You try to remember the future. A bird painted on the ceramic panel in a historical palace has found its place on the wall. The tiles of a church and a mosque have been painted on canvas. The pattern of a centuries-old ceramic plate appears before you on a velvet curtain.

As artisanship became a part of artistic practices with the blurring of art and craft, the use of traditional motifs has also flourished. In this context, how are these motifs currently structured or designed beyond their traditional connotations? 

In his book exploring the cultural history of souvenirs, Rolf Potts discusses how such objects assume meaning through personal stories: Objects turn into memories with the stories they hold.

Objects also bear the memory of the geography to which they relate. Ceramics, with soil as their primary material, are directly linked to the land where they are produced: forging a direct relationship with earth, ceramics bear the memory of the soil where they come from.

How can the future be imagined by looking at a collection or an archive? The lasting quality of ceramics allows us to ponder how the future might be remembered through a ceramics collection, since they render conceivable time eternal.