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  <url>
    <loc>http://www.caponiceramics.com/kindelfurniturefactory</loc>
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    <lastmod>2017-03-04</lastmod>
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      <image:title>untitled: the dust and the chair</image:title>
      <image:caption>untitled: the dust and the chair. (exhibition through Active Site: 818 Butterworth. The former Kindel Furniture Factory, Grand Rapids, MI) 2008</image:caption>
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      <image:title>untitled: the dust and the chair</image:title>
      <image:caption>untitled: the dust and the chair. (exhibition through Active Site: 818 Butterworth. The former Kindel Furniture Factory, Grand Rapids, MI) 2008</image:caption>
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      <image:title>untitled: the dust and the chair</image:title>
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      <image:title>untitled: the dust and the chair</image:title>
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      <image:title>untitled: the dust and the chair</image:title>
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  <url>
    <loc>http://www.caponiceramics.com/homeanddream</loc>
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    <lastmod>2019-10-14</lastmod>
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      <image:caption>Home and Dream.  (solo exhibition at One Window Gallery, Suroyo Ceramic Center, Goseong, South Korea. 2013</image:caption>
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  <url>
    <loc>http://www.caponiceramics.com/withoutorgans</loc>
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    <priority>0.75</priority>
    <lastmod>2018-07-22</lastmod>
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      <image:title>without organs</image:title>
      <image:caption>Porcelain, artist's hair, altered found cardboard boxes, found mirror, digital print, incense, paper, graphite, borrowed coat, video monitor with 10 minute loop (this work was created during a 2 month visiting instructor/residency at the Central Academy of Fine Arts, Beijing, China)</image:caption>
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      <image:title>without organs</image:title>
      <image:caption>Porcelain, artist's hair, altered found cardboard boxes, found mirror, digital print, incense, paper, graphite, borrowed coat, video monitor with 10 minute loop (this work was created during a 2 month visiting instructor/residency at the Central Academy of Fine Arts, Beijing, China)</image:caption>
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  </url>
  <url>
    <loc>http://www.caponiceramics.com/earlywork</loc>
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    <lastmod>2018-06-24</lastmod>
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      <image:title>untitled</image:title>
      <image:caption>untitled. Custom Fabricated Porcelain Tape-Cast with Mason Stains, Concrete Floor Scoring, removable wall dividers. Saginaw Art Museum, 2015</image:caption>
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      <image:caption>untitled. Custom Fabricated Porcelain Tape-Cast with Mason Stains, Concrete Floor Scoring, removable wall dividers. Saginaw Art Museum, 2015</image:caption>
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      <image:caption>untitled. Custom Fabricated Porcelain Tape-Cast with Mason Stains, Concrete Floor Scoring, removable wall dividers. Saginaw Art Museum, 2015</image:caption>
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      <image:caption>untitled. Custom Fabricated Porcelain Tape-Cast with Mason Stains, Concrete Floor Scoring, removable wall dividers. Saginaw Art Museum, 2015</image:caption>
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      <image:caption>untitled. Custom Fabricated Porcelain Tape-Cast with Mason Stains, Concrete Floor Scoring, removable wall dividers. Saginaw Art Museum, 2015</image:caption>
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      <image:caption>untitled. Custom Fabricated Porcelain Tape-Cast with Mason Stains, Concrete Floor Scoring, removable wall dividers. Saginaw Art Museum, 2015</image:caption>
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      <image:caption>untitled. Porcelain with Mason Stains. Birmingham Bloomfield Art Center, 2015</image:caption>
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      <image:caption>untitled. Porcelain with Mason Stains. Birmingham Bloomfield Art Center, 2015</image:caption>
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      <image:caption>untitled. Porcelain with Mason Stains. Birmingham Bloomfield Art Center, 2015</image:caption>
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    <lastmod>2019-10-14</lastmod>
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      <image:title>| Taking Form |</image:title>
      <image:caption>| Taking Form |  Graduate Thesis Exhibition, Fosdick-Nelson Gallery, Alfred University. May, 2013.</image:caption>
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    <image:image>
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      <image:title>| Taking Form |</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1421704667093-DWW767N4ULGALVJKGH3Q/beingthere1jpg</image:loc>
      <image:title>| Taking Form |</image:title>
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    <image:image>
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      <image:title>| Taking Form |</image:title>
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      <image:title>| Taking Form |</image:title>
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  <url>
    <loc>http://www.caponiceramics.com/preservationsandprocessions</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2018-07-22</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420405682051-9R8CU3BTUTJW0DX1FZ0W/4.actually+copy.jpg</image:loc>
      <image:title>Preservations | Processions</image:title>
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      <image:title>Preservations | Processions</image:title>
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    <image:image>
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      <image:title>Preservations | Processions</image:title>
      <image:caption>Terra Cotta, found and altered architectural fragments, found and altered plastic bags. (This work was made during an International Ceramics Symposium at Uttarayan Art Foundation, Baroda, India. 2014)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420405130847-14ZF8O6EBZ98Q1GA9XC9/india1.jpg</image:loc>
      <image:title>Preservations | Processions</image:title>
      <image:caption>Inventory and Debate. Digital Print (Collaboration with Hoon Lee)</image:caption>
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    <image:image>
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      <image:title>Preservations | Processions</image:title>
      <image:caption>Terra Cotta, found and altered architectural fragments, found and altered plastic bags. (This work was made during an International Ceramics Symposium at Uttarayan Art Foundation, Baroda, India. 2014)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420391259088-AT7CE2Q802GGM907OT2H/2.actually.jpg</image:loc>
      <image:title>Preservations | Processions</image:title>
      <image:caption>Terra Cotta, found and altered architectural fragments, found and altered plastic bags. (This work was made during an International Ceramics Symposium at Uttarayan Art Foundation, Baroda, India. 2014)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420391285151-U7DWB4R7SLSVSER62Q39/3.actually.jpg</image:loc>
