Yuro Moniz turned to clay in 2018 after working across fashion, music, film and production. Her contemporary craft practice centres on hand-building vessels and monumental objects, drawing on traditional techniques such as Korean Onggi and Japanese Shigaraki.

As a self-taught maker, Moniz approaches craft as a living archive, passed down through hands, materials and generations. Weaving traditional techniques into dialogue with her Dutch-Surinamese heritage, she explores the relationship between material, cultural memory and the human experience. Working without a wheel, she employs ancestral coiling methods to construct forms that retain the physical traces of their making, embodying time, labour and touch.

Her practice extends beyond the making of objects, investigating craft as a means of preserving knowledge and connecting generations.