条件下所产生的极其细微的变化。只有对材料的物理性质进行不断的实验和观察，才能够获得这种对于可塑性和可操作性的感知能力。在没有固件和机器加工的情况下，任何两个容器都不可能完全一样。该作品在自动化普及的时代背景下强调了艺术家的手工之美。

The initial concept for this body of work was a response to the rise in popularity of 3D printed ceramics. Corresponding to biomimetics – the imitation of models or systems of nature, I wanted to see how forms would turn out if I copied the way the 3D printer mound coils on top of each other with my hands. Vessels are built through stacking, folding, pressing, pulling and these actions are often dictated by the weight of moist clay. Forms emerge intuitively and seem to ebb and flow in the manner in which they are made, often pushed to their structural limits. Unlike the machine, I am able to detect the slightest change in the properties of the clay body under different environmental conditions. This insight into plasticity and workability, which can only be obtained by spending time with the physical matter through play and observation, allows me to work with and manipulate the material. In the absence of firmware or a mechanical process, no two vessels can be the same- this project is a celebration of the artist’s hand in the age of automation.

在设计师没有经过专业制陶技术培训的情况下，这些自行制作的圈状结构在塑形、烘干烧制的过程中常常会出现破损和扭曲的情况。这一不可预料的情形为作品赋予了额外的“侘寂”之美，一种对于无常与不完整性的接纳与赞赏。经过进一步的研究之后，设计师更在作品中融合了“金繕”的概念，即用金漆对破损的瓷器进行修补。与作品名称所表达的含义相同：植物替代了金漆，起到了填补和修饰裂纹的作用，使作品最终成为一个能够成长的生物体。事物的缺陷在此没有被刻意隐藏，而是得到了强调和美化，为“可见的修复痕迹”赋予了可持续性。如此一来，原本不完美的事物获得了意料之外的美感。

Without formal training in ceramics, the self-formulated coiling technique often leads to breakage and misconstruction during the building, drying and firing stages. This unforeseen circumstance thus incited the project to embrace the Japanese philosophy of wabi-sabi – the acceptance of transience and imperfection. Further research inspired the project to adopt the practice of kintsukuroi (金繕い) – the art of mending broken pottery with gold lacquer. As the name of the project suggests, plant life is used instead to fill and embellish the cracks; subsequently the works becomes living organisms and will grow and evolve for years to come. Failures are not concealed but rather highlighted and aestheticised, embodying the sustainability of ‘visible repair’. Seemingly unremarkable imperfections are reexamined with a new and unexpected appreciation.

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