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BY KIM NORTON
I am a trained ceramicist but increasingly I find that I am not rooted within ceramics. My practice more frequently encompasses other materials, while adhering to my core focus on process, space, geology and environment. Collaboration is pivotal to my practice because it fosters new conversations and working methodologies.
A large part of my interdisciplinary practice involves project led work, working site- specifically, exploring scale and making work that focuses on how we interact with spaces and the impact these works have on the human senses. Making and contemporary craft processes underpin this.
It has now become almost ritualistic for me to carry small bags and a marker pen whilst visiting new locations with the intention of mindfully collecting a small sample of local soil. It could be from an upturned tree, road works, the edge of farmland. I only ever remove small pieces to minimise disruption.
This process began in 2017 as a soil archive or material library that solely existed for my own reference, but it quickly became evident whilst increasing in size that what was emerging was an evolutionary piece of work.
Where each object reveals a small part of a place in relation to its geological topography.
Currently comprising of over 160 small pieces this collection of work will continue to grow over time. To date soils have been collected from across Europe, North America, Asia and the UK. Along with a series of notes outlining the location, soil type and quantity, some pieces have been mixed into porcelain and any local clays can exist without a stabilising body.
Image Credits - Kim Norton
1) Soil Library 1
2) Copper Mine in Anglesey, Wales
3) Soil Library 3
4) Soil Library 2
5) Somerset Shale
I am a trained ceramicist but increasingly I find that I am not rooted within ceramics. My practice more frequently encompasses other materials, while adhering to my core focus on process, space, geology and environment. Collaboration is pivotal to my practice because it fosters new conversations and working methodologies.
A large part of my interdisciplinary practice involves project led work, working site- specifically, exploring scale and making work that focuses on how we interact with spaces and the impact these works have on the human senses. Making and contemporary craft processes underpin this.
It has now become almost ritualistic for me to carry small bags and a marker pen whilst visiting new locations with the intention of mindfully collecting a small sample of local soil. It could be from an upturned tree, road works, the edge of farmland. I only ever remove small pieces to minimise disruption.
This process began in 2017 as a soil archive or material library that solely existed for my own reference, but it quickly became evident whilst increasing in size that what was emerging was an evolutionary piece of work.
Where each object reveals a small part of a place in relation to its geological topography.
Currently comprising of over 160 small pieces this collection of work will continue to grow over time. To date soils have been collected from across Europe, North America, Asia and the UK. Along with a series of notes outlining the location, soil type and quantity, some pieces have been mixed into porcelain and any local clays can exist without a stabilising body.
Image Credits - Kim Norton
1) Soil Library 1
2) Copper Mine in Anglesey, Wales
3) Soil Library 3
4) Soil Library 2
5) Somerset Shale
Kim Norton is trained in ceramic design her work encompasses ideas based around materiality, geology and place. Interested in how we react and interact with spaces and forms particularly within an exterior context.
BY KIM NORTON
I am a trained ceramicist but increasingly I find that I am not rooted within ceramics. My practice more frequently encompasses other materials, while adhering to my core focus on process, space, geology and environment. Collaboration is pivotal to my practice because it fosters new conversations and working methodologies.
A large part of my interdisciplinary practice involves project led work, working site- specifically, exploring scale and making work that focuses on how we interact with spaces and the impact these works have on the human senses. Making and contemporary craft processes underpin this.
It has now become almost ritualistic for me to carry small bags and a marker pen whilst visiting new locations with the intention of mindfully collecting a small sample of local soil. It could be from an upturned tree, road works, the edge of farmland. I only ever remove small pieces to minimise disruption.
This process began in 2017 as a soil archive or material library that solely existed for my own reference, but it quickly became evident whilst increasing in size that what was emerging was an evolutionary piece of work.
Where each object reveals a small part of a place in relation to its geological topography.
Currently comprising of over 160 small pieces this collection of work will continue to grow over time. To date soils have been collected from across Europe, North America, Asia and the UK. Along with a series of notes outlining the location, soil type and quantity, some pieces have been mixed into porcelain and any local clays can exist without a stabilising body.
Image Credits - Kim Norton
1) Soil Library 1
2) Copper Mine in Anglesey, Wales
3) Soil Library 3
4) Soil Library 2
5) Somerset Shale
I am a trained ceramicist but increasingly I find that I am not rooted within ceramics. My practice more frequently encompasses other materials, while adhering to my core focus on process, space, geology and environment. Collaboration is pivotal to my practice because it fosters new conversations and working methodologies.
A large part of my interdisciplinary practice involves project led work, working site- specifically, exploring scale and making work that focuses on how we interact with spaces and the impact these works have on the human senses. Making and contemporary craft processes underpin this.
It has now become almost ritualistic for me to carry small bags and a marker pen whilst visiting new locations with the intention of mindfully collecting a small sample of local soil. It could be from an upturned tree, road works, the edge of farmland. I only ever remove small pieces to minimise disruption.
This process began in 2017 as a soil archive or material library that solely existed for my own reference, but it quickly became evident whilst increasing in size that what was emerging was an evolutionary piece of work.
Where each object reveals a small part of a place in relation to its geological topography.
Currently comprising of over 160 small pieces this collection of work will continue to grow over time. To date soils have been collected from across Europe, North America, Asia and the UK. Along with a series of notes outlining the location, soil type and quantity, some pieces have been mixed into porcelain and any local clays can exist without a stabilising body.
Image Credits - Kim Norton
1) Soil Library 1
2) Copper Mine in Anglesey, Wales
3) Soil Library 3
4) Soil Library 2
5) Somerset Shale
Kim Norton is trained in ceramic design her work encompasses ideas based around materiality, geology and place. Interested in how we react and interact with spaces and forms particularly within an exterior context.
