I was raised in a rural community where ulimo—the act of ploughing and cultivating the land—formed an essential part of everyday life. It was my grandmother who first introduced me to farming, and through her, I came to understand how deeply it shaped our identity and sustained our communities. Over the years, however, I have witnessed a steady decline in agricultural activity in my home region. Fields that once supported families now sit unused, reflecting the broader neglect of rural spaces. Returning home each time, I feel a growing responsibility to respond through my work.

My ceramic practice is rooted in social engagement and the belief that art can prompt reflection and dialogue. Drawing on the ideas of Jemilehin Funmilayo et al. (2014), who describe farming as central to rural development, I acknowledge the critical role that agriculture plays in ensuring food security and promoting collective well-being.

In this series, the seed shape becomes my primary symbol—an emblem of potential and renewal. Using a transparent raku glaze, I allow the drawn figures to emerge subtly from the surface, while the natural crackle of the raku firing process echoes the fractured condition of neglected land. The red tones created by ferric chloride reference the earth itself, grounding the work in both memory and materiality. The familiar sounds of raku firing, which I usually associate with energy and transformation, take on a new significance here: they become the imagined cry of the land, calling for care, restoration, and attention.