From Frances Palmer’s cloud study in porcelain, the Cirrus Octagonal Plate borrows its name — and its logic — from the shapely cirrus formation: diffuse, elongated, never quite fixed. The geometry is nominally strict, but softened at the edges, as though the circle had been revised rather than abandoned. Creamware lends a slight translucency, and with it, a record of the hand — present, but not overthought.