haptic/tacit is a collective of artists, makers, and writers that creates opportunities to make, show, and explore ambitious modern craft through a series of thematically-driven exhibitions, events, and publications.
For each iteration each participating member invites someone new to be involved, either working collaboratively, in response to one another, or due to their specific take on the subject. This approach creates an evolving network of makers, encourages dialogue, and maintains a fresh outlook, creating a new dynamic through each distinct endeavour.
Kim Norton is trained in Ceramics. A large part of her practice involves working site specifically, exploring scale and making work that impacts the human senses and how we interact with spaces.
Materiality is key to the way Kim approaches projects, with an interest in using materials from the locality in their raw state to draw attention to, or reimagine, something that can often be regarded as unimportant or ordinary.
This can range from soils, clays, brick or pigments.
Jane Cairns works in response to her surroundings, the ordinary and everyday of urban life, where she finds an accidental poetry that is often overlooked. Her aim is to translate some of what she sees and to allow others to share the quiet beauty she finds in these humble things.
Jane takes an experimental approach to ceramic processes and materials to create objects with surfaces that apparently carry the traces of time or reflect the colours and textures of neglect.
Grant Aston’s work is informed by biology and architecture; the material we are made from and the societies we build around us.
Methods of construction hold a powerful intrigue for him, slip oozing from the clay elements to emphasise the joints, repurposed furniture clamped and pegged into place. His energetic pieces have a paradoxical sense of intransigence and malleability, an assemblage of industrial shapes combined with those from the body.
Kimberley Chandler is a London-based design researcher, writer, and editor. She recently completed her AHRC-funded PhD studentship at the University of Brighton, UK, and is the former assistant editor at Ceramic Review.
She is currently working as a freelance researcher for York Art Gallery (YAG) on a collection of Lucie Rie’s ceramic buttons made in the 1940s and ?50s, which will form the basis for an exhibition at YAG in 2018