An Incomplete History of Pierced Vessels shows a selection of works from Coral Saucedo Lomelí’s Pierced Vessels series, alongside related research and notes. Saucedo’s clay vessels are sometimes long and tubular, other times slick and pitted. Some are interpretations of pipes and urban fixtures of her native Mexico City; turned upside down, they became drains, sieves, then sculptures, glazed and stacked like totems, broken into shards or printed onto paper. Through permeable gathered references and her own elliptical notes, Saucedo explores the meanings and functions of a vessel. The book is riddled with holes—just as important as what the text and images hold is what they let through. With introduction by Meg Miller and design by Ben Schwartz and Patrick Slack.

Coral Saucedo Lomelí’s pierced vessels began as formal experiments inspired by concrete domes on the Engineering department at the National University of Mexico City. Through this body of work, Saucedo Lomelí iterates on the formal elements of pierced vessels, questions the meaning of "vesseldom", and investigates concepts relating to sifters, colanders, membranes, and thresholds. The pieces, striking in their own right, also allude to larger ideas around collapsing systems, leaks (both material and abstract), and objects that are unable to fulfill their intended purpose. Photography by Thomas Slack.