Fran Norton

Literally drawing in, into and on the physical environment, my mark-making develops the interrelation of sculpture, found object and artist with the material world, and provides a means to decipher my own impulses and needs. My work arises from the multiple roles, activities and environments of my everyday life and deals with instinct, motherhood, gender, abjection and the body. For me the personal is wholly integrated with creative practice as I give tangible form to my obsessions and emotions. I aspire to have no delineation between life and work. The value of time and the implicit weight of time and effort in making is a central tenet of my practice. I laboriously control unwilling materials to create works quickly absorbed by the eye. Pared down to varnish and a few hairs, I tend to the waste hair my body has shed, my extended attention giving it new form and value. Arising from a point where my interests converge, these 'hairification' pieces derive from the maternal role of nit combing. Natural characteristics, repetitive impulses and orderly tendencies resonate throughout my visual language. Associating these with the controlled and uncontrolled, conscious and unconscious, innate and attained, led the path of my research to Neuroscience. Studying such notions, I've been concerned with what really happens, in terms of physiology and cognition, when we make or respond to art and the universality of 'art as behaviour'. Automatic intuitive traits seem amplified when limiting myself to the most basic process and product, drawing and line, a surface and a sharp instrument. I currently work with a bradawl and paper. The hand grasps the physicality of thought, turning it into subtle, highly intricate, embossed images. Both concave and convex, the intricate patterns spread and creep, territorialising the thick white paper and evolving from page to page. read full statement

Location Lyme Regis, South West