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Tom NorrisFace Plate2025
2025
$452.85
£330
€388.84
CA$628.59
A$705.15
CHF 364.59
MX$8,504.56
NOK 4,638.30
SEK 4,344.21
DKK 2,902.09
About the Item
For Norris, making vases is a process of remembrance, of summoning, visualising and solidifying memory. Optimism and discipline are foundational aspects of his work. So too are playfulness and poetics. The signs and symbols suspended on the surface of his compositions are a visual language, the arrangement forming something like a verse. Norris strikes a contrast between hard-edged forms and loose gestures, yet there is an ease of movement between them, developed in some sense by the smooth curvature of his vessels. Indeed, they are vessels, holding for Norris a functional license and not solely an artistic purpose.
Interspersed between gestural markings of trees and foliage are hard edged blocks of colour and right angled lines, visual motifs that suggest borders and a separation of spaces. That is, we are variably positioned outside of nature and within it. Indeed, the depiction of one thing by Norris often suggests its opposite: exteriors imply interiors, mass suggests void and, on a more material level, concave vessels produce convex surfaces.
"I'm very comfortable sitting between quite large areas of colour and calling that landscape. In a sense, the colour does the work. Or it's a stand in for representation in that way. It signals towards known forms but it's also held in an abstract form."
- Tom Norris in conversation with Julius Killerby.
"Tom Norris' work, like that of many great artists, evokes different feelings and sensations for each person who views it. His style is abstracted such that the viewer is inclined, consciously or not, to superimpose their own experiences on his aesthetic matrices. There are recurring motifs; a tree, a branch, a somewhat anthropomorphised creature, subjects which, ostensibly, might convey a defined narrative or concept. In Norris' hands, however, they invite us to construct our own story."
- Jennifer Guerrini Maraldi, 2023.
Tom Norris articulates his passion for ceramics citing the vessels capacity to facilitate a hybrid exploration between object, culture and subject. Moving from the playful to the serious; from the simple to the sacrosanct, Norris presents these ideas as a layering of figuration and abstraction enveloping the surface of the vessel. At a developmental and exciting stage in his practice, Norris’s exploration of mark making hints at a narrative directed by the use of symbol, line and colour. The lack of a ‘full stop’ on the ceramic vessel allows for stories, characters and marks to make way for each other across and around his forms.
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