Amina Rizwan's work deal with both personal and cultural notions that inhabit the world of objects and spaces within the domestic and public spheres, of strange familiarity and welcomed unfamiliarity. Objects as miniature and precious projections become critique of our subjective dispositions. This measures rituals and spaces which transform, expand and establish new interiority, thus defining the other-world sense of identity for her which she endorses as unmonumental. Her Graduate collection 'Unmonumental return to the table: spilling the new interiority' is a poetic utterance to how the table, materiality of objects, now debased and fragmented, acts as a perpetual trajectory, the audacious plate to constitute our very own existence. With table serving as her most profound domesticated memory, it submissively announces itself as a middle page where interior and exterior is at the vicissitudes of one's self. Interested in objects oriented ontology and the unfelt, unthinkable and unsaid spheres they occupy in the crafter's agency, Amina uses metalsmithing along with Visual Arts as a faculty for questioning and understanding her own construct of identity and self.