Thomas Norris BA, MA
My approach to art making takes on features that sit between the vernacular of the everyday and balances them with specific readings of art history and cultural production. Creating ideas that juxtapose the high and low, past and present, made and found. Replication is at the centre of my artistic practice. Specifically, the process, methodology and technology of replication. This method supports a form of rethinking, reimagining and adapting roles of objects and images. This has allowed me to understand material and object as a way of connecting to something outside of our initial understanding. Contributing to the critic and discourse between materiality and meaning.
The commonplace and everyday are suspended by a system of interactions between their own agency, site and the correlations found and given by our nature. The work finds traction at a point between an object’s ontologies and the agreements of material culture.
Questioning the role of things and how they present themselves as objects acts as a catalyst for most of the art I produce and engage with. How this resonates as a semiotic, aesthetic and poetic force in our lives has impacted the critic and reception of art history. Contemplating the value of objects in our lives and in the past allows us think about the layers that make up meaning. This in my opinion is vital in understanding our personal and collective reality.
The notion of value and taste is spoken through rarity or popularity (ubiquity). There is curiosity in this position and leads towards a world of connectivity, intersubjectivity and hybridity. These are experienced through the language of familiarities, in things and places both actually and speculatively by us and through things. By behaving as a collector and a maker I can assemble and present works that stage a temporality toward their accumulation.
The Hybrid, is the inaudible logic of the contemporary condition. It details our experience in mostly all areas of our lives; from the things we interact with to the languages we speak. My work has physical intersections with features that either complexify, sound out or unfetter where boundary and category meet. The subjects of the historical or classical intersect within a multitude of institutions and provide a logic for how I am re-contextualising them by placement or adjustment. The encounter of artifice is out of context to its origin and my interaction with this stems a new reality. I like to think of this as a collaborative process with all the institutions in which my art work touches upon.
Cultural iconography, past and present, recurrently feed into the ubiquitous domestic setting of our lives. Artistic style feeds into architectural detail and so on. Society could be said to be reflected in the things it produces. However, there is sort of two-way mirror effect in this experience.
This mongrel collective of ideas and materials form both the serious and comedic and argues a playful, idiosyncratic position as an artist. Through the lens of post -digital sculpture and replicative technology present an elective range of cowboy assemblies. The sum of the work is an investigation made up of grouping and ungrouping the things sometimes overlooked or perhaps too close to draw in detail. What is the apparatus to material culture?