Chulucanas ware is made backwards from how most decoration works. The potter paddles a round body out of Piura desert clay, burnishes it with a river stone, slips it bone-white, bisques it, then paints liquid clay over the whole thing and rubs that resist away exactly where black is wanted. Mango leaves smoke the pot two to four times. When the hardened resist peels off, the pattern is standing there as a pale negative in a glossy black field.

This system carries that logic into a page. The background is the fired vessel wall — warm reduction black with a rolling burnished sheen. Every light shape is understood as something removed, laid in horizontal registers around forms that swell rather than square off.