Ball (Broken/Naked) presents a perfectly spherical ceramic form fractured and exposed, its polished glaze surface interrupted by a deliberate rupture that invites the eye inward. Measuring just over eight inches in each direction, the work operates at an intimate, body-conscious scale that rewards close looking. The smoothness of the exterior, earned through considerable physical labor, intensifies the tension of the break, suggesting both vulnerability and defiance simultaneously. Nevine Mahmoud trained at Goldsmiths College in London before completing her MFA at the University of Southern California in 2014, and her practice has since been shaped by a consistent preoccupation with the charged relationship between viewer and object, between surface and interior, between the idealized form and what lies beneath it. Mahmoud's broader body of work draws on art history's long tradition of objectifying the female body, and she responds to that tradition not through abstraction or distance but through a kind of literal reclamation. By embedding allusions to female anatomy within everyday objects and sculptural forms, she transforms the logic of objectification from the inside out, making the object itself a site of agency rather than passivity. Ball (Broken/Naked) participates fully in that project. The title's parenthetical pairing of two adjectives carries weight: nakedness here is not exposure for the pleasure of an outside gaze but a condition the object claims on its own terms. The ceramic medium, with its associations of craft, fragility, and the handmade, amplifies the intimacy of that gesture. Mahmoud's work has been presented at the Yuz Museum in Shanghai, the Museum of Contemporary Art Los Angeles, and the Centre Régional d'Art Contemporain Occitane in Sète, France, among other significant institutional venues, and this piece represents a particularly distilled expression of the tensions that define her practice.