Osman Yousefzada's 'wrapped' ceramic objects are a homage to the plastic or material wrapped items brought to the United Kingdom by Yousefzada's mother when his family immigrated from Pakistan. Their supple folds and the idiosyncrasy of the knots that tie them are cast in clay; miniature monuments to the unseen women that wrapped them. Forever unopened they embody the idea of deferred enjoyment within immigrant communities and, perhaps, the reality of never having fully 'arrived'.

Part of a series made for Yousefzada's V&A exhibition What is Seen & What is Not in 2022 these ceramics, like much of Yousefzada's practice, purposefully defy easy categorisation. Compared by Jaspar Joseph-Lester (in an accompanying essay) to the works of Christo and Jeanne-Claude, he describes how "These small cast forms might be thought of as anti-Christos in that they refuse to be defined by the material objects they appear to conceal". The viewer is less preoccupied with what lies within, than by the absent hands that wrapped, transported and deemed these hidden objects precious; by the quiet acts of agency they signified within a predominantly patriarchal space.