During quarantine, feeling confined indoors, I grew apathetic towards industrially produced household pottery (bowls, vases, pitchers...), and sought to subvert the conventions of household ware by incorporating nature. In my investigation, I explored how to bring the outside and inside together in ceramics. I wondered: What does it mean to be wild? How does nature distort and decay the domestic? Originating from the earth, I chose to work with clay. I warped, constricted, stretched, cracked, dissolved, incorporated muted tones into the clay, and added texture all to move away from household ware into organic, spontaneous, and asymmetric forms. At first, I used pre-made glazes but couldn’t control the opacity or luster, so I began to alter glaze formulas and conduct triaxial glaze testing (process in pieces 6 and 12) of varying percentages of chemicals and wood ash to create glazes that enhance to achieve the subtle matte and natural qualities I sought. (Formulated glazes are seen in pieces 3, 5-6, 9, 10, and 12-15). I relied on texture at first to create a natural personality in the clay, but as I continued, I distorted the structure of the forms to move practical into sculptural.