This exegesis proposes art as an in/hospitable space for female embodiment, drawing on manifestations of the uncanny, the shadow, and the ghostly, for which theoretical support is found in new feminist, posthumanist, and new materialist discourses. Research for this exegesis has aimed to archive and reimagine two decades of ceramic figurative sculpture practice as well as establish a new language for my practice through an expanded field of material enquiry. Attention to the sensorial field of clay is an intuitive, as well as logical step in praxis. It recasts the perception of what the ‘traditional medium’ of ceramics may have to offer, in an era in which the system of art is becoming increasingly virtual. These investigations merge an intuitive understanding of clay with medical scanning technologies, video making, studio logic, and spatial investigations. The additional use of performance, collaboration, and interdisciplinary processes has destabilised and blurred the discrete, unyielding characteristics of the ceramic canon. This allows for an expansion of the language of art’s matter beyond the thin, opaque, impenetrable surface of fired and glazed clay. Instead, porosity, as the interpenetration and interconnection between the inside and the outside of the artist’s body, has created a new understanding of female embodiment and the nature of materiality in art making.