      <image:title>Preservations | Processions</image:title>
      <image:caption>Column. Terra Cotta, found and altered architectural fragment (wooden fence), paint.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420391346435-L5W49L98VLJR0BUC4DX3/4.actually.jpg</image:loc>
      <image:title>Preservations | Processions</image:title>
      <image:caption>Railing. Terra Cotta, found and altered architectural fragment (wooden fence), paint.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420391378119-9LYI1APP9WNVY83D7S9V/5.actually.jpg</image:loc>
      <image:title>Preservations | Processions</image:title>
      <image:caption>Oven. Terra Cotta, found and altered architectural fragment (wooden fence), paint.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420391409181-5P86LR4Y7FXB42LRLNXH/6.actually.jpg</image:loc>
      <image:title>Preservations | Processions</image:title>
      <image:caption>Column #4. Terra Cotta, found and altered architectural fragment (wooden fence), paint.</image:caption>
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    <image:image>
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      <image:caption>(Installation View) Terra Cotta, found and altered architectural fragment (wooden fence), paint, architectural fragment (roof tiles).</image:caption>
    </image:image>
    <image:image>
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      <image:title>Preservations | Processions</image:title>
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    <image:image>
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      <image:title>Preservations | Processions</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420391738975-4IDTSELU6PYU070KRNN8/10.actually.jpg</image:loc>
      <image:title>Preservations | Processions</image:title>
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  </url>
  <url>
    <loc>http://www.caponiceramics.com/monroewaterfiltration</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2017-03-04</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1435260082595-2N88GQL2PRQT46SK6ZLJ/activesite-1.jpg</image:loc>
      <image:title>untitled: Clearwater Place</image:title>
      <image:caption>untitled: Clearwater Place. (exhibition through Active Site: Monroe Water Filtration Plant. Grand Rapids, MI) 2007</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1435260082595-2N88GQL2PRQT46SK6ZLJ/activesite-1.jpg</image:loc>
      <image:title>untitled: Clearwater Place</image:title>
      <image:caption>untitled: Clearwater Place. (exhibition through Active Site: Monroe Water Filtration Plant. Grand Rapids, MI) 2007</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1435260124362-MD9OTXC3JYUMEB72QJY0/activesite-8.jpg</image:loc>
      <image:title>untitled: Clearwater Place</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1435436651440-DPFTMBBJDI3UBQ2W17Q5/activesite-1.jpg</image:loc>
      <image:title>untitled: Clearwater Place</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1435260236190-RILPV886JRLRE3MLY66O/activesite-9.jpg</image:loc>
      <image:title>untitled: Clearwater Place</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1435260393536-C4YA2ZM188CVN4VMQ8BW/activesite-10.jpg</image:loc>
      <image:title>untitled: Clearwater Place</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1435260203611-AG6KGP1N9ZBMM4HPNWGR/activesite-13.jpg</image:loc>
      <image:title>untitled: Clearwater Place</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/windowsill</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2018-02-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1426474743260-KLOG4FPR0Y7LBXKF797C/forground-1.jpg</image:loc>
      <image:title>Foreground, background, windowsill</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1426641833958-QLBFZDR8524RJYU8KLTQ/forground-3.jpg</image:loc>
      <image:title>Foreground, background, windowsill</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1426641896657-VFZ0IF6SV7LRPYHRT5UX/forground-4.jpg</image:loc>
      <image:title>Foreground, background, windowsill</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1426641933887-WHXNAW7IXE0K8SEBCHPW/forground-7.jpg</image:loc>
      <image:title>Foreground, background, windowsill</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1426641979137-EH2JOSSS0VG2P86E97RA/forground-6.jpg</image:loc>
      <image:title>Foreground, background, windowsill</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/measured-space</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-10-10</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458531362888-HN94OI7LFWNFFTV1DCXV/measured-10.jpg</image:loc>
      <image:title>Measured Space</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458531362888-HN94OI7LFWNFFTV1DCXV/measured-10.jpg</image:loc>
      <image:title>Measured Space</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458531016411-IQYS2A50KUT6GT8LQTWV/measured-11.jpg</image:loc>
      <image:title>Measured Space</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458531290013-X26SWHNBHCDCZK3CAYKX/measured-8.jpg</image:loc>
      <image:title>Measured Space</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1459724223683-CGY22EWFGA5ORP4T0NA7/measuredspace1-8+copy.jpg</image:loc>
      <image:title>Measured Space</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458530751782-METCEP99C80W22FRZMML/measured-2.jpg</image:loc>
      <image:title>Measured Space</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1459722685374-UCOCHG20MRAY2NAOGOBZ/measuredspace1-3_1%21.jpg</image:loc>
      <image:title>Measured Space</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458530772419-V0CJSKKQHCWBDY7ZGDGM/measured-3.jpg</image:loc>
      <image:title>Measured Space</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458530737648-4F19PLD8PW7Z8HP7B4PJ/measuredspace1.jpg</image:loc>
      <image:title>Measured Space</image:title>
      <image:caption />
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458531264738-3ZY7GS77S8DDEW4PMNWP/measured-5.jpg</image:loc>
      <image:title>Measured Space</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1458530783737-BQR5GARB93ZO5YWHSX1D/measured-4.jpg</image:loc>
      <image:title>Measured Space</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/untitled-1</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2024-10-03</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744321393-JIHVOD8A3DTPYN1XITMK/IMG_0236.jpg</image:loc>
      <image:title>untitled: Drawn | Dredged</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744148647-2C7EHBZVPL2Y4GS50QWI/IMG_0241.JPG</image:loc>
      <image:title>untitled: Drawn | Dredged</image:title>
      <image:caption />
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744321393-JIHVOD8A3DTPYN1XITMK/IMG_0236.jpg</image:loc>
      <image:title>untitled: Drawn | Dredged</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744491749-Q2ILJJ5L8VZDRHTO1STP/IMG_0276.JPG</image:loc>
      <image:title>untitled: Drawn | Dredged</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744561811-VDAR8SZ64ZQ95OYF0PIJ/IMG_0286.JPG</image:loc>
