Magdalene Odundo draws inspiration from the ritual and spiritual role of ceramics in some African cultures, such as Ga’anda society in Nigeria where vessels “can become embodiments that might allow for spiritual intervention or release.”. The addition of a small navel-like bump on the surface of the vessel seems to allude to a pregnant female body, which can itself be seen as a vessel or container, with a promise of new life and a healing power. Odundo’s vessels also draw on her love of dance, striking a balance between stillness and movement. In her words, pots like this “are just on tip toe and have momentarily stopped.”.