The work references Ai Weiwei's Dropping a Han Dynasty Urn (1995), but shifts the focus from destruction to the possibility of repair. A ceramic piece is deliberately thrown to the ground and subsequently reassembled using the Japanese Kintsugi technique. The immediate and radical act of destruction is thus contrasted with a slow, meticulous process of restoration. The fractures are not concealed, but rather made visible through golden joints.

The work also draws on my experience of growing up on a farm where tools and objects were repaired and reused across generations. Not least for economic reasons, damaged items were not simply replaced. With each repair, traces of use remained, and with each generation, the objects gained a history.

In a consumer society where replacement is often cheaper and more economically attractive than repair, the work presents a different perspective on this principle. Even severely damaged objects can continue to exist. The breakage does not necessarily end an object's history. Rather, through repair, it becomes a visible part of its story.