These drawings represent a continued reflection upon ‘sympathetic vibration’ as a contagion for hysteria, and the dissonant attraction and repulsion of magnetism.  They relate to the scarring of the individual mind and body, to the cyclical historical scaring of socio-cultural phenomena.  

•  

  READ MORE +

  Tones that are abrasive or sound out of tune, social tensions and traumas, even magnets that refuse to connect to one another can all constitute states of dissonance. Dissonance can be described as an unresolved space, a state of instability, but one that is also constantly shifting, and open for new possibilities.

  This series of drawings made with iron filings drawn with magnets show simple forms, some reminiscent of music notation sheets, waveforms, or signal-noise. The work often repeats the logical, but closed system of Western music notation–a system in which “extra musicality” is denied entry–as a symbolic motif. Some of the drawings manifest themselves in the shape of a scar, giving them a bodily reference. While a wound is a trauma or separation, the scar is what reconstitutes a whole. In Norment’s schema these scars are signifiers of dissonance–a transformation from noise, violence and a wound. Dissonance in this way, becomes about healing, and the scar the trace of an event. In the face of current anxieties, there is also the question of the re-opening historical scars.

  
  
  

  EXHIBITED

  2016.  Pushkin Museum. Moscow, Russia.

  2017.  Oslo Kunstforeningen.  Oslo, Norway.