Manumission abandons base and wall to work in the round. A circular, translucent acrylic sheet with inlayed organic fibers disk suspends from the ceiling to holds strands of forms spaced along a cord containing 100+ pieces of porcelain and 200+ small mirrors. Each porcelain piece was formed by tightly constricting the wet clay on different points of my body leaving the impression of that process imbedded in the soft material. These forms suspend from 13 strings in a geometric pattern. Heavier pieces of porcelain are in the middle and smaller pieces towards outer edges. The long strands hang loosely with small round mirrors intermingled along the cords. With glimpses of the viewer’s self-reflection, the mirrors also create beautiful bouncing light and shadows that spill across the floor like dancing shattered fragments. I chose to work with porcelain not only for its white, translucent material quality, but also for its subtle reference in the tradition of the toy doll-making process. Molding this material around my physical body was to explore the physical act of binding, painful constriction and the subsequent elation of that release. It is a direct reference on one level to the catharsis of finally being freed of severe pain of my past health issues and, in a larger way, as a universal symbol of all who struggle and overcome – a process to create something beautiful out of such a painful constricting and ugly process.