Christina Nafziger

Christina Nafziger: When did you begin experimenting with ceramics? Can you tell us about your process working with clay? PepiErdbories:I began working with ceramics in early 2024, when I started creating my Love Letter Sculptures. The idea itself had been with me much longer though—the first Love Letter series was made from paper, and at some point I wanted to rethink that and create something that didn't exist in that form yet. Here I also followed my inner creative voice, and that led me to clay.

How has your work at The Waiting Room shaped your approach to art-making and your understanding of being an artist? Right now, I feel energized by the ability to contribute to my community in a direct way. Earlier in my career, I struggled to find opportunities to show my work and often felt isolated. Curating became a way to create space for artists at similar stages, people taking risks, trying new ideas, and navigating their first exhibitions.

Can a gallery be a creative practice? Can an art piece be an exhibition, an art space? Imagine for a moment that art making has no boundaries. Instead, an artist’s practice is boundless, free from constraint of form, medium, or even function. Now let’s consider the artist-run space, which offers a unique opportunity to get a glimpse of what an art space can accomplish if approached as a piece of art.