Making/Building Utility and Relevance : Works are rooted in the physical world.

 

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https://www.flickr.com/photos/russellmoreton/

Elective Affinities.

Tate, Liverpool.

Penelope Curtis.

The Liveliness of Materials.

The nature of our involvement is crucial as we begin to select our meanings, as we have to also begin to exercise personal choice. 

The starting point for this exhibition was to find art which involved the spectator, an spectator immediately and which makes the body the bridge between the art and the spectator.

Using works that elicit a reaction from us based on physical recognition.

Engendering affinities both psychological and philosophical, much of the meaning in our world relates either actually or metaphorically to the body.

Creating art works that set up a network of psychological allusion.

Drawings, maps, lists, doodles, photographs, paintings, collages,scribblings and drafts, which are the secret and unformed property of the artist. These are not to be seen as artworks so much as the wild-eyed and compulsive superstructure that bears the song or book or script along. They are a support system of manic tangential information. 

What you see in this book lives in the intricate world constructed around the songs, and which the songs inhabit. To me these pieces have a different creative energy to the formed works, they are raw and immediate, but no less compelling.

Stranger Than Kindness.

Nick Cave.

Properties do not reside in objects, they are between objects.

Objects are such only with respect to other objects, they are nodes where bridges meet.

Intimate Everyday Notations.

A Book Of Days.

Patti Smith.

The 'works' evoke a physical affinity that sets up a complicity in which the viewer is implicated in the work.

The possibility of identification with the 'works' is frequently assured by their liveliness.

Fundamental to this art is the fact that its viewers stand in front of it and physical experience is highlighted or becomes part of its conceptual framework.

A photographic skin neither dead or alive, it is the blemished surface which gives the work a fragility.

Ultimately it is the ambiguity of this photographic flesh, its skin of visual tenderness that is most unsettling.

This phantasmal world of quanta is our world.

Speculative Experiential Formwork.

The Nature of Matter/Liveliness of Materials.

The Primal Level of Physical Being.

The Order Of Time.

Helgoland.

Carlo Rovelli.

Cyanotype Process and Concepts of Practice.

Technically the work is more in line with that of the photogram. It is used to record light and shadow from a specific site, through the use of intermediaries, stencils and their movements across the duration of daylight.

Conceptually the use of the cyanotype process historically references architectural blueprints and the proofing of early photographic procedures.

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The Artist's Reality

Philosophies of Art

Mark Rothko, 1940-41.

Without question the work I  found as incomplete and in places, frustratingly obscure, but it was a book, and a substantial one. It was clearly written as a volume, its contents speaking to a public rather than constituting an artist's private musings

Christopher Rothko, 2004.

The Artist's Dilemma

Art as a Natural Biological Function

Art as a Form of Action

The Integrity of the Plastic Process

Art, Reality, and Sensuality

Particularization and Generalization

Genalization since the Renaissance

Emotional and Dramatic Impressionism

Objective Impressionism

Plasticity

Space

Beauty

Naturalism

Subject and Subject Matter

The Myth

The Attempted Myth of Today

Primitive Civilizations Influence on Modern Art

Modern Art

Primitivism

Indigenous Art

Rembrandt discovered that his patrons were not interested in his plastic preoccupations with light when he painted The Night Watch, and that they preferred the obvious illustrative gifts of his contemporaries and followers. Monet and Cezanne discovered the same, watching Sargent and the exhibitors at the academy sell far inferior goods, succeeding because they adopted the French masters' method in its superficial aspects, while including enough familiarity so that the spectator revelled in the familiar while he was talking about the unfamiliar.

Things and Bodies/Shifting Signs

The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.

Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.

Time is persistently liminal, a suspended, extended present.

Mattering/Mutability,Accident, Flux

Experience/Existence/Presence 

Life Drawing/Staging Oneself/Others

Body in Space/Resilience,Endures

Organism-Person-Environment

Haptic slippages/propositions between subject and object, human and non human, between what is alive and what is animate.

Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.

Drawing is not the form; it is the way of seeing the form.

Edgar Degas.

The human figure, like any animated object is alive. Even when in a seemingly static position- whether sitting or lying- it is actually in constant motion. To capture this fundamental fact, which makes the body profoundly different from a statue or a mannequin, one must learn to see both its physical structure and its actions in space.

Daniela Brambilla.

Between seeing and drawing, what is felt, hidden, made rendering visible.

Blindness, searching, instants marking the barely known phenomena between organism, person and environment.

The searching and reflexive nature of drawing, a questioning through the performative social body, and its perceptual spatial agency and with materials, environments and others.

Human Figure Drawing

Drawing Gestures, Postures and Movements.

Daniela Brambilla, 2014.

With a series of curved lines drawn quickly, without lifting the pencil from the paper, in a loose way and almost without looking away from the subject, identify the lines that make up not the outside, the external contour or the details, but the morphological whole of the figure at that precise moment- in a certain sense the internal engine, a synthesis between intentions and actions, between mind and body.

To achieve this result draw around the form's centre and at the same time beyond it, without defining volumes with closed lines.

Gesture

Seeing Contours

Superposition

Interior and Exterior

Proportions

Modelling

What It Isn't

Memory

Balance

Techniques

Light and Shadow

Chiaroscuro

Viewpoint

What to Say?

Movements of the Soul

The Forms of Age

The Sketchbook

Imagination

If you have learnt to write, you will also learn how to draw. The manual skill is the same; you are just changing your way of seeing and feeling. To understand the meaning of this statement, ask yourself:

 “Where am I when I am drawing?”

Thinking Bodies : Deleuze and Guattari's becoming-woman

Nicole Dawson, 2008.

Deleuze and Guattari have argued that we cannot reach outside of a dualistic conceptualization of human bodies simply by seeking to transcend or bypass it. They contend: “The only way to get outside the dualism is to be-between, to pass between, the intermezzo”. We  do not get past or move beyond the dualism. This is not a successive stage of progression. The dualism is a conceptual event whose historical and contemporary activity gives rise to consequences that cannot be invalidated or ignored, thus, the situation is not such that we put the