Bones of Stone & Veins of Gold

Bones of Stone and Veins of Gold 2025 Ceramic, glaze, lustre, resin and gold leaf.Bones of Stone and Veins of Gold transforms the chessboard - a site of calculated conflict - into a theatre for the uncanny and the inevitable. Poised between myth and menace, each piece merges the regal and the surreal; queens are crowned in gold, kings masked in skulls, bishops cloaked as witches, and unicorn knightsstand tall. The board itself has been deliberately broken and repaired using the traditional Japanese technique of kintsugi, where cracks are mended with gold rather than concealed. These gilded fissures mark damage, survival, and transformation, echoing the work's meditation on mortality. kintsugi refuses erasure; instead, it honours fracture as history is made visible. The battlefield is no longer pristine. Itsscars are integral, luminous, and permanent. Within this fractured yet mended arena, every move becomes an act of acknowledgement rather than conquest. Checkmate reads not as triumph, but as aquiet, elegant surrender to time, decay and the inevitable Working through ceramics, sculpture and installation, Camilla uses a dichotomy of beauty and horror to explore a more honest portrayal of the human condition. She frequently employs humour to tackle taboo topics concerning women and their sexuality, often pushing the boundaries of femininity to a place that becomes uncomfortable. Her ceramic sculptures are both narrative and figurative, often asserting the carnal aspects of our bodies and their desires. By materialising the familiar in an unfamiliar context her work stimulates our ability to rethink our relationship towards objects, threatening the natural order and toying with the tensions that lie between beauty and repulsion, curiosity and discomfort, desire and disgust