Katherine Glenday lives and works in her Kalk Bay studio (Cape Town) and exhibits all around the world. The material, imaginary, and interpersonal resonances of porcelain have remained central to Glenday’s practice since the early 1980s. Formally and conceptually emphasising the porousness of borders and skins, the artist’s vessels defy categorisation. They extend into the most translucent edges of what we think porcelain should be able to do and are continuously coming into being in the blur between “the sacred” and the kitchen sink – both impossibly perfect and always just about to shatter. The artist has alternatively described her use of porcelain as “painting with light” – the lightwaves, the sea in Kalk Bay, and the waves of sound and silence too. Although defined by multiple voices and material resonances across four decades, Glenday’s practice might still be described as strongly autobiographical. In moths, light and resonance, we encounter a porous narrating of the Self in relationship. A sense of the plurality at the border becomes most apparent in Glenday’s dual companion series of black and white-winged porcelain vessels. Described as sentries – the black moth sentries and white-winged ones – they are sometimes like angels, sometimes like creatures emerging from the mist. Patrolling the border as it evaporates, the artist presses out the skin of “the divine feminine” and insists on its re-articulation as unearthly.