Kimberly Ronning is a Vancouver based ceramic artist who works in two very distinct styles. Her handbuilt pieces reference pop culture products, while her closed form wheel-thrown sculptures are informed by an exploration of Secwépemc traditions.

Leading up to her graduation from Emily Carr’s BFA program, we caught up with Kimberly to talk about the references that inspire her work and the ideas taking shape in the studio.

Q: What are 3 words your friends/family would use to describe you?

A: Creative, warm, driven.

Q: Your work pulls in pop-culture objects. What makes something feel right to include?

A: I’m drawn to objects which are instantly recognizable, things people already have seen, like familiar packaging or branding. What makes something feel right is when I can shift the meaning through humour, language and material. I often rework these objects to reflect new perspectives, like renaming them or editing the ingredients. I look for designs and colours which I want to redesign with underglazes. 

Q: You throw on the wheel and hand build to create your pieces. How do you decide between the two?

A: It usually comes down to the collection I’m working on. I wheel-throw all my closed forms and larger pieces, while I handbuild my pop-culture product collection. Handbuilding is more intuitive and you can see my hand in the work, especially when I underglaze the pieces. My closed forms incorporate rattles inside, for a sound element, which range in size, and it's quicker to build those styles on the wheel. 

Q: What’s currently on your studio playlist?

A: Top 5 lately!

  1. Tame Impala - Let it Happen
  2. Com Truise - Compress-Fuss
  3. upper class - Rave Memories
  4. Onra - Moonlit Street
  5. James Blake - Rest Of Your Life

Q: How would you describe your personal style?

A: Lately since I often go from the studio, to class, or work to everything else, I’d say my style is practical but thoughtful. I gravitate towards class shapes, but I care a lot about the details - fit, texture, materials. I like looking polished but not overdone.

Q: How does your connection to Tkʼemlúps te Secwépemc Nation inform your work?

A: My connection shows up in my work through a process of learning and reconnecting. I didn’t grow up fully immersed in all of the knowledge I’m exploring now, so my practice of ceramics and weaving has become a way of building that relationship through making. In my ongoing collection I’ve been incorporating materials like horsehair, sinew, moose tufting into my ceramics. It reflects me wanting to connect my clay practice to traditional materials and processes, to bring those elements into contemporary ceramic forms.

Q: What’s next for your practice? Anything you’ve been wanting to try but haven’t yet?

A: Right now I’m really interested in continuing to expand on large closed forms, which also act as rattles. I’m playing with the idea of sound and ceramics, and a performative aspect to activate the pieces. 

I’ve also wanted to try to emulate Interior Salish baskets in clay form. I’ve done some travel and research in NYC, Seattle and Vancouver, looking at Shuswap baskets from different Museum’s collections. In the future it could be fun to build a small collection around my research and what I saw.

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