      <image:title>untitled: Drawn | Dredged</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/to-touch-the-sky-with-two-arms</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-10-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1498841058132-TG4Z8X7GPCJCEF0PRIW4/pasta-1.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>To Touch the Sky with Two Arms. Exhibition at Holding House, Detroit, MI. 2016 (detail image of recording session with artist’s family eating homemade pasta made by the artist, following the recipe of his paternal grandmother, ate off an inherited ceramic plate with contact microphone mounted underneath)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1498841058132-TG4Z8X7GPCJCEF0PRIW4/pasta-1.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>To Touch the Sky with Two Arms. Exhibition at Holding House, Detroit, MI. 2016 (detail image of recording session with artist’s family eating homemade pasta made by the artist, following the recipe of his paternal grandmother, ate off an inherited ceramic plate with contact microphone mounted underneath)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547498536989-HRAHEO7LM489ZEVHWHPH/webthing1.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1498841045667-4CLKTKU0M3GK483NUQ4P/pasta-2.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>detail of homemade pasta over artist’s hands.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1484367980597-PF5QUQGW2HVE24SKUWVJ/HH1-8.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>The Mantle, The Home, and The Window. (detail: The Mantle) framed graphite rendering of abscised tumbleweed part, framed collage of porcelain confetti, section of sheetrock from childhood bedroom, resin cast quart containers with studio detritus, collected brick from abandoned sites cast as rolled carpet the equivalent weight of one brick. 2016</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1485025870855-1QKEEC1GZK61ZR2JFKM1/HH1-10.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>The Mantle, The Home, and The Window. (detail: The Mantle) framed graphite rendering of abscised tumbleweed part, framed collage of porcelain confetti, section of sheetrock from childhood bedroom, resin cast quart containers with studio detritus, collected brick from abandoned sites cast as rolled carpet the equivalent weight of one brick. 2016  </image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1484367950292-PD0PP2I9T9ZA59Q60US8/HH1-7.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>The Mantle, The Home, and The Window. (detail: The Mantle) framed graphite rendering of abscised tumbleweed part, framed collage of porcelain confetti, section of sheetrock from childhood bedroom, resin cast quart containers with studio detritus, collected brick from abandoned sites cast as rolled carpet the equivalent weight of one brick. 2016</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1485027354555-IJR8CYZ79HFDP60VNU49/plantsremoval.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1485026376426-MQ47NSRJ572OOUMKW2S8/plant_website.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1531676297413-VB4VQDTMLLYYLRKCCW7Z/islandandsandbox_3+copy.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1531676299093-N0HYTQQCGDW5UDN06TPC/islandandsandbox_4+copy.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1480904376760-L9RT2ROFHLYTK9KLW0KU/islandandsandbox1.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>island and sandbox. black porcelain with glaze, sheetrock, steel, concrete, paper and ink. 2016</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1484660505554-71YMDZKAXF57PSRBAJZP/holdinghouse-343.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>island and sandbox. (detail) The forms were derived from casting plaster into the root cavities of temporarily removed plants in my childhood yard, and making a mold of the plaster positive. The dimensions of the table are exact to that of the island in my parents kitchen.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1480904398222-KE5V39U36Z0QDMDLNIHV/islandandsandbox2.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1482015548854-OH5ELBE2YZT5GKD2Y1T9/holdinghouse_web.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571016569100-SJ8LY8BC0RCGX9PXAIUE/DSC_0203.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1498841902656-U3NUGAHAI80NQD20LVYS/image-asset.jpeg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption />
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1484368729614-K7Q21SIBYR4W7Q7FB16S/HH1-12.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>To Touch the Sky with Two Arms. Two person exhibition at Holding House, Detroit, MI 2016</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1486265032769-4USI8KHZ1V03G4KLXE6C/hh1-4.jpg</image:loc>
      <image:title>To Touch the Sky with Two Arms</image:title>
      <image:caption>Holding House. Custom fabricate Porcelain Tape-Cast, Plexiglass, Sheetrock, Steel. 2016</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/saggar-forms</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-10-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728658567-GIFEMSVJ0UFREOU0BUPK/3.JPG</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728658567-GIFEMSVJ0UFREOU0BUPK/3.JPG</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728463867-NYFDOYFSJE1173WRXFV9/5.JPG</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728643058-M2S4Q35UCDCA0GV0TYPV/31.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728512434-9SVNLB1UAVWRCZ1LZ3FK/12.JPG</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728492692-SWQGC2R7ZO2RHENX4RH1/27.JPG</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728681041-BRI08B6GCI0SUGUYQ4YM/2.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728496812-1U337GTTMVEYFGT1Q3XF/9.JPG</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728454882-HEKA75R0GQ10YEZFJVU4/25.JPG</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497408297960-ST6PA2DVIJ33T56GGBDZ/Brian_Caponi_1.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497408416393-UJRR6IDO4UBK583VKFF0/Brian_Caponi_2.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497408494115-F8OA1CM4K2CY9L0VNPZY/Brian_Caponi_3.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497408797920-P5PX195HV8EEEY12GDXW/Brian_Caponi_5.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497408925133-UAS4NG42YI2Q856KFAZV/Brian_Caponi_6.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497409006217-1TVL0WC2EUS9ZS3IBK1L/Brian_Caponi_7.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497409102038-548EZZJGSD1V4K55NACL/Brian_Caponi_8.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547497630972-TDJVZC76JDIML5VBXURZ/web12.jpg</image:loc>
      <image:title>saggar | form series</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497409232403-YT0N7F6WE2W9ZTGSNKQF/Brian_Caponi_9.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497409608198-QM3IB5IOJMBPJRUBRO4O/Brian_Caponi_10.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497409712266-PPDGC0D72J8BRUUFHW3E/Brian_Caponi_11.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497410018023-UAFN2WLLXI6R3K2EH02C/Brian_Caponi_12.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497410175716-CVPPWXX1721JLEUAYKW0/Brian_Caponi_13.jpg</image:loc>
      <image:title>saggar | form series</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497410355822-9BVV6XU4N2A9BXA15Z6A/Brian_Caponi_14.jpg</image:loc>
      <image:title>saggar | form series</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497452498632-RVZFKCGOEAVO6Q1YYUGL/Brian_Caponi_15.jpg</image:loc>
      <image:title>saggar | form series</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497452563173-3EHG8FBE8EF4VP79RJ5W/Brian_Caponi_16.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1497452672071-IU7MSN9AO0356H5EJH2Y/Brian_Caponi_17.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571015886960-FFZ85I5PVPLPQ4IX1IRI/DSC_0821.jpg</image:loc>
