nomos, the Greek root “to wander” and “to wonder,” is an accumulation of thousands of hand-built, hollow porcelain forms. Each form has a pointed end that fits snugly into a structure attached to the wall that is made out of peg boards covered with paper, clay pigment, and backed with Styrofoam.

Each time I set up nomos, it is always a surprise to me.

Many people ask me if I have a “plan” for where the forms will go. The answer is, “Not really.” I have thousands of forms that vary in color, scale, and texture. I start with a cluster of forms that are of similar ilk (color, form, texture) and then vary the pattern similar to creating a flower bed. Even though assembling the piece is a long and arduous process, I enjoy ‘playing’ with the forms to weave together an undulating tapestry of varying color, form and texture to create movement. My hope is that the sea of tendrils creates a sensory experience that stimulates a flood of perceptions and interpretations.

nomos was first shown as part of my Master of Fine Arts exhibition at the University of Colorado, Boulder in 1995. In 1997, it was exhibited at the Barrick Museum in Las Vegas, Nevada in conjunction with the National Education for the Ceramic Arts. In the summer of 2003, nomos was shown at the Carson Masuoka Gallery in Denver, Colorado. The forth iteration was shown at the Allan Stone Gallery in New York City as part of the group show, Talent, in 2007.

For this show, I have developed numerous variations from the first large-scale wall piece: nomos(cube), nomos(core), and nomos (fold). Each configuration offers the viewer with a different way of interacting with the forms in space.

-Martha Russo, 2009

Donald Kuspit, Abstraction Without Boundaries, Artnet, November 2009

Jessie Grearson, Creating nomos, Art and Perception, December 2005, pg.45-48

Sculpture Magazine, Boulder Museum of contemporary Art
Denver Post, nomos Grabs Viewers at Carson Show
Rocky Mountain News, Lux Looms Large
Westward, Summer Breaks