BY KIM NORTON
I am a trained ceramicist but increasingly I find that I am not rooted within ceramics. My practice more frequently encompasses other materials, while adhering to my core focus on process, space, geology and environment. Collaboration is pivotal to my practice because it fosters new conversations and working methodologies.
A large part of my interdisciplinary practice involves project led work, working site- specifically, exploring scale and making work that focuses on how we interact with spaces and the impact these works have on the human senses. Making and contemporary craft processes underpin this.
It has now become almost ritualistic for me to carry small bags and a marker pen whilst visiting new locations with the intention of mindfully collecting a small sample of local soil. It could be from an upturned tree, road works, the edge of farmland. I only ever remove small pieces to minimise disruption.
This process began in 2017 as a soil archive or material library that solely existed for my own reference, but it quickly became evident whilst increasing in size that what was emerging was an evolutionary piece of work.
Where each object reveals a small part of a place in relation to its geological topography.
Currently comprising of over 160 small pieces this collection of work will continue to grow over time. To date soils have been collected from across Europe, North America, Asia and the UK. Along with a series of notes outlining the location, soil type and quantity, some pieces have been mixed into porcelain and any local clays can exist without a stabilising body.
Image Credits - Kim Norton
1) Soil Library 1
2) Copper Mine in Anglesey, Wales
3) Soil Library 3
4) Soil Library 2
5) Somerset Shale
I am a trained ceramicist but increasingly I find that I am not rooted within ceramics. My practice more frequently encompasses other materials, while adhering to my core focus on process, space, geology and environment. Collaboration is pivotal to my practice because it fosters new conversations and working methodologies.
A large part of my interdisciplinary practice involves project led work, working site- specifically, exploring scale and making work that focuses on how we interact with spaces and the impact these works have on the human senses. Making and contemporary craft processes underpin this.
It has now become almost ritualistic for me to carry small bags and a marker pen whilst visiting new locations with the intention of mindfully collecting a small sample of local soil. It could be from an upturned tree, road works, the edge of farmland. I only ever remove small pieces to minimise disruption.
This process began in 2017 as a soil archive or material library that solely existed for my own reference, but it quickly became evident whilst increasing in size that what was emerging was an evolutionary piece of work.
Where each object reveals a small part of a place in relation to its geological topography.
Currently comprising of over 160 small pieces this collection of work will continue to grow over time. To date soils have been collected from across Europe, North America, Asia and the UK. Along with a series of notes outlining the location, soil type and quantity, some pieces have been mixed into porcelain and any local clays can exist without a stabilising body.
Image Credits - Kim Norton
1) Soil Library 1
2) Copper Mine in Anglesey, Wales
3) Soil Library 3
4) Soil Library 2
5) Somerset Shale
Kim Norton is trained in ceramic design her work encompasses ideas based around materiality, geology and place. Interested in how we react and interact with spaces and forms particularly within an exterior context.
BY KIM NORTON
I am a trained ceramicist but increasingly I find that I am not rooted within ceramics. My practice more frequently encompasses other materials, while adhering to my core focus on process, space, geology and environment. Collaboration is pivotal to my practice because it fosters new conversations and working methodologies.
A large part of my interdisciplinary practice involves project led work, working site- specifically, exploring scale and making work that focuses on how we interact with spaces and the impact these works have on the human senses. Making and contemporary craft processes underpin this.
It has now become almost ritualistic for me to carry small bags and a marker pen whilst visiting new locations with the intention of mindfully collecting a small sample of local soil. It could be from an upturned tree, road works, the edge of farmland. I only ever remove small pieces to minimise disruption.
This process began in 2017 as a soil archive or material library that solely existed for my own reference, but it quickly became evident whilst increasing in size that what was emerging was an evolutionary piece of work.
Where each object reveals a small part of a place in relation to its geological topography.
Currently comprising of over 160 small pieces this collection of work will continue to grow over time. To date soils have been collected from across Europe, North America, Asia and the UK. Along with a series of notes outlining the location, soil type and quantity, some pieces have been mixed into porcelain and any local clays can exist without a stabilising body.
Image Credits - Kim Norton
1) Soil Library 1
2) Copper Mine in Anglesey, Wales
3) Soil Library 3
4) Soil Library 2
5) Somerset Shale
I am a trained ceramicist but increasingly I find that I am not rooted within ceramics. My practice more frequently encompasses other materials, while adhering to my core focus on process, space, geology and environment. Collaboration is pivotal to my practice because it fosters new conversations and working methodologies.
A large part of my interdisciplinary practice involves project led work, working site- specifically, exploring scale and making work that focuses on how we interact with spaces and the impact these works have on the human senses. Making and contemporary craft processes underpin this.
It has now become almost ritualistic for me to carry small bags and a marker pen whilst visiting new locations with the intention of mindfully collecting a small sample of local soil. It could be from an upturned tree, road works, the edge of farmland. I only ever remove small pieces to minimise disruption.
This process began in 2017 as a soil archive or material library that solely existed for my own reference, but it quickly became evident whilst increasing in size that what was emerging was an evolutionary piece of work.
Where each object reveals a small part of a place in relation to its geological topography.
Currently comprising of over 160 small pieces this collection of work will continue to grow over time. To date soils have been collected from across Europe, North America, Asia and the UK. Along with a series of notes outlining the location, soil type and quantity, some pieces have been mixed into porcelain and any local clays can exist without a stabilising body.
Image Credits - Kim Norton
1) Soil Library 1
2) Copper Mine in Anglesey, Wales
3) Soil Library 3
4) Soil Library 2
5) Somerset Shale
Kim Norton is trained in ceramic design her work encompasses ideas based around materiality, geology and place. Interested in how we react and interact with spaces and forms particularly within an exterior context.