      <image:title>saggar | form series</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571015876798-DUT6OVQU33TYLDHKRUKE/DSC_0781.jpg</image:loc>
      <image:title>saggar | form series</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571015911600-NYJ121NQ25IUV83MO5AW/DSC_0893.jpg</image:loc>
      <image:title>saggar | form series</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569727939780-52TDE7092RGLDJVAAQNK/mingthing12.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728084604-NASEG3DLJ53OBBJ0N1XD/mingtest3.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569727951274-DQWLA4TQH6D2EM9XAX2K/mingthing14.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569727930648-424J2LRWDJEDHKLG5JWE/mingthing2.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728037291-NY11YSZDJ2RA245LW9UY/test.jpg</image:loc>
      <image:title>saggar | form series</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
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  <url>
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  <url>
    <loc>http://www.caponiceramics.com/new-gallery</loc>
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      <image:title>Place Sitting | Place Setting</image:title>
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    <image:image>
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      <image:title>Place Sitting | Place Setting</image:title>
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      <image:title>Place Sitting | Place Setting</image:title>
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      <image:title>Line and Certainty</image:title>
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      <image:title>Line and Certainty</image:title>
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      <image:title>Line and Certainty</image:title>
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      <image:title>Line and Certainty</image:title>
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      <image:title>Line and Certainty</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1501168849478-U35GU0OQSFM43Z0WBZ7F/clayartcenter-4.jpg</image:loc>
      <image:title>Line and Certainty</image:title>
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  </url>
  <url>
    <loc>http://www.caponiceramics.com/red-carpet</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-01-15</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1505176875266-GUKRRLPXSMCIH76DPB0K/brick-1.jpg</image:loc>
      <image:title>untitled</image:title>
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      <image:title>untitled</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547498172289-5G18RKJC79ZB8E2QYO0Y/website4.jpg</image:loc>
      <image:title>untitled</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1505176620370-CCDBWJPPSABZFGSIK8J5/brick-3.jpg</image:loc>
      <image:title>untitled</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/although-only-breath</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-09-30</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1508040767291-0I6ATRB2LGE4TK0GEQA0/althoughonlybreath_2.jpg</image:loc>
      <image:title>although only breath</image:title>
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      <image:title>although only breath</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1508040726520-QMXL2ESOJSR3WJGY0HO8/books-2.jpg</image:loc>
      <image:title>although only breath</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547496657678-51FHFZB4B0NXYJG0BGNS/test_1.jpg</image:loc>
      <image:title>although only breath</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1508040748259-51Y2V9RW6OP31BDMNFMS/althoughonlybreath_1.jpg</image:loc>
      <image:title>although only breath</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1498840758301-JYL0W5FB4254A3Y5S6RG/image-asset.jpeg</image:loc>
      <image:title>although only breath</image:title>
      <image:caption />
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  </url>
  <url>
    <loc>http://www.caponiceramics.com/runon</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-01-13</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1517611621885-LSGXVRUZZEHYUT7C9SM5/BCaponi_1.jpg</image:loc>
      <image:title>untitled (nimbus)</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1517611621885-LSGXVRUZZEHYUT7C9SM5/BCaponi_1.jpg</image:loc>
      <image:title>untitled (nimbus)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1531678082043-2V8Y4902LANZV2JE9YLU/image-asset.jpeg</image:loc>
      <image:title>untitled (nimbus)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1529788160249-5ZOUEPEX1FSN3FSH8SUE/DSC_0378.jpg</image:loc>
      <image:title>untitled (nimbus)</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/new-gallery-81</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-01-01</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571014852866-BMPRJ50FF3ZMVQIRZLZ2/DSC_0031-2.jpg</image:loc>
      <image:title>work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571014852866-BMPRJ50FF3ZMVQIRZLZ2/DSC_0031-2.jpg</image:loc>
      <image:title>work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571014941160-1QGFSEEJKOZ4NN5ANEXS/DSC_0023.jpg</image:loc>
      <image:title>work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571014894669-O4UQYJ9R88IOCD658244/DSC_0033.jpg</image:loc>
      <image:title>work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1480904416647-3I44HEVK5P44FMR7HOP0/innumerableutterance1.jpg</image:loc>
      <image:title>work</image:title>
      <image:caption>untitled (window series), porcelain with glaze on steel rods. 2011- on going Developed during my graduate school research 2011-2013, this work is a continuation of considerations around the permeability of space as a metaphor for form extension, and the blurred line between inside and out. Based on experiences and time living in Japan (2008-2009), the shoji screen is a catalyst and acts, like all architectural surfaces, as epidermis and intermediary between public/private, and the defined function and interpretation of a space.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1480904440542-4D8U7Q8EYSPFXHJHSNIB/innumerableutterance2.jpg</image:loc>
      <image:title>work</image:title>
      <image:caption>untitled (window series), porcelain and glaze on steel. 2011 - on going. Developed during my graduate school research 2011-2013, this work is a continuation of considerations around the permeability of space as a metaphor for form extension, and the blurred line between inside and out. Based on experiences and time living in Japan (2008-2009), the shoji screen is a catalyst and acts, like all architectural surfaces, as epidermis and intermediary between public/private, and the defined function and interpretation of a space.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744234571-BJ7FWP0AYX5F1BFWRL86/IMG_0223.jpg</image:loc>
      <image:title>work</image:title>
      <image:caption>untitled (window series), porcelain and glaze on steel. 2011 - on going. Developed during my graduate school research 2011-2013, this work is a continuation of considerations around the permeability of space as a metaphor for form extension, and the blurred line between inside and out. Based on experiences and time living in Japan (2008-2009), the shoji screen is a catalyst and acts, like all architectural surfaces, as epidermis and intermediary between public/private, and the defined function and interpretation of a space.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547497290343-IFUU3HFDFTSQHHJ6ELEM/website1.jpg</image:loc>
