Meet
Noni Kaur.

Artist, Arts Educator

Noni is interested in discovering how the body navigates sensory spaces; for example,

bringing together taste, touch, smell, and sight as a way of extending the body into a broader physical space. Her earlier work, Syn·es·the·sia (2016), adds to the process whereby cell mapping and layering become a part of the natural visual stimulus.

 

It is to evoke visual senses of the viewer, through creating a dialogue of anomalous blending of the senses. The formation of rigid, structured patterns contributes to the kinetic, sculptural pieces that have been layered with digital prints and drawings on mylar.

 

Noni’s Earlier works (glow, slick, sliver & where the wild roses grow scarlet and free) engaged patrons by attracting all senses. The body and its internal systems were evidenced by their engagement with the external environment.

 

Her current interests lie in looking at the impact of the human body on the environment. This work maps the ongoing transformation of the external world in which humans live. Uses the familiar scientific medium of the diagram and its attempt to communicate biological conditions. This work moves beyond the structures of the universality/fixed nature of didactic images. The only way that one can make diagrams fit for a changing environment is to incorporate materials or technologies that actually respond to changing conditions.

 

During the residency program, one of Noni’s goals is to collaborate and create works found in the building itself, such as spices, desiccated coconut earth, clay and other items to create a multi-sensory and multi-disciplinary work with the performative content because the public space is evidenced as a living, ever changing organism. She plans to do this in collaboration with peers, theatre groups, sculptors and fellow residents.

Noni is interested in discovering how the body navigates sensory spaces; for example,

bringing together taste, touch, smell, and sight as a way of extending the body into a broader physical space. Her earlier work, Syn·es·the·sia (2016), adds to the process whereby cell mapping and layering become a part of the natural visual stimulus.

 

It is to evoke visual senses of the viewer, through creating a dialogue of anomalous blending of the senses. The formation of rigid, structured patterns contributes to the kinetic, sculptural pieces that have been layered with digital prints and drawings on mylar.

 

Noni’s Earlier works (glow, slick, sliver & where the wild roses grow scarlet and free) engaged patrons by attracting all senses. The body and its internal systems were evidenced by their engagement with the external environment.

 

Her current interests lie in looking at the impact of the human body on the environment. This work maps the ongoing transformation of the external world in which humans live. Uses the familiar scientific medium of the diagram and its attempt to communicate biological conditions. This work moves beyond the structures of the universality/fixed nature of didactic images. The only way that one can make diagrams fit for a changing environment is to incorporate materials or technologies that actually respond to changing conditions.

 

During the residency program, one of Noni’s goals is to collaborate and create works found in the building itself, such as spices, desiccated coconut earth, clay and other items to create a multi-sensory and multi-disciplinary work with the performative content because the public space is evidenced as a living, ever changing organism. She plans to do this in collaboration with peers, theatre groups, sculptors and fellow residents.

The Small Arms Society (SAS) operates as Creative Hub 1352 at the Small Arms Inspection Building, owned and operated by the City of Mississauga.
SAS Mailing Address:

6 Helene Street North

Mississauga, ON L5E 3B2 Canada

info@SASociety.ca

www.creativehub1352.ca

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