With their thin walls of translucent porcelain and flat, linear decoration, Bodil Manz’s cylinders work as containers for light. While apparently fragile, each defines its own space with clarity and a surprising strength of material. To build this architecture of containment, Manz floats planes of flat colour on her vessels’ inner and outer surfaces, exploiting the material’s translucency so their shadows inflect each other, creating interplay between contained and delineated volume. With her use of thin black line and the colours used in Japanese lacquer and woodblock prints, Manz refers to the architecture of the traditional Japanese interior, where lacquered and translucent panels slide past each other in a theatre of concealment. In this rather different way, her orchestration of graphic composition on the essential whiteness of her material reflects back on the pervasive influence of Japanese art and design on Danish porcelain from the late nineteenth century.