Within the series of decorative objects with which we cohabit in the domestic sphere, there are certain ones that function as fake containers or as a part-time containers. These artifacts reflect an inherent relationship between the concepts of empty and full: A duality of disputes, dialogues and voices that are not always heard.

The embelished volume of vase objects operates by reaffirming their presence in the space, but at the same time the existence of the hollow outlining their shape brings us closer to the idea of absence as well. The intension of a space that exists to be filled in, but also the perception of an invisible container of aspirations.

The luxurious and sensual appearance of mass-produced vases; that emerge faking and copying classical Chinese and European ceramic patterns, appeases the horror vacui. This last condition satisfy the ambitions present in the domestic sphere and, at the same time, makes invisible the fear of facing the void in these particular spaces.