Copyright 2016


The Scientist


Carrie Miller


Art Collector Issue 73 July-September 2015, pp.116-125

Second-rate contemporary art practices have become rich off the spoils of the liberations movements of the 60s and 70s, trading in a type of banal identity politics often dressed with the sort of expensive theory that cloaks cheap ideas. In direct contrast, Adam Norton’s work is distinguished by an intellectual rigour that doesn’t require pseudo-academic justification.

In order to comprehend Norton’s practice it is necessary to realise its indebtedness to a fundamental and ongoing curiosity with good ideas and a desire to communicate them clearly and distinctly, without artifice or obfuscation. When deciding what career he should pursue before university, Norton was tossing up between art and science. “The basic processes in art and science are similar,” explains Norton. “You propose a question and the go about trying to prove it right by attempting to make it real.” But, in the end, he realised that “scientists had to commit a whole life to very small aspects of a problem in order to add a small amount to the cannon of knowledge...I was much happier with art because you have the prospect of being able to range more freely over a number of issues and move form one medium to the next as you desire.”

This led to a degree from Oxford University’s prestigious Ruskin School of Art (which situates an art education within a broader academic context, providing students with access to other departments such as the School of Anatomy) and to an art practice committed to the pursuit of a type of conceptual and formal elegance grounded in this education. As he describes the scientific approach to art making:

“Science is a method by which the extremely complex processes of the world are broken down into fundamental elements to test how they work. Science teaches you that if it is not needed in the experiment you are conducting then it is unnecessary. I try to employ this process in my art making and whenever I realise I have been employing some artistic trick, my work usually improves if I leave it out altogether.”

Norton emphasises this connection between science and art by making science the subject matter of his art. In particular, he examines certain ideas and movements within science, particularly space science, or more precisely, these things as they are expressed in wider culture. From the depiction of cover illustrations of sci-fi books and magazines, to paintings of UFOs and an ambitious performance work titled Mars Gravity Simulator, which saw the artist undertake anti-gravity training, Norton’s works conjure nostalgic memories of a more optimistic time. And in keeping with this cool, modern theme, his practice is characterised by “a fine pulp and pop aesthetic and bold visual style,” as Will Sturrock, Gallery Manager of Gallery 9, the artist’s Sydney gallery, puts it. However, as Sturrock also points out, the “playful simplicity” of Norton’s work is precisely what allows us “to consider important ideas that quickly move beyond science to our existence and our future”.

Norton’s striving for evermore elegant expressions of a pictorial language is evident in his latest series of works where the usual subject matter - the cultural artefacts of popular science - operate less literally, instead creating a more abstract background which is juxtaposed with a foregrounded symbolic element. Typically, there is a Poppy flatness and modern colourfulness to the images, but what is even more emphasised is the trick of representation, the painted surface. This tension between the real and the represented points up the essential humanness to scientific progress. While Norton’s work is concerned with a certain moment in human history when anything seemed possible if we just put our minds to it, it is always shadowed by the darker, more anxiety-provoking side of this irrational faith in reason: the catastrophic effects of our capacity for progress. There is also a humorous, slightly absurd quality to these juxtapositions. As he explains: “Humour is a way of opening up the mind and bypassing the brain’s normal defences...The moment something becomes funny in the mind’s eye is very similar to the moment a bunch of colours and shapes coalesce into a recognisable picture. It has the same effect of cognition and seems to oil the brain a little.”

Even humour serves a purpose in Norton’s practice. Like his work, is simultaneously very serious and very funny - the right disposition for anyone concerned with our future.

William Sturrock, Gallery Manager Gallery 9
“Adam Norton approaches his studio practice with a dedication and proficiency akin to a frontier laboratory scientist. His research is thorough and his processes are meticulous but moreover, he invokes the adventurous spirit of the scientists, space explorers and writers of the twentieth century, which inspire his work. As Adam continually expands his practice further in installation, video and performance, so to do opportunities present for the general public to learn from and reflect on Adam’s fascinating work. Whether stepping inside a physically constructed military VR simulator, observing how one could survive within the confines of a wardrobe during an apocalyptic episode or watching Adam Norton himself simulate how earthlings would respond to Mars’s gravity, we all have something to learn from this artist.

“There is often curatorial and critical engagement with Adam’s performance and video works but his constructions and installation works further reveal hi range of technical prowess. Adam studied fine art at Oxford University’s Ruskin School where anatomy in the University’s dissection rooms was a course requirement. The rigours of this background inform hi highly developed and distinctive bodies of work. Adam frequently come sup in Andrew Frost’s commentary on artists whose work relates to science fiction such as Sam Leach, Philjames and Tony Lloyd and he is aptly placed in this context. Similarly to the works of these artists, refined technique draws in the viewer but their attention is held far longer by the subtle yet complex ideas about humanity, which lie in wait.”

Andrew Frost, art critic and broadcaster
Andrew Frost has long been an admirer of Adam Norton’s work, sharing with the artist a geeky preoccupation with sci-fi culture. “Adam once asked me if I would nominate key science fiction texts or films that I was influenced by and he also asked me to nominate scientific theories, which I think is a testament to the equal weight he gives to art and science or the expression of science in cultural form. His work gives form to scientific ideas as they manifest themselves in wider culture, so a lot of those paintings that are depictions of vintage book and magazine covers and illustrations become emblematic of how certain things that are taking place in science manifest themselves in wider culture...He’s done paintings of UFO sightings and he’s representing the spectral nature of something that is essentially a collective wish-fulfilment. The strange thing about those pictures is that they were never in focus.”

In relation to what appeals specifically about Norton’s practice, Frost says: “It’s partly nostalgic, it speaks to a time when all of that material was the collateral of a childhood of the 1960s and 1970s, particularly the imagery of science and science fiction. But there’s also a conceptual fascination, an anti-expressionistic practice; it claims a very precise sense of realism within the work but there’s still personality within the individual selection...It’s almost like an appropriation strategy, an aesthetic emerges form the choices made, he’s invested his appropriation with the mark of the artist’s hand, that act of claiming confers a personality to that selection.”

The Scientist


July/ September 2015

The Scientist Art Collector 2015 PDF