Odundo juxtaposes her ceramic and glass works against a backdrop of 18th- and 19th-century English heritage, embedding her pieces seamlessly within Houghton Hall’s lavish Palladian interiors. Her terracotta vessels and narrative pieces, which include complex ceramic works critiquing colonialism and slavery, interact thoughtfully with the mansion’s historical elements. She employs traditional techniques like terra sigillata to craft forms that symbolize both human features while nodding to ancient artistry, integrating symbols such as a nose or a nipple to anthropomorphize her vessels. The centerpiece will be a large-scale ceramic sculpture created using historic Wedgwood molds that address themes of slavery and activism.