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2017

UPCOMING EXHIBITIONS

New work will be exhibited at ArtJog contemporary art fair in Yogyakarta, Indonesia opening at Taman Budaya on May 19, 2017

Group exhibition opening at Galleri SE in Bergen, Norway, Fall 2017

Solo exhibition at the Carleton University Art Gallery in Ottawa, Canada opening in January 2018

Solo show at Rafius Fane Gallery in Boston, USA will open in September 2018


Now Showing

‘Restive Element’ was exhibited at Disjecta Contemporary Art Center (Portland, Oregon) in this year’s NCECA Annual Exhibition: The Evocative Garden, curated by Gail M. Brown. This piece is currently at Eutectic Gallery in Portland. Contact Brett Binford for more information.


Spring site update

Added new Galleries to the Work section:
Fierce Passenger [2015] and
The Disillusionment of the Toiler [2016]
and
Much of a Mouthful [2016]
and
Entrée: Collision [2015]


2016

In NEW YORK: Exhibition at Alfred Ceramic Art Museum, Alfred, New York


photo by Brian Oglesbee

“Much of a Mouthful”, Stoneware, glaze, found ceramics including shard by Timothy J. Berg.
This sculpture is currently on exhibition at the Alfred Ceramic Art Museum, Alfred, New York. The show is titled ‘Core Sample: Selections from the Permanent Collection’.


In CANADA: Exhibition at Harbourfront Centre, Toronto


Three of Linda’s sculptures were shown in Toronto, on exhibition at Harbourfront Centre. Canadian sculptor Steven Heinemann writes about one of the sculptures “You get me all spun up”, which he included in the 2014 exhibition Continuum of Innovation : Haystack Clay Selects, Fuller Craft Museum, Brockton, MA:

“As far as ceramics go, Linda’s work stands out not only for what it is, but what it is not. Much of the practice until the last decade or so has traded on singular forms that hold a certain calm aloofness from their surroundings (the present writer guilty as charged). But this work is restive, hungry, unfixed, and gives the impression that it may (if left unattended) overthrow the space that houses it… Linda Sormin’s insistence on making, the sheer exuberance of process and richness of materiality, sets her work apart; ultimately offering an entirely different experience for the viewer and one that substantially rewards a closer view.” —Steven Heinemann


2015


photo by Bent René Synnevåg

LINK: Linda in Bergen, Norway with Heidi Bjørgan : Collision

“After Linda Sormin’s extensive installation in The China Collection of KODE 1 Art Museums of Bergen in 2011, the large-scale work was disassembled and its component parts found new temporary homes around the city. Several of Sormin’s works and shards went to the studio of artist-curator Heidi Bjørgan who later “curated” and reused Sormin’s fragments in a series of her own works, thereby joining its authorship. A dialogue was created between the artists from this moment, which has progressed into ‘Collision’ their first duo-exhibition taking place at Entrée in Bergen, Norway.

Both artists work within the expanding field of ceramics, where they playfully take advantage of, but also confront, the norms of traditional methods. Their works are comprised of layers of day-to-day ephemera, artifacts and mass-produced ceramic objects in new and temporary makeshift structures. The installations at Entrée offer an intimate encounter with aggressive yet fragile objects.

It’s a game of borrowing, sampling and replication – giving materials a second chance, as much as exploring ideas where functionality and futility are set in play.” — Randi Grov Berger, curator


REVIEW/ESSAY: Ceramic Top Forty Review, by Anthony Merino, 2015

Originally published in the June 2015 issue of Ceramics Monthly, pages 56-59. http://www.ceramicsmonthly.org . Copyright, The American Ceramic Society. Reprinted with permission. download PDF of entire document
“Sormin invests the work with a wonderful egalitarian aesthetic, every detail, no matter how precious or common – from gold leaf or shards of blue-and-white Chinese porcelain, to ridges of bubble-gum-pink foam and coiled sprigs of clay – has the same import. The frantic density of surface, pattern, and shape created a perceived gravity, pulling the viewer into the piece. List unfolds like a fractal as the viewer peers into it, revealing more complexity and craziness.”


