This work originates from the discovery of an envelope labeled "house objects," which contained hundreds of fragmented photographs of the inventory of a family china set. My work begins by embracing the external gesture of carefully photographing the china, breaking the images into pieces, and abandoning them in the street. I then link this gesture to my own: finding the fragments and carefully reassembling them in an act of restoration, evoking kintsugi (an Eastern philosophy of repairing broken ceramics with a resin and gold powder mixture in the cracks). In this case, what unites the fragments is a simple paperclip, underscoring the fragility of the union and its provisional nature.