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.
haptic/tacit are:
Kim Norton
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
Jane Cairns’ work is about recognising a quiet beauty in the ordinary, the unnoticed and the overlooked.
Living in the city this is often found in apparently insignificant details of the built environment and the urban edgelands – the negative space on a wall where something has been removed, the sculptural qualities of abandoned industrial objects, weathered surfaces marked with wear, traces of things gone.
Using processes and materials that allow for an element of chance – mono-printing from textured plaster with slips and clay or layering glazes that will react with each other – her ceramics play with a balance of unexpected variance and creative control.
Grant Aston
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.