We live in a disposable world, where few things can survive short attention span. I bring life back into people's loved but damaged items through Kintsugi. It is a 500 years old Japanese way to repair ceramics, imbuing them with greater beauty and value. It employs a special tree sap with gold to highlight repairs instead of hiding. It has been used exclusively on Asian ceramics. Through my work, I expand the traditional notions of kintsugi to include ceramics from all cultures and ages while pushing the boundaries of acceptable creative skills and materials. In modern world, we have worked to identify and perfect the purchases, collections, or creations, often broken imperfect works, and hiding objects seen as having diminished value. This pull toward perfection affects our relationship with the “things” in our daily lives while impacting our actions and interpretations of lives, experiences, and notions of how these are evaluated. My work as an artist asks us to reconsider our focus on the uniform and ideal and to imagine what is lost when we use perfection as a filter for appreciation. I bring attention to the flaws, inconsistencies, and imperfections that show the marks of time, use, and experience which imbue objects and lives with beauty, character, and vitality. The point of imperfection in the object, whether cracked during firing, chipped through use, or broken by the potter out of dissatisfaction, becomes the source for the collaboration and reinvention of the work.