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Tom NorrisUntitled (Watering Can)2024
2024
$1,544.54
£1,140
€1,333.91
CA$2,127.70
A$2,382.89
CHF 1,243.35
MX$29,106
NOK 15,819.08
SEK 14,911.38
DKK 9,954.84
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.
Norris has exhibited consistently in various spaces since his graduation in 2013 from Loughborough University. He works with both two-dimensional and three-dimensional surfaces. In a technical sense, what unites all his work is the collaging, assemblage and layering of bold pigment with abstract forms, figures and symbols rendered in calligraphic and exuberant strokes.
- Creator:Tom Norris (1990, British)
- Creation Year:2024
- Dimensions:Height: 16.93 in (43 cm)Width: 14.18 in (36 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:Seller: 34121stDibs: LU1868215088972
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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