This series captures the imperfect egg form and translates it from plastic into porcelain. Unlike the original sculptures, which were one-of-a-kind, these are editioned objects — yet each retains its individuality and uniqueness. No longer purely freestanding, the works now include flatter shapes that emerge from the wall like bas-reliefs.
Their distinct personalities come to life through expressive glaze painting. In what becomes a kind of “portrait series,” the sculptures are imbued with a spectrum of emotional states — an attempt to clothe the form in varied painterly identities. While porcelain emphasizes fragility, the glaze introduces a layer of unpredictability. Unlike painting, where the artist maintains visual control until the final brushstroke, the processes of glazing and firing surrender part of that control. The attempt to realize an idea is shaped by the chosen technique — a process that involves both risk and trust. It reflects a conscious willingness to let the material influence the creative process and the final outcome.

This series captures the imperfect egg form and translates it from plastic into porcelain. Unlike the original sculptures, which were one-of-a-kind, these are editioned objects — yet each retains its individuality and uniqueness. No longer purely freestanding, the works now include flatter shapes that emerge from the wall like bas-reliefs.
Their distinct personalities come to life through expressive glaze painting. In what becomes a kind of “portrait series,” the sculptures are imbued with a spectrum of emotional states — an attempt to clothe the form in varied painterly identities. While porcelain emphasizes fragility, the glaze introduces a layer of unpredictability. Unlike painting, where the artist maintains visual control until the final brushstroke, the processes of glazing and firing surrender part of that control. The attempt to realize an idea is shaped by the chosen technique — a process that involves both risk and trust. It reflects a conscious willingness to let the material influence the creative process and the final outcome.

This series captures the imperfect egg form and translates it from plastic into porcelain. Unlike the original sculptures, which were one-of-a-kind, these are editioned objects — yet each retains its individuality and uniqueness. No longer purely freestanding, the works now include flatter shapes that emerge from the wall like bas-reliefs.
Their distinct personalities come to life through expressive glaze painting. In what becomes a kind of “portrait series,” the sculptures are imbued with a spectrum of emotional states — an attempt to clothe the form in varied painterly identities. While porcelain emphasizes fragility, the glaze introduces a layer of unpredictability. Unlike painting, where the artist maintains visual control until the final brushstroke, the processes of glazing and firing surrender part of that control. The attempt to realize an idea is shaped by the chosen technique — a process that involves both risk and trust. It reflects a conscious willingness to let the material influence the creative process and the final outcome.

This series captures the imperfect egg form and translates it from plastic into porcelain. Unlike the original sculptures, which were one-of-a-kind, these are editioned objects — yet each retains its individuality and uniqueness. No longer purely freestanding, the works now include flatter shapes that emerge from the wall like bas-reliefs.
Their distinct personalities come to life through expressive glaze painting. In what becomes a kind of “portrait series,” the sculptures are imbued with a spectrum of emotional states — an attempt to clothe the form in varied painterly identities. While porcelain emphasizes fragility, the glaze introduces a layer of unpredictability. Unlike painting, where the artist maintains visual control until the final brushstroke, the processes of glazing and firing surrender part of that control. The attempt to realize an idea is shaped by the chosen technique — a process that involves both risk and trust. It reflects a conscious willingness to let the material influence the creative process and the final outcome.

This series captures the imperfect egg form and translates it from plastic into porcelain. Unlike the original sculptures, which were one-of-a-kind, these are editioned objects — yet each retains its individuality and uniqueness. No longer purely freestanding, the works now include flatter shapes that emerge from the wall like bas-reliefs.
Their distinct personalities come to life through expressive glaze painting. In what becomes a kind of “portrait series,” the sculptures are imbued with a spectrum of emotional states — an attempt to clothe the form in varied painterly identities. While porcelain emphasizes fragility, the glaze introduces a layer of unpredictability. Unlike painting, where the artist maintains visual control until the final brushstroke, the processes of glazing and firing surrender part of that control. The attempt to realize an idea is shaped by the chosen technique — a process that involves both risk and trust. It reflects a conscious willingness to let the material influence the creative process and the final outcome.

This series captures the imperfect egg form and translates it from plastic into porcelain. Unlike the original sculptures, which were one-of-a-kind, these are editioned objects — yet each retains its individuality and uniqueness. No longer purely freestanding, the works now include flatter shapes that emerge from the wall like bas-reliefs.
Their distinct personalities come to life through expressive glaze painting. In what becomes a kind of “portrait series,” the sculptures are imbued with a spectrum of emotional states — an attempt to clothe the form in varied painterly identities. While porcelain emphasizes fragility, the glaze introduces a layer of unpredictability. Unlike painting, where the artist maintains visual control until the final brushstroke, the processes of glazing and firing surrender part of that control. The attempt to realize an idea is shaped by the chosen technique — a process that involves both risk and trust. It reflects a conscious willingness to let the material influence the creative process and the final outcome.

Printed on silk scarves are images of grimy, worn-out floor rags. This ironic contrast juxtaposition toys with the logic of luxury branding, which sells not mere objects, but emblems of cultural belonging. In such a system, conventional beauty or utility is secondary — it is the iconic markers of the brand that transfigure items into sacred objects of desire, whose value is beyond question. All the hallmarks of premium production are meticulously observed: fine materials, handcrafted details. Aurora Lotton hems each scarf by hand — both complying with the codes of luxury and, at the same time, subverting them by lending each object the intimate, human trace of the artist’s own hand.
This series grew out of her earlier work Gender Rags, continuing the investigation into gendered patterns of communication while introducing new connotations and a new medium. Luxury goods, especially due to their high cost, often serve as bargaining tools or tokens of negotiation in heterosexual relationships — functioning as gifts, but loaded with transactional meaning.

Printed on silk scarves are images of grimy, worn-out floor rags. This ironic contrast juxtaposition toys with the logic of luxury branding, which sells not mere objects, but emblems of cultural belonging. In such a system, conventional beauty or utility is secondary — it is the iconic markers of the brand that transfigure items into sacred objects of desire, whose value is beyond question. All the hallmarks of premium production are meticulously observed: fine materials, handcrafted details. Aurora Lotton hems each scarf by hand — both complying with the codes of luxury and, at the same time, subverting them by lending each object the intimate, human trace of the artist’s own hand.
This series grew out of her earlier work Gender Rags, continuing the investigation into gendered patterns of communication while introducing new connotations and a new medium. Luxury goods, especially due to their high cost, often serve as bargaining tools or tokens of negotiation in heterosexual relationships — functioning as gifts, but loaded with transactional meaning.