2014

REVIEW/ESSAY: Verging On Collapse: Linda Sormin’s Installations, by Kathleen Whitney, 2014

Originally published in December 2014 issue of Ceramics Monthly, http://www.ceramicsmonthly.org . Copyright, The American Ceramic Society. Reprinted with permission. download PDF of entire document
“Linda Sormin’s work is agile and gymnastic; it vaults from floor to ceiling grasping space and defying gravity. The quantity of parts and pieces is overwhelming, there’s enough detail to produce information overload. Heraclitus said “you can’t wade in the same river twice;” in Sormin’s installations everything changes with every shift in viewpoint, you never see the same thing twice.”


October Site update

Added a new Gallery to the Work section: Saribu Raja, Boru Parame



Seconds! Check out this new video (October 12th)

(turn up the sound!)

In CANADA: Caméléon Exhibition in Montreal:

Inaugural Virginia McClure Ceramics Biennale at Galerie McClure, 350 Victoria Avenue, Montreal
Exhibition Oct. 2 – 25, 2014.

In INDONESIA: 3rd Jakarta Ceramics Biennale

Exhibition Sept. 24 – October 13, 2014 at the National Gallery in Jakarta.

Watershed Residency

In August 2014, Linda was a guest artist at Watershed in Newcastle, Maine. Invited by Ayumi Horie, and working alongside Mikey Walsh, Tip Toland and 12 fellow artists, we explored themes of vulnerability and the psyche.

Antena Projects/SaRang Residency

Linda was an artist-in-residence in Indonesia this summer. Image of new work exhibited in Yogyakarta, hosted by Antena Projects and SaRang Building:

From September 2014 to September 2015…

FUSION Mentorship Program: Linda will be mentoring 14 local artists as they experiment and challenge their own creative practices over the coming year. The group is made up of diverse individuals working in design, sculpture, installation and pottery. Meeting every 5 weeks in Toronto for critical discussion and feedback, the group will prepare work for an exhibition in Fall 2015. For more info: Linda Sormin & Fusion, on the Sheridan Arts blog


Interview: Exploring Chaos and Fragility: An Interview with Linda Sormin, by Tracy Teagarden, 2013

excerpted with permission from pp. 120-129, Volume 6 of Shop Talk, Edinboro University of Pennsylvania [ download PDF from art.edinboro.edu ]

In addition, Shop Talk is available in printed form from Edinboro University of Pennsylvania. More info about Shop Talk

T. Teagarden:
Your work is very complex. How are you able to maintain visual clarity? How do you ensure there is order in the work when it seems so complicated?

Linda:
I don’t think I ensure there is order. Do you see that there is order? (laughs) I’m not trying to control the work visually to establish some kind of clarity. The nature of contemporary living makes it obvious to me…I want to reflect the realities of contemporary life. Things aren’t always in focus; they’re not always in proportion. So, when things are out of proportion or overextended it reflects in the kind of living that we’re experiencing.


June Site update

Added a new photo (by Owen Colborne) to the CV page & a new Gallery to the Work section: Neverhole


2013

September 6: Linda Sormin: 2013 RBC Emerging Artist Nominee


August 28: a Video hello from ‘Neverhole’ installation @ Gardiner Museum in Toronto.


August Site updates

Added two GALLERIES & a new section along with a summertime site update!
new galleries here: My voice changes when I speak your language and 3 means I’m thirsty
new section here: Writing


2012

ESSAY by Linda: Are you land or water? Love notes to buddhas or LINK: Read Linda’s essay on the Ceramics-in-the-expanded-field.com site



REVIEW/ESSAY: Slow Burn, by Glenn Adamson, 2012

excerpted with permission [ download PDF of entire document
“Sormin practices the art of the slow burn – both literally, in that each of her objects may be fired as many as seven or eight times to achieve various texture and color effects, and also figuratively, in that her sprawling installations communicate a carefully controlled fury. It is a vivid visual chamber music, in which not a single note of pragmatism, didacticism or functionalism can be heard.”


