Petal & Gold

The ring begins as a small disc of raw clay, pressed and coaxed by hand until the petals remember their shape. Each ridge is a decision: how deep, how soft, how much to let the light catch. Mauve was chosen not for sentimentality but for its ambiguity, a colour that reads differently in morning sun than under candlelight. The gold edging is applied after the first firing, a thin line of metallic lustre that ties the organic form to something more ancient. In Persian decorative tradition, gilding is never mere ornament; it marks a threshold, a place where the everyday object crosses into the ceremonial. Worn on the finger, the flower sits flush and full, neither precious nor fragile in the way porcelain rings often feel. It is made to be looked at closely, and to reward that looking.