Intrigued with the bleed from blue to white in these 2-D paper pieces, Shechet also noted the works’ resemblance to blue-and-white porcelain from various times and places. “I started to look at porcelains from China, Flow Blue from England, Delftware, Willowware, a vocabulary of things both Eastern and Western that I had always dismissed as boring. The idea of the bleed, and impregnation, all that was happening with the paper had a huge history in ceramics.” She decided to mold the blue-and-white pulp-paper pieces as vessels—a challenging process in which she cast the wet pulp over Hydrocal forms, fashioning paper vases (her “Once Removed” series) that she displayed atop the solid forms she used to create them. (“I had earlier come to believe the vase is a domestic form of sacred architecture,” she said.)