irvin asks ceramic questions, working with(out) clay as a question: how is clay, as presence and orientation? How is clay reverberating (in)tangible, (in)visible, abrupt, constant, forceful, frictional, flowing, whispered, ongoing, shared, inherited, or singular? How does/is clay perform/ing/ed, inviting bodies and boundaries to emerge and dissolve?  What traces of relation does clay hold within its porous structure (archive and threshold), where intimacy layers, and bodies seep across material and deep time? How might we orient our attention to urgencies and memories of clay? How is clay a way to (not)know? Asking ceramic questions orients where or how irvin (re)turns their attention founded on their relation to clay. Ceramic practice is story and approach (method), storytelling. What kinds of stories may clay share? Ceramic questions rely on movements of narrating, feeling, receiving, and sharing again by (not)touching with material. irvin’s practice is co-motional togetherness. Ways of (not)knowing with clay informs relations with other material bodies. Toilet paper squares share stories of tiling. Mattresses share stories of intimacy indexed in yellowing. irvin wonders with clay’s materiality, attuning them to the porosity of boundaries, scores, and material bodies, leaky alternatives to approaching exclusionary space or lines drawn. irvin wriggles through these spaces of access, possibilities for creativity. Sometimes, they work within these spaces to break barriers from within. This is an iterative and performative process of reimagining and reforming, responding to fractures and reconfigurations, indexing fingers and tongues – movement and language. irvin’s fingerprint is shared with the clay and clay is shared with their fingerprint at affective registers, remembering and archiving relation passed on as the clay is fired.