A ubiquitous material often understood as utilitarian and three-dimensional, the assumption of ceramic as best suited to function offers opportunity for exploration. Hamilton’s interest in creating what he calls “ceramics about ceramics” doubles as a form of self-portraiture, often including scenes of his native Midwestern landscapes, Western art influences, and personal objects from his childhood. The history and perceptions of ceramics are not lost on Hamilton, who in turn abstracts the notion of materiality itself. A Sucker for the Souvenir pairs Gustav Hamilton’s adept craftsmanship with an open ending inquiry into the nature of the “real,” simultaneously introspective and fun loving.