Linda Sormin

Linda Sormin looking up at hanging installation artwork

Linda Sormin’s ceramic and mixed media sculptures and site-responsive installations embody vulnerable and fragmented parts of human experience. “Linda Sormin: Uncertain Ground” a mid-career solo museum exhibition is currently at the Gardiner Museum in Toronto (November 6, 2025 - April 12, 2026). Recent exhibitions include “Stream” a large scale installation in Ceramics in the Expanded Field: Sculpture, Performance and the Possibilities of Clay at MASS MoCA, North Adams, MA, (2021-23), and “Boru Sibaso Paet, on the foam of the primordial sea” at the Museum of Fine Arts, Boston, MA (2023). Sormin lives and works in New York City.

Since the early 2000’s, Sormin has established a distinct visual and material language, using raw clay, fired ceramics, found objects, and interactive methods. She integrates writing, video, sound and hand cut paintings with clay, metal, textiles, and wood.  Their work has always been influenced – though at times unwittingly – by cultural practices in family histories rooted in Thailand, China, and Indonesia. They have taught at leading art schools, including Emily Carr University, RISD, Sheridan College, Alfred University, and New York University, where she is a tenured Professor of Studio Art (2019-present). She holds a BA in English Literature (Andrews University, 1993), a Diploma in Craft and Design (Sheridan College, 2001) and an MFA in Ceramic Art (Alfred University, 2003). 

Sormin’s work is included in private and public collections including the permanent collections of the Museum of Fine Arts Boston (Boston, MA, USA), Renwick Gallery at the Smithsonian American Art Museum (Washington, DC, USA), Gardiner Museum (Toronto, ON, Canada), CLAY Museum of Ceramic Art (Middelfart, Denmark), Everson Museum of Art (Syracuse, NY, USA), and Alfred Ceramic Art Museum (Alfred, NY, USA).

Interview via Gardiner Museum, Toronto, Canada. Video edited by Emmet Koudis.

Linda Sormin

“Clay streams above and veers past, willing me to compromise, to give ground. I roll and pinch the thing into place; I collect and lay offerings at its feet. This architecture melts and leans, hoards objects in its folds. Forms lurch, dare you to approach, space collapses with the brush of a hand.

Nothing is thrown away - this immigrant lives in fear of waste. Old yoghurt starts a new batch. Images glitch and flow. What is worth risking for things to get juicy, rare, ripe? What might be discovered on the verge of things going bad?”

Selected Press

A Distinctly Canadian Ethos

Studio Magazine, Mary-Beth Laviolette

2022

This Present Moment: Crafting a Better World

Smithsonian American Art Museum, Mary Savig with Nora Atkinson and Anya Montiel

2022

At Mass MoCA, ceramic art proves its power

Boston Globe, Murray Whyte

2021

Brooklyn Rail, Chenoa Baker

2026

Linda Sormin: at the Edge of Capacity

Ceramic Art + Perception, Natalie Baerselman le Gros

2023

Ceramic, Art and Civilisation

Bloomsbury Visual Arts, Paul Greenhalgh

2021