haptic/tacit exists to create opportunities to make, show, and explore ambitious modern craft
haptic/tacit is a collective of six artists, makers, and writers creating a series of thematically-driven exhibitions, events, and publications. Each member invites someone new to participate in each iteration, either working collaboratively, in response to one another, or because of their specific take on the subject. This approach creates an evolving network, encourages dialogue, and maintains a fresh outlook, creating a new dynamic through each distinct endeavour.
Making and storytelling are at the core of Laura’s practice; creating unusual objects that inspire and engage the imagination and encourage both fictional and historical stories.
The uncanny, the subtle sensation that things are not as they should be, is a recurring theme within Laura’s work contrasting or unexpected materials are often used to create a sense of wonder.
She frequently utilises personal and domestic items for their familiarity; this heightens the tension between the real and the unreal; concrete and illusion.
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.
Work for this show is based on the metropolis of London, a city in a constant state of flux. Brick-fronted buildings from our industrial past sit side by side with modern creations. Our Identity as a society changes with the passage of time.
Thomas Appleton works with stone. He trained formally as a letter cutter and a stonemason; his work crosses between art, design and craft, to explore our connection to stone and to champion its relevance.
The UK has a unique geology. We still use the phrase ‘set in stone’ to mark an irreversible statement of truth – carved inscriptions cannot be unmade or edited.
Thomas’s work explores the contrasts between old and new forms of communicating and sharing identity, renegotiating the role of stone in British heritage and challenging the conflation of prestige with permanence.
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.
Dr Kimberley Chandler is a London-based researcher, writer, and editor, and holds a PhD in Design and Architecture from the University of Brighton. Her particular focus is craft theory and practice, material agency, and temporality. Kimberley has worked closely with cultural institutions including the Centre of Ceramic Art at York Art Gallery, Yale Center for British Art, and Casco–Office for Art, Design and Theory, as well as with many artists and designers. She regularly writes about contemporary craft and design for publications such as Crafts, Art Jewelry Forum, Interpreting Ceramics, and 3rd Dimension, and is the former assistant editor at Ceramic Review.