Ceramics

urban ndn ceramic collection

Kimberly Campbell Ronning

Exhibition

See it On Campus: Level 2

Collection is located on the main floor of Emily Carr University. Close to the entrance of school, near the RBC Gallery.

Visitor Info

Event

Live event: Ham on Ham Group Exhibition | May 23, 4:00 PM

Ham on Ham Exhibition. Opening Group Show dates: May 23 - June 11 Opening Reception: May 23, 4pm-8pm Location: Kasko Gallery [560 Clark Drive]

View Event

urban NDN is a ceramic body of work developed between 2025 – 2026 which explores identity, humour, and reclamation through consumer objects. Drawing from recognizable food packaging and branding, the work reimagines products that have historically used Indigenous imagery. Through subtle edits in language, design, and material, their meanings are shifted and redefined.

By renaming and altering popular packaging the pieces invite viewers in through recognition, then asks them to look closer. Small changes in names, ingredients and details reveal layered meanings. This collection also introduces original, self-authored products that celebrate personal references of family, places and memory.

The project was rooted in research, learning and pride, Urban NDN approaches these topics with humour, joy and care. The final work uses ceramics as way to reframe meanings — creating space for reconnection and exploration of cultural identity.

Kimberly Campbell Ronning

Kimberly Campell Ronning lives and works in Vancouver and holds a Bachelor of Fine Arts from Emily Carr University of Art + Design. She was the recipient of the 2025 BC Arts Council Award and the 2025 YVR Art Foundation Bill McLennan Masterpiece Study Grant. She is a member of the Tk̓emlúps te Secwépemc Nation and works primarily in ceramics.

Her work engages pop-culture and product references, recontextualizing familiarimagery through an unique lens. By merging recognizable branding and visual languages connected to Indigenous identity, her work considers authorship, visibility and reclamation.

Alongside this, her practice explores hand-built and wheel-thrown ceramic closed forms which emphasize sound, space and containment. She incorporates Indigenous materials and processes such as horsehair, moose tufting and sinew to the final pieces. Through material explorations, she engages in a self-directed process of cultural learning, using clay to explore materials, knowledge and personal reconnection.