Ceramics are traditionally joined while the clay is still wet, but this piece adopts a ball-joint structure commonly used in plastic 3D printing. Each ceramic vertebra is individually connected, allowing movement between segments. Placed on the floor, the vertebrae appear to wriggle and squirm, suggesting a body in motion—yet no full form is present, only the suggestion of one.

This work responds to discussions on gender and performativity. Judith Butler argues that gender is not an inherent trait but a repeated performance shaped by societal norms. By creating a body that exists only as a skeletal structure—devoid of flesh, absent of markers that typically signify gender—the piece resists categorization. It challenges the notion that gender is tied to physical form, instead presenting a structure that could belong to any body, or to none at all.