As the collection Plastic evolved, another image returned to me: large ceramic pieces being transported in simple wooden crates across Asia.
Once again, I was drawn to the beauty in the overlooked—the fleeting moment when these precious objects are in transit, cradled and caged within unintentionally poetic frames.

I envisioned each bottle housed in its own custom-made wooden crate, designed to fit perfectly without the need for padding or support. But instead of cheap, temporary wood, I used noble materials—walnut, oak, black palmira—meticulously crafted to envelop the bottle with precision and care.

These crates are not meant to be opened. The only way to reach the bottle inside is by breaking them—an act that destroys the very structure meant to protect and frame the piece.

Yet the crate does more than frame the object; it strips the bottle of its function. Much like what happens when we place everyday utilitarian items in a museum—their purpose is removed, and they are redefined as objects of contemplation.

That memory came back at just the right moment, completing the vision for Ode to Plastic.