Pernilla Norrman

Ceramicist

A homage to the brick

Pernilla’s pieces reflect on time and change
She has a strong personal connection with the wild clay she works with
Her making process can include up to six firings

Pernilla Norrman's journey with clay began in her twenties with an evening ceramics class in 1996. What started as a hobby soon became a deep and consuming passion. By 2001, she had finished her training and opened her own studio, producing functional ceramics to provide a stable income. In parallel to this, she channelled her creative energy into exploring wild clay from a historic brickyard hidden in the woods of Skåne, Sweden, now reclaimed by nature. "This place is only accessible after a lengthy walk through the forest," explains Pernilla. Her work embodies her careful process and deep personal bond with the clay she laboriously extracts from the muddy grounds. From single vessels to expansive art installations, Pernilla’s work transcends mere objects, serving as evocative narratives of time and transformation.

Interview

Can you explain what the abandoned brickyard is?: In the 19th century, a brick factory used the clay-rich soil there. Armed with a spade and buckets, I visit the place once or twice a year to collect clay. I experience a strong bodily presence through this hard physical work, but also a deepened connection to the cyclic permanence of nature, and the transience of human society.
What do people usually not know about brick?: In my area, there used to be many brick factories and nearly all brick buildings from the medieval era to the industrial 1960s contain local clays in different nuances. I encourage people to examine these local brick buildings and experience the beauty of this material.
What is the connection you see between horses and clay?: When I started working with clay, I discovered a profound sense of fulfillment reminiscent of the joy I experienced while working with horses in my youth. Both connections resonate deeply with me, revealing their shared qualities: both clay and horses require attentive presence, responsiveness, and a delicate balance of sensitivity and resolve.
How do you process and fire wild clay?: Initially, I clean the clay only lightly, allowing organic elements to ignite during firing, which enhances the texture and colour of the raw ceramic surface. I fire the wild clay at approximately 1050°C, sometimes up to six times to get deeper shades, each firing altering the patina. Glaze is used sparingly and applied with careful intention.

Pernilla Norrman is an expert artisan: she began her career in 2001