There are gestures the body learns before language – to turn toward, to reach, to hold. Holding Pattern traces those gestures in silver, bringing together seven objects that translate orientation into form. Here, a holding pattern is an enforced loop: the act of sustaining form under shifting conditions – an attempt to hold amid movement, a rhythm held under tension, relation as structure.

Across the collection, holding functions as both action and condition: holding time, holding tension, holding another, holding on. Each piece captures an ephemeral, embodied gesture and transcribes it into metal, mapping different states of holding – from gravitational tension and interrupted orbit to devotion, stillness, and abandonment. The work considers orientation as both spatial and emotional, questioning how direction and repetition structure intimacy and how holding is articulated in space – how bodies turn toward one another, circle, fixate, and turn away. Movement and stillness are co-existing forces – motion without escape, freedom constrained within a pattern, direction and destination blurred.

All works in Holding Pattern take the form of rings. Here, the ring functions as a site of embodied orientation rather than ornament; an intimate architecture that binds the body into relation. Through the repetition of form, different orientations emerge through weight, proportion, and surface. High-polish finishes register abstraction, denial, and performance, while brushed and eroded surfaces hold memory, touch, and impact. Together, they render orientation and disorientation tangible.

Holding Pattern exists in a continuous state of suspension – devotion without release, pressure without resolution. The rings do not mark resolution, but the experience of coming into alignment and losing it: coordinates of intimacy, faith, and refusal, held in the small gravity of the hand.