Adriel Barham (He/Him/His)
Studio Art major, Art History minor
This collection explores themes of value, repair, purpose, and connection through abstract sculptures. Inspired by the concept of Kintsugi, the Japanese technique for repairing broken ceramics with lacquer and gold dust, I use gilded elements to bind and connect discarded wood, industrial and scrap metal, and clay vessels manipulated beyond functionality. Subverting the idea of repair, this process gives the materials a second life and renewed sense of value without adding any practical utility.
These pieces celebrate “flaws”, transforming fractured forms into moments of beauty, appreciation, and reflection. My work process is guided by the natural tendencies of the materials, interpreting their inner forms through intimate, technical, yet unscripted labor.

Stand Tall, 2025
Japanese walnut, brass wire, plywood, spray paint, rebar
65 x 36 x 36 inches

Fault Lines (Left) and Butterfly (Right), 2025
Fault Lines: Scrap wood, brass flat stock, brass wire, rebar
48 x 24 x 12 inches
Butterfly: Cherry, brass wire, artificial gold leaf, steel mounting hardware
24 x 24 x 2 inches

Was there ever a different future?, 2024
Scrap wood, steel flat stock, threaded rod, rebar, spray paint
24 x 24 x 24 inches

New Light, 2025
Scrap wood, stoneware, black stain, rebar, steel round stock, string lights, paper towel
60 x 24 x 24 inches

Support 1 and 2, 2025
Stoneware, glaze, steel round rod, red string
5 x 8 x 5 and 24 x 24 x 24 inches

Texture series, 2025
Stoneware, glaze, black stain
Various dimensions

Studio Documentation, 2025
Various media and dimensions