2011

Kunstpausen, #56

Lerets Magi
Opening ceremony (in Danish) and brief interviews (in English) with Linda Sormin and Matthias Kessler at gl Holtegaard, March 25, 2011



REVIEW: Lerets Magi: Ceramics in Contemporary Art, published by gl Holtegaard, 2011

excerpted with permission [ download PDF of entire document ~695kb ]
“Sormin puts the bearing capacity of ceramics to the test in thin and frail constructions. Some of her forms are determined by the clay itself as it moves during firing. She conceives works specifically for particular locations, incorporating the architecture of the exhibition space and including elements from everyday culture and the history of the place. One can set off in search of typical Danish ceramic collectibles, such as a Royal Copenhagen dish, that are contained in the work. With the aid of a gangway, the onlooker is led through a brilliantly coloured installation that focuses both on intimate details and the overwhelming spatial experience.”


Time-lapse of Linda working.



2010


LINK:
Boundary-work: Interdisciplinary Approaches in Ceramics

An article in Interpreting Ceramics, transcribed from CAA conference, Feb 2009 presentation by Linda Sormin



2009

Rift, Installation at Middlesborough Institute of Modern Art, 2009

Video Excerpt from Exhibition Opening
Linda Sormin invited MIMA curator James Beighton to approach her ceramic forms (skins of porcelain stretched over skewered earthenware grids) with a wooden hammer and chisel. These “openings” occurred six times from May – July 2009.



INTERVIEW: forage/salvage

A conversation piece with Vancouver poet, Rita Wong

Our thoughts on water and toxicities, Drawn (2009) and Salvage (2008), collaborative installation in New Orleans.

LINKS: part 1 | part 2 | part 3




REVIEW: Metaphysical Materiality by Linda Sikora, Issue 239 Sept-Oct Ceramics Review, 2009

excerpted with permission [ download PDF of entire document ~1.1mb ]
Salvage (2008), a work Linda Sormin embarked on in post-Katrina New Orleans, is more project than piece. Soliciting/encountering objects, artifacts and tales from local residents, Sormin has attempted to fit her work next to, and have her work emerge out of , a more specific cultural plot (storyline; piece of ground)… The heightened physical urgency of the work and its increasing concern with structure (dwelling) and gravity – in the broadest sense – serves to remind us of how we make our place in the world.”


2007

LINK: Interpreting Ceramics: A Research Collaboration

A View of the Field by 5 Emerging Artists. CAA panel and post-panel Discussion facilitated by Mary Drach McInnis and Walter McConnell



REVIEW: Two Views in Ceramics: Art & Perception by Diana Sherlock and Nicole Burisch, 2007

excerpted with permission [ download PDF of entire document ~215kb ]
“There are no discreet, cohesive or authentic identities within Sormin’s extreme ceramics. Each material, process and maker melts into the other – entangled in a hybrid where form and surface become one. The works are physically and conceptually provisional and unstable. Here creativity is about potentialities, a speculative utopianism that embraces chance, risk, failure and surprise.” — D. Sherlock


2005

REVIEW: The Conative Object at York Quay Gallery by Corinna Ghaznavi, Curator, 2005

excerpted with permission [ download PDF of entire document ~65kb ]
“Linda Sormin is trained as a functional potter. While she remains dedicated to the material, her process is porous and investigative. Pushing her objects beyond the function of containers or vessels, she applies traditional potting techniques only to deconstruct and then rebuild her works. Her practice is an accumulation of and speculation on material and technique: her method becomes improvisational and performative as she crafts, and as the work grows in dialogue with craft practice. What remains of the vessel is mere citation as the work expands into space and begins to explore its relation to architecture.”