Kayt Hughes
I’m a North West-based artist, arts producer, curator and educator. My work focuses on the sensory – informed by my synaesthesia – creating a unique understanding of sound, shape, texture, colour, and mass.
I’m a North West-based artist, arts producer, curator and educator. My work focuses on the sensory – informed by my synaesthesia – creating a unique understanding of sound, shape, texture, colour, and mass.
Thinking About Artist-Producing
Thinking About Artist-Producing is an interview between myself and Curator/Writer Lesley Taker. It attempts to navigate the conversations I had as an Artist/Producer around my DYCP and to capture the current view of my practice at the end of a development grant. Estimated Reading Time: 10 Minutes
Thinking About Sonic Objects - Studio Composition Summer 2024
Thinking About Sonic Objects - “bang” “thud”
Manchester Artist Teachers Collective
Artful Publication
Balance, Stack, Play
Balance, Stack, Play
Block Studies
My Five Year Old Could Have Done That
In Cahoots
Thinking About Sonic Objects - Studio Composition Summer 2024
Using ceramics and sound, Kayt explores her experience of synaesthesia, where sounds are experienced as shape, colour, texture and forms. Her current focus looks at the processes of transmutation and the connections between non-verbal communications and object-making: particularly around neurodivergent sensory techniques like stimming.
The ceramic works have been made using handbuilding and slip casting techniques, each holding the gestures and traces of their making processes. Glazes and underglazes are used to capture subtle tone and texture of each piece. This series of sculptures is presented alongside two related audio works, created from hydrophone, contact microphone, and directional microphone recordings. These recordings capture the various stages of working with clay, from its liquid state as slip to its final form as fired ceramic.
Thinking About Sonic Objects draws upon Kayt’s practices as both an artist and producer. Her work navigates the politics of understanding to explore how communication happens outside of language, and the importance of finding alternative routes to create and share knowledge.
This period of development and the exhibition has been supported using public funding by Arts Council England.
PhotThinking About Sonic Objects - “bang” “thud”
Using ceramics and sound, Kayt explores her experience of synaesthesia, where sounds are experienced as shape, colour, texture and forms. Her current focus looks at the processes of transmutation and the connections between non-verbal communications and object-making: particularly around neurodivergent sensory techniques like stimming.
The ceramic works have been made using handbuilding and slip casting techniques, each holding the gestures and traces of their making processes. Glazes and underglazes are used to capture subtle tone and texture of each piece. This series of sculptures is presented alongside two related audio works, created from hydrophone, contact microphone, and directional microphone recordings. These recordings capture the various stages of working with clay, from its liquid state as slip to its final form as fired ceramic.
Thinking About Sonic Objects draws upon Kayt’s practices as both an artist and producer. Her work navigates the politics of understanding to explore how communication happens outside of language, and the importance of finding alternative routes to create and share knowledge.
This period of development and the exhibition has been supported using public funding by Arts Council England.