Can you start by introducing yourself and sharing an overview of your artistic practice?
My name is Kim Norton I’m an artist and gardener and I live in south east London.
I’d describe my practice as multi-disciplinary where craft practices and clay unpins what I do. But will use other materials where required.
I often make human scale spatial environments, that encourages the viewer to enter into both physically and emotionally.
What led you to explore ceramics? Was there a specific moment or inspiration that sparked your interest in working with clay?
I began working with clay during my art foundation course. Although I found myself sitting between fine art sculpture and ceramics.
I decided that I really wanted to pursue my understanding of clay as a material and hone my knowledge.
Then I’d be in a better position to take that material knowledge forward in multiple directions.
Having the opportunity to see the landmark ceramics exhibition curated by Alison Britton and Martina Margetts The Raw and The Cooked whilst invigilating at the museum of modern art in Oxford in 1993 really solidified my fascination for clay even more.
Did you receive formal training in ceramics? Where do you typically find inspiration for your art? Are there specific locations or experiences that have directly inspired your work for Edgelands?
I studied BA hons in Three-dimensional Design ceramics at Surrey institute of art and design (Farnham) and MA Design in ceramics at Central Saint Martins.
This particular piece of work has been a direct follow on from my residency at Stuart Road allotments in south east London last year.
My practice usually encompasses themes around place, material, geology and time.
Can you walk us through your creative process, from concept to completion? Where do you create your work? Could you share a bit about your studio or workspace?
I will always begin with reading.
I find I need something, however small, to be able to hinge the entire work on. As an immediate starting point.
Site can often lead the work depending on whether I’m making a site-specific piece.
Photography is another integral part of the research then I usually gather those thoughts and images into small photo books into different themes or prominent strands. This enables me to extract information quickly as the work begins to progress.
Alongside these processes I’ll be making notes and sketches at the same time as making. Once the making begins, I usually make small elements often not really knowing where I’m going some of these pieces will be used in the final work others will remain as test pieces.
I make many components that will eventually fit together but that slowly evolves it’s not planned this comes together over time and I don’t usually fully understand how it will work until I’m installing in the space
Some pieces will find their way into other works and components will often be reused into other installations.
Do you have preferred techniques or materials you work with in ceramics? What draws you to these approaches?
I love using porcelain for its temperamental nature and the way it reacts to colour and texture.
And the polar opposite heavily grogged black clay for its weight and presence.
The two clay bodies look exquisite together.
I also use a lot of soil and London clay in both fired and unfired states.
I’ve always been a hand builder and usually begin forms as a solid then remove material by carving.
That way I can create different thicknesses and weights as I go along.
I do tend to use what I consider to be the most appropriate materials for each project. My main consideration when building is how I can achieve a human scale work without the weight that easily accumulates with clay.
Therefore, wood and plant materials canvas and fabric have all been used in previous work. To create the backbone of the structure or form then the clay or ceramic elements fit in and around that.
Where do you create your work? Could you share a bit about your studio or workspace.
My studio is at the bottom of the garden. On entering it appears to be part studio, greenhouse and lab. where seedlings maybe sprouting next the main glass doors and a collection of different woods and branches leaning up against the wall. Whilst smaller ceramic pieces are dotted around. It’s certainly not a space that’s easy to read in terms of final finished work.
There are three distinct areas. The back is where the kiln resides.
There’s a main making space and a smaller space at the front with a desk and drawing board. It enables me to fluidly move from space to space whilst juggling wet and dry work.
How would you describe the pieces you’ll be exhibiting at County Hall Pottery Gallery? What do you hope viewers take away from them?
I would describe this as a spatial work that captures a moment in time.
It’s titled plot: Winter dormancy.
In its immediate visual chaos and what appears to be clutter is nature setting itself up to burst back into life.
It’s creating the perfect environment for new growth and to take a moment to appreciate the importance of winter a season of quiet stillness harbouring the next seasons regeneration
All the plant materials used within this work have come from the allotment or my own garden. The large lime branch came from my mum’s garden in Oxfordshire.
London clay has also been collected from the allotment and is shown in all states from unfired to low and high fired. Processed and unprocessed.
I’m inviting people to look and really observe.
In the hope that they can sit and spend some time with the work.
What are you currently working on? Are there any upcoming projects or exhibitions we should look forward to?
I’m about to begin a project titled Tonau with Welsh poet Laura Wainwright and artist Jane Ponsford for Oriel Myrddin in Carmarthen Wales for next year.
Looking at the richness of geological colour and material culture within Wales.
We are dividing each piece of work into chapters and Laura will be responding to the work made, through the written and spoken word.
View the price list for the artwork Kim Norton is displaying and available to purchase in our Edgelands exhibition here, and follow Kim on Instagram here!
To take part in a County Hall Pottery exhibition or to speak to the team, please email gallery@countyhallpottery.com.