      <image:title>work</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744509007-EZWX3C83LH3ANVBNZ0OV/IMG_0225.jpg</image:loc>
      <image:title>work</image:title>
      <image:caption>untitled (window series), porcelain and glaze on steel. 2011 - on going. Developed during my graduate school research 2011-2013, this work is a continuation of considerations around the permeability of space as a metaphor for form extension, and the blurred line between inside and out. Based on experiences and time living in Japan (2008-2009), the shoji screen is a catalyst and acts, like all architectural surfaces, as epidermis and intermediary between public/private, and the defined function and interpretation of a space.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471745835951-KEM6M35I0FIUL4UGA6ZX/DSC_2441.JPG</image:loc>
      <image:title>work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471745822935-LCKSVSCF5F8E2YKPZCCJ/DSC_2817+copy.JPG</image:loc>
      <image:title>work</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471745847563-SZ8RXMPLK481YGWR4MOF/DSC_2366.JPG</image:loc>
      <image:title>work</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/new-gallery-4</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-01-15</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1529789776405-4FDFCAZXFJGHZQUB0T37/DSC_0379.jpg</image:loc>
      <image:title>untitled (nimbus series)</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1529789776405-4FDFCAZXFJGHZQUB0T37/DSC_0379.jpg</image:loc>
      <image:title>untitled (nimbus series)</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547497354461-5H6R5ZZKENP00PSYRL2L/website2.jpg</image:loc>
      <image:title>untitled (nimbus series)</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1529789779907-K25QGRPTSXM7M0E3RHAP/DSC_0388.jpg</image:loc>
      <image:title>untitled (nimbus series)</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1517611301549-JA62OVZZ3NW1PQB40JGR/n1.jpg</image:loc>
      <image:title>untitled (nimbus series)</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1517611310428-8EK93TNSFJKB8KLOZS3A/nimbus2.jpg</image:loc>
      <image:title>untitled (nimbus series)</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/new-gallery-5</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-10-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1541355745953-EUCNACCOFRJYSXDKQ6ND/DSC_0751.jpg</image:loc>
      <image:title>green shade west</image:title>
      <image:caption>green shade west series: imagined landscape #4, porcelain, porcelain with mason stains, dimensions varied. 2017-on going “A lone boat anchors and does not leave, In the green shade west of the tall willows. The single sound of a long whistle, As wintry mist spreads over evening waves.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1541355745953-EUCNACCOFRJYSXDKQ6ND/DSC_0751.jpg</image:loc>
      <image:title>green shade west</image:title>
      <image:caption>green shade west series: imagined landscape #4, porcelain, porcelain with mason stains, dimensions varied. 2017-on going “A lone boat anchors and does not leave, In the green shade west of the tall willows. The single sound of a long whistle, As wintry mist spreads over evening waves.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1529864583548-D0IJ30IA9WWJVQLNXE8V/DSC_0415.jpg</image:loc>
      <image:title>green shade west</image:title>
      <image:caption>green shade west series: imagined landscape #10, porcelain, porcelain with mason stains, dimensions varied. 2017-on going “A lone boat anchors and does not leave, In the green shade west of the tall willows. The single sound of a long whistle, As wintry mist spreads over evening waves.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547496975208-NQ74M460ZWEOV9TJGMO2/testtest1.jpg</image:loc>
      <image:title>green shade west</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1529884722869-8G8KYJYTBTVMAK0N2C95/DSC_0405.jpg</image:loc>
      <image:title>green shade west</image:title>
      <image:caption>green shade west series: tile composition #10, porcelain, porcelain with mason stains, dimensions varied. 2017-on going “A lone boat anchors and does not leave, In the green shade west of the tall willows. The single sound of a long whistle, As wintry mist spreads over evening waves.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556368325588-8F8W59OT4FAUE1OC1Y8A/DSC_0668.jpg</image:loc>
      <image:title>green shade west</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556368324115-ZCKTM24AIX9VGEAH4QXN/DSC_0671.jpg</image:loc>
      <image:title>green shade west</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1517611497793-KCI4R3KVXZRIV0LFQUTQ/stack1.jpg</image:loc>
      <image:title>green shade west</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1517611498132-547JYI73ZAO6HSJ8KHSH/stack2.jpg</image:loc>
      <image:title>green shade west</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571016007925-LQYGP16W635O70254P2P/DSC_0722.jpg</image:loc>
      <image:title>green shade west</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/green-shade-west-design-work</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-04-02</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1532564468391-Z60NUK5KJEG1LV1P3R92/DSC_0462.jpg</image:loc>
      <image:title>green shade west design work</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1532564468391-Z60NUK5KJEG1LV1P3R92/DSC_0462.jpg</image:loc>
      <image:title>green shade west design work</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1532565290623-5MJ2A1GKICQ2KUZN2DXW/DSC_0465-2.jpg</image:loc>
      <image:title>green shade west design work</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1532564568102-3UVYTE6N79GT0A5HP6NZ/DSC_0462-2.jpg</image:loc>
      <image:title>green shade west design work</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1532565289170-GK6JTQKSC969O209HB0G/DSC_0462-4.jpg</image:loc>
      <image:title>green shade west design work</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1532565372875-UA6OJ1EX6KG0C65U8MWG/DSC_0471-2.jpg</image:loc>
      <image:title>green shade west design work</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556367578536-P9RYE57DL60LJO0JV3KK/DSC_0629.jpg</image:loc>
      <image:title>green shade west design work</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/wading-in-without</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-09-30</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521711491-NF756WL0T6UKWEW47LTR/DSC_0086.jpg</image:loc>
      <image:title>wading in without</image:title>
      <image:caption>wading in without, detail image. 2018 “wading in without is a large scale sculptural installation, utilizing cast concrete platforms as ground, for a range of fabricated and found objects. Materials and forms are withdrawn directly from a dislodged and abstracted autobiographical narrative. Utilizing the artist’s childhood home as site and source, wading in without addresses broader notions around dislocation and longing, and the enduring persistence of the human spirit.” The Chapman Gallery, Kansas State University. August-September 2018</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521711491-NF756WL0T6UKWEW47LTR/DSC_0086.jpg</image:loc>
      <image:title>wading in without</image:title>
