The exhibition Dearly Impossible starts with the understanding of the sublime as a combination of awe and terror. Contradiction characterizes this notion, and the ceramic sculptures in this room particularly examine the contrast of attraction and repulsion, as well as the subsequent effect of intensification. They are a visual allegory of the sublime identity of human experience. The title of the show is based on a moment of parapraxis, a Freudian slip. It highlights the impotence and inadequation (unangemessenheit*) of language to grasp the totality of consciousness. This body of work demonstrates awe as a feeling of uneasy appreciation for beauty and the systems of the world around us.