Known for her tactile sculptures and room encompassing fabric installations which gained international attention in the 1990s, Beverly Semmes has continuously pushed the boundaries of traditional mediums to create works that transmit a provocative polysemous discourse. Ceramic pots have long been a constant in her work as these sculptural forms are often integrated into her large-scale installations and referenced in her painted works. Acknowledging the art-historical significance of the vessel, the artist plays into the metaphor of vessel as body, and in the case of Beverly Semmes, specifically the female body. The hand of the artist is ever-present in Shinnecock Pot #4 and Shinnecock Pot #5 with these vibrant red forms acting as a challenge to the viewer to consider both material history and the future of ceramics.