      <image:caption>wading in without, detail image. 2018 “wading in without is a large scale sculptural installation, utilizing cast concrete platforms as ground, for a range of fabricated and found objects. Materials and forms are withdrawn directly from a dislodged and abstracted autobiographical narrative. Utilizing the artist’s childhood home as site and source, wading in without addresses broader notions around dislocation and longing, and the enduring persistence of the human spirit.” The Chapman Gallery, Kansas State University. August-September 2018</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547498043918-OPBG3N4FV7N6XYYD3GC3/webupdate1.jpg</image:loc>
      <image:title>wading in without</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521849696-11SKOO16FGLY5LICUFWD/DSC_0129.jpg</image:loc>
      <image:title>wading in without</image:title>
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      <image:title>wading in without</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521855862-MBHYVCKD7WJ797FQNT58/DSC_0139.jpg</image:loc>
      <image:title>wading in without</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521745809-XI6MEVFZKA2XGRBMD4AI/DSC_0094.jpg</image:loc>
      <image:title>wading in without</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521756540-U37ALTZCU9JRL3LSR63I/DSC_0095.jpg</image:loc>
      <image:title>wading in without</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521806702-4UYE5VTJYPO9L7IOMSUK/DSC_0119.jpg</image:loc>
      <image:title>wading in without</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521822655-XI12XJDW6J6GEVL057Z4/DSC_0121.jpg</image:loc>
      <image:title>wading in without</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1541250900638-TUL9UC7PHHOGVH4YYFUE/DSC_0107.jpg</image:loc>
      <image:title>wading in without</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1541250824358-ITF1HM6C0J7QEQL2ZOLL/DSC_0120.jpg</image:loc>
      <image:title>wading in without</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521682658-KR96CHSVINPTRY6N89Z8/DSC_0045.jpg</image:loc>
      <image:title>wading in without</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521683164-64IZFGEJTE1R4MRM5I7U/DSC_0057.jpg</image:loc>
      <image:title>wading in without</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521780695-AY9B9HES5KNX57G0HZVD/DSC_0099.jpg</image:loc>
      <image:title>wading in without</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1543084674027-Q6FWHXENUXLPYHQFI5SZ/DSC_0126.jpg</image:loc>
      <image:title>wading in without</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/new-gallery-25</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-09-30</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1541862277330-N5FCPQURNRSZHUB90H4J/DSC_0160.jpg</image:loc>
      <image:title>terrain and territory</image:title>
      <image:caption>terrain and territory, slip cast black porcelain with glazed interior 10” diameter x 28” tall. 2018 terrain and territory focuses on the potent space of the fence post hole as a metaphor, and commentary against the current administrations determination to construct false narratives and divisions around issues regarding immigration, and "us" and "them” mentality. By pulling the subterranean space of the hole up and out of the ground as a hollow ceramic form, it shifts the functionality of the space as container, rather than divider, and placed; seeks to call into attention the skin of this often over looked space. The extension of a fences intention, to delineate, is further implied in the gallery by constructing an implied border between the two forms set in the space.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1541862277330-N5FCPQURNRSZHUB90H4J/DSC_0160.jpg</image:loc>
      <image:title>terrain and territory</image:title>
      <image:caption>terrain and territory, slip cast black porcelain with glazed interior 10” diameter x 28” tall. 2018 terrain and territory focuses on the potent space of the fence post hole as a metaphor, and commentary against the current administrations determination to construct false narratives and divisions around issues regarding immigration, and "us" and "them” mentality. By pulling the subterranean space of the hole up and out of the ground as a hollow ceramic form, it shifts the functionality of the space as container, rather than divider, and placed; seeks to call into attention the skin of this often over looked space. The extension of a fences intention, to delineate, is further implied in the gallery by constructing an implied border between the two forms set in the space.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547472692811-84XATX6O603PHBKXGM5I/thing5perc.jpg</image:loc>
      <image:title>terrain and territory</image:title>
    </image:image>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/54a83136e4b010b9ae2d0140/5be6f0ac032be4540eb1309a/5be6f2170e2e72143799fca5/1541861911616/</image:loc>
      <image:title>terrain and territory</image:title>
      <image:caption />
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/blueandwhite</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-09-27</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547392625284-FTBZFHPMCFKLS7TAZOB2/DSC_0376.JPG</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547392657709-ZTXKXACSQWOD5LXIB9AZ/potpile-1.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547471878028-C4GRX0M5YUWP5M6CFGFL/test2.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1564158918468-GJ7DJR7PDRO0OXJLSB27/DSC_0391.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547415668036-B4TIW9GD9E9NDL9D54ZY/DSC_0420.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1564158950548-OWNE2RJWA2V33SGX4HZB/DSC_0289.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1564158925813-M2MKTS3P8VHFPPAK63L7/DSC_0257.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1564158943109-KVE2W4BLW9M5EAQ1160F/DSC_0296.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1564158960915-J9SHTKTMB6723B3NJODA/DSC_0298.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1547415662299-O3ATUNTTARI7GVN1V5VA/DSC_0012.jpg</image:loc>
      <image:title>untitled (blue and white)</image:title>
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  </url>
  <url>
    <loc>http://www.caponiceramics.com/story-board</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-01-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1548712426165-P59PFLVGYTGCXRYB9SPX/DSC_0187.jpg</image:loc>
      <image:title>towards a still life</image:title>
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      <image:title>towards a still life</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1548712420963-HBO9KM956PTK46WK0SOI/DSC_0186.jpg</image:loc>
      <image:title>towards a still life</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1548713726885-41ML93KAHI0QPDTIU9AH/DSC_0200.jpg</image:loc>
      <image:title>towards a still life</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1548713726187-SKS9ZG6DI2ISYWOIUAYB/DSC_0198.jpg</image:loc>
      <image:title>towards a still life</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/latest</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-04-21</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56952733bfe87314267c4882/1455828729134-PFQ0BR1DIX80NEGJE5N4/travel-2015-04-10-west-coast-0328.jpg</image:loc>
      <image:title>Latest</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56952733bfe87314267c4882/1455828729134-PFQ0BR1DIX80NEGJE5N4/travel-2015-04-10-west-coast-0328.jpg</image:loc>
      <image:title>Latest</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56952733bfe87314267c4882/1455915434667-3QUJLA52GGCAWUQ6R1RD/latest-2015-04-10-west-coast-0328.jpg</image:loc>
      <image:title>Latest</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56952733bfe87314267c4882/1455915432742-IOON1CG9EHKUZHJ0EGF8/latest-2015-04-10-west-coast-0315.jpg</image:loc>
