This knowledge is a manifestation of the information that the body has gathered, conscious and unconsciously, in a reckoning with its sensory experiences, creating our sensory knowledge spaces. These spaces situate themselves like a reality extracted from science-fiction and placed into our realm to tell its version of our stories.

Camille Norment's multi-media art engages the viewer as a physical and psychological participant through architectural, optical illusory, sonic, interactive environments and objects, and drawings that are 'enlivened' by the presence of the viewer.

With emphasis on manipulating both the visual and sonic perceptual realms, Norment is occupied with the tensions created by contradictory sensory experiences. She often evokes the uncanny through her manipulation of common experiences such as looking in the mirror and not seeing a reflection, or presents sensual experiences that seek to treat the entire body as a sensory organ, such as sound that can be 'seen' or felt by the body rather than heard by the ears.
While highly concerned with aesthetic experience, the work simultaneously spans the thresholds of the social and the political.

Norment's current trajectory of work includes live performance as a mode of exploring the formal and cultural consonances and dissonances in music, freely collapsing given genre and aesthetic spectrums.

Other works repeatedly use motifs such as shadows, ghostly aspects, or reflections as a representation of the “in-between” or states of suspended transition. Ambivalent cultural memories are condensed into physical, spatial, and temporal experiences that have the hallucinatory qualities of psychological atmospheres.

Amongst several permanent public artworks, Norment was commissioned a permanent sound installation for the Henie Onstad Art Center (2011). The extensive international fine arts exhibition credits also include: exhibition and performance in the Museum of Modern Art, New York (2013); a commissioned artwork and performance for the Museum of Contemporary Art, Oslo (2012); Liste Young Art Fair (2009); the Thessaloniki Biennial, Greece (2007); Kunsthalle Bern, Switzerland; the Charlottenborg Fonden, Copenhagen, Denmark; the Santa Monica Museum of Art, Los Angeles, CA.; the Studio Museum of Harlem, New York, NY; UKS Gallery, Oslo, Norway; the Bildmuseet, in Umeå, Sweden, and radio broadcast in the Venice Biennial, Venice, Italy.

Norment’s work has been written about in periodicals such as Art Forum, Art in America, The New York Times, Kunst Kritikk, Aftenposten, a feature in The Wire Magazine, and numerous other international texts.


MOMA NIGHTS 2013 :Camille Norment and Stephen Vitiello: Shards
CamilLe Norment, glass harmonica, electronics, glass and percussion mediums; Stephen Vitiello, electronics, glass and percussion mediums. Vitiello's glass instruments were designed by Alex Hayden.

Camille Norment and Stephen Vitiello come together in a unique musical performance created for the exhibition Soundings: A Contemporary Score (opening August 10). They take glass as the central source and focus for their score and instrumentation. Glass bells, glass marimba, glass armonica, sand, water, and associated mediums are used both for their own resonant properties and as materials moving fluidly in analog and digital realms. From sand to crystal to digital technology, ethereal beauty and dissonance meet the concreteness of the contemporary soundscape. Norment’s work spans sculpture, sound, architecture, and performance, and often evokes the uncanny by manipulating common experiences; her piece Triplight will be on view in the exhibition on the third floor of the Museum. Vitiello’s primary mediums are electronic music and sound installations; visitors can encounter his work A Bell for Every Minute on the east side of the Sculpture Garden.

In conjunction with the exhibition Soundings: A Contemporary Score


credit: ArtInfo