In Negotiation, each glass element begins from a similar blown form before being reheated and softened. Through gravity and three repeated cycles of breath, the forms collapse, expand, and shift. Although they share the same starting point and making process, each develops into an individual form that cannot be exactly reproduced.

These elements are then assembled through a sculptural system governed by three structural rules rather than a predetermined composition. Each connection requires a minimum of three points of contact, allowing stability to emerge through mutual support. Every opening faces upward, maintaining a connection to the language of the vessel while positioning the work between vessel and sculpture. The entire structure balances on three points, creating an appearance of fragility despite its physical stability.

As each element is introduced, its position must respond to the weight, orientation, and limitations of the forms already present. The composition therefore develops through continuous adjustment rather than following a fixed design. Relationships between individual elements are formed, altered, and renegotiated throughout the making process.

The title Negotiation refers both to this physical process and to my broader understanding of identity. Each component retains its recognisable form, yet its position, stability, and visual identity are shaped by its relationship with the surrounding elements. Moving between individuality and collectivity, stability and instability, independence and interdependence, the work considers how identity can remain distinct while being continually reshaped through coexistence, adaptation, and mutual dependence.