      <image:title>Latest</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56952733bfe87314267c4882/1455814707631-6PPBD1NMGC88RK8AR6CZ/lifestyle-2015-04-10-west-coast-0315.jpg</image:loc>
      <image:title>Latest</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56952733bfe87314267c4882/1455915434553-43900IW4VFHI7NX42PWQ/latest-2015-04-10-west-coast-0356.jpg</image:loc>
      <image:title>Latest</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56952733bfe87314267c4882/1455747241682-U0L2B1IR0N9R27N1ST9W/JessieWebster_Squarespace_46.jpg</image:loc>
      <image:title>Latest</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/towards-a-still-life-margins</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-09-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556426974919-YRHET6WMJOTEHM038062/DSC_0504.jpg</image:loc>
      <image:title>towards a still life (margins)</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556426203227-HTZ97ZK8KSYR3SSKISMV/DSC_0505.jpg</image:loc>
      <image:title>towards a still life (margins)</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/thrown-and-stacked</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-04-02</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556367626737-FSYBN3GL3E2GKXSMXV2F/DSC_0462.jpg</image:loc>
      <image:title>untitled</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556367626737-FSYBN3GL3E2GKXSMXV2F/DSC_0462.jpg</image:loc>
      <image:title>untitled</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556367618503-RY4JZV5LP009YZSFC4TM/DSC_0465-2.jpg</image:loc>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556367596776-Q08KIE5L8GSK7WHEYXX9/DSC_0471-2.jpg</image:loc>
      <image:title>untitled</image:title>
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  </url>
  <url>
    <loc>http://www.caponiceramics.com/confetti-series-19821992</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-06-20</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1750423692144-K3Y20JXLR5LXGMA2IYQX/mugs_50.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1750423692144-K3Y20JXLR5LXGMA2IYQX/mugs_50.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1750423807793-KX2NLWOQK8CVFTBDKR38/nick_webtest.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1750423741452-PXUYOH4J57V2VRITL7UA/IMG_4106.JPG</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1558284888217-Y6GWWYSKE33TFP3SLW5S/brian_david1.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1558284912041-F3TYBEP1KSBN42VNGIS4/yellowcloth.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1558284911541-I2CJV8UDOFTTU1NY0NWP/tests1.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1558284889213-OEDMQMP2HXWPPWF6CINV/Confetti_Decal_test.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1558284910291-6DJAW8SS7NQMR9NEGTOT/DSC_0445.JPG</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556371026574-EN9WOQF6RT1Q58RLI62C/11.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556371018469-DZWHS7L5U2BNP9KWALE7/IMG-5932-2.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556371018422-BC0R8LRLSN14JHHMNMKW/IMG-5931-2.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556371027939-3TF5PHZS45XV0AUAQXM7/IMG-5933-2.jpg</image:loc>
      <image:title>Confetti Series: 1982-1992</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/eating-stone</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-09-30</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556886666176-8Z7VVL0OYQ3IC9DVS6OB/DSC_0498.jpg</image:loc>
      <image:title>eating stone</image:title>
      <image:caption>Objects exist as mirrors reflecting and absorbing simultaneously. It is within this tenet, distilled from Henri Lefebvre’s, The Production of Space, eating stone attempts to reconcile object and site as recursive necessity; a symbiosis of accumulated aggregate. Negotiating site through particular methodologies, material phenomenology, and narrative structures; the objects in the exhibition become selected actors; stark solitary bodies, meticulously constructed, and resolved within their own open specificity. The collaborative video work/with audio composed by Paul Gunsberg, is a sound arrangement derived from surface recordings of the cell space; modified, stretched, and inverted. The surfaces becoming amplified internalizations of histories embedded in the walls, benches, and floor of the space. It is within and without, attuned and atoned, eating stone.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556886666176-8Z7VVL0OYQ3IC9DVS6OB/DSC_0498.jpg</image:loc>
      <image:title>eating stone</image:title>
      <image:caption>Objects exist as mirrors reflecting and absorbing simultaneously. It is within this tenet, distilled from Henri Lefebvre’s, The Production of Space, eating stone attempts to reconcile object and site as recursive necessity; a symbiosis of accumulated aggregate. Negotiating site through particular methodologies, material phenomenology, and narrative structures; the objects in the exhibition become selected actors; stark solitary bodies, meticulously constructed, and resolved within their own open specificity. The collaborative video work/with audio composed by Paul Gunsberg, is a sound arrangement derived from surface recordings of the cell space; modified, stretched, and inverted. The surfaces becoming amplified internalizations of histories embedded in the walls, benches, and floor of the space. It is within and without, attuned and atoned, eating stone.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556886187332-AIJSSRT02P70YTSEQ7PN/DSC_0509-2.jpg</image:loc>
      <image:title>eating stone</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556426974919-YRHET6WMJOTEHM038062/DSC_0504.jpg</image:loc>
      <image:title>eating stone</image:title>
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      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569728037291-NY11YSZDJ2RA245LW9UY/test.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://www.caponiceramics.com/caponiceramics</loc>
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    <lastmod>2025-07-26</lastmod>
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      <image:title>Caponi Ceramics</image:title>
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  <url>
    <loc>http://www.caponiceramics.com/workportfolios</loc>
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    <lastmod>2026-01-11</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1532565290623-5MJ2A1GKICQ2KUZN2DXW/DSC_0465-2.jpg</image:loc>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1532565372875-UA6OJ1EX6KG0C65U8MWG/DSC_0471-2.jpg</image:loc>
      <image:title>Work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1556367578536-P9RYE57DL60LJO0JV3KK/DSC_0629.jpg</image:loc>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/e770da07-244c-4d11-830c-778d3c8cdf4c/planter.jpg</image:loc>
      <image:title>Work - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1536521711491-NF756WL0T6UKWEW47LTR/DSC_0086.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>wading in without, detail image. 2018 “wading in without is a large scale sculptural installation, utilizing cast concrete platforms as ground, for a range of fabricated and found objects. Materials and forms are withdrawn directly from a dislodged and abstracted autobiographical narrative. Utilizing the artist’s childhood home as site and source, wading in without addresses broader notions around dislocation and longing, and the enduring persistence of the human spirit.” The Chapman Gallery, Kansas State University. August-September 2018</image:caption>
