In line with Callaghan’s practice, these microstructures, while appearing to be constructed according to an analogous geometrical ratio, are in fact unique. Each piece was created through practice-led research and possesses sui generis qualities. This tension between likeness and diversity challenges the viewer’s ability to categorize the forms. This cognitive procedure intertwines with the warm materiality of the clay, its and the chalky white residue aesthetic left after their firing. questions the origins of the object. Kevin's aim for these series of objects and their processes of subjective engagement are to push our current experience towards new possibilities – towards as-yet unappreciated realities.