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      <image:title>Work - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1420327824564-10SXQZD5539KAIYMA5JH/BrianCaponi5.jpg</image:loc>
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      <image:caption>| Taking Form |  Graduate Thesis Exhibition, Fosdick-Nelson Gallery, Alfred University. May, 2013.</image:caption>
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      <image:title>Work - collaboration with artist's daughter</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1498841058132-TG4Z8X7GPCJCEF0PRIW4/pasta-1.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>To Touch the Sky with Two Arms. Exhibition at Holding House, Detroit, MI. 2016 (detail image of recording session with artist’s family eating homemade pasta made by the artist, following the recipe of his paternal grandmother, ate off an inherited ceramic plate with contact microphone mounted underneath)</image:caption>
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      <image:caption>detail of homemade pasta over artist’s hands.</image:caption>
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      <image:caption>The Mantle, The Home, and The Window. (detail: The Mantle) framed graphite rendering of abscised tumbleweed part, framed collage of porcelain confetti, section of sheetrock from childhood bedroom, resin cast quart containers with studio detritus, collected brick from abandoned sites cast as rolled carpet the equivalent weight of one brick. 2016</image:caption>
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      <image:title>Work</image:title>
      <image:caption>The Mantle, The Home, and The Window. (detail: The Mantle) framed graphite rendering of abscised tumbleweed part, framed collage of porcelain confetti, section of sheetrock from childhood bedroom, resin cast quart containers with studio detritus, collected brick from abandoned sites cast as rolled carpet the equivalent weight of one brick. 2016  </image:caption>
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      <image:title>Work</image:title>
      <image:caption>The Mantle, The Home, and The Window. (detail: The Mantle) framed graphite rendering of abscised tumbleweed part, framed collage of porcelain confetti, section of sheetrock from childhood bedroom, resin cast quart containers with studio detritus, collected brick from abandoned sites cast as rolled carpet the equivalent weight of one brick. 2016</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1480904376760-L9RT2ROFHLYTK9KLW0KU/islandandsandbox1.jpg</image:loc>
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      <image:caption>island and sandbox. black porcelain with glaze, sheetrock, steel, concrete, paper and ink. 2016</image:caption>
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      <image:title>Work</image:title>
      <image:caption>island and sandbox. (detail) The forms were derived from casting plaster into the root cavities of temporarily removed plants in my childhood yard, and making a mold of the plaster positive. The dimensions of the table are exact to that of the island in my parents kitchen.</image:caption>
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      <image:caption>To Touch the Sky with Two Arms. Two person exhibition at Holding House, Detroit, MI 2016</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1486265032769-4USI8KHZ1V03G4KLXE6C/hh1-4.jpg</image:loc>
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      <image:caption>Holding House. Custom fabricate Porcelain Tape-Cast, Plexiglass, Sheetrock, Steel. 2016</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Found Ming Dynasty Saggar and Porcelain. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Jindezhen Porcelain with Glaze. 2017 - on going Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569727939780-52TDE7092RGLDJVAAQNK/mingthing12.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569727951274-DQWLA4TQH6D2EM9XAX2K/mingthing14.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1569727930648-424J2LRWDJEDHKLG5JWE/mingthing2.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Saggar | Form Series, Digital Print, Ming Dynasty Form overlaid in cast form. 2019 Ming Dynasty collapsed saggar and porcelain forms were collected from various sites around Jingdezhen, China, and moved through the mold making process; cast as thin porcelain versions of their former selves. Shifting form to surface, these objects touch lightly towards ideas related to dislocation, longing, and the inescapable potential of the cast off. Collapsing time and place, their glazed interiors seek to reanimate the objects as functional vessels of the present.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1571014894669-O4UQYJ9R88IOCD658244/DSC_0033.jpg</image:loc>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1480904416647-3I44HEVK5P44FMR7HOP0/innumerableutterance1.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>untitled (window series), porcelain with glaze on steel rods. 2011- on going Developed during my graduate school research 2011-2013, this work is a continuation of considerations around the permeability of space as a metaphor for form extension, and the blurred line between inside and out. Based on experiences and time living in Japan (2008-2009), the shoji screen is a catalyst and acts, like all architectural surfaces, as epidermis and intermediary between public/private, and the defined function and interpretation of a space.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1480904440542-4D8U7Q8EYSPFXHJHSNIB/innumerableutterance2.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>untitled (window series), porcelain and glaze on steel. 2011 - on going. Developed during my graduate school research 2011-2013, this work is a continuation of considerations around the permeability of space as a metaphor for form extension, and the blurred line between inside and out. Based on experiences and time living in Japan (2008-2009), the shoji screen is a catalyst and acts, like all architectural surfaces, as epidermis and intermediary between public/private, and the defined function and interpretation of a space.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744234571-BJ7FWP0AYX5F1BFWRL86/IMG_0223.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>untitled (window series), porcelain and glaze on steel. 2011 - on going. Developed during my graduate school research 2011-2013, this work is a continuation of considerations around the permeability of space as a metaphor for form extension, and the blurred line between inside and out. Based on experiences and time living in Japan (2008-2009), the shoji screen is a catalyst and acts, like all architectural surfaces, as epidermis and intermediary between public/private, and the defined function and interpretation of a space.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54a83136e4b010b9ae2d0140/1471744509007-EZWX3C83LH3ANVBNZ0OV/IMG_0225.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>untitled (window series), porcelain and glaze on steel. 2011 - on going. Developed during my graduate school research 2011-2013, this work is a continuation of considerations around the permeability of space as a metaphor for form extension, and the blurred line between inside and out. Based on experiences and time living in Japan (2008-2009), the shoji screen is a catalyst and acts, like all architectural surfaces, as epidermis and intermediary between public/private, and the defined function and interpretation of a space.</image:caption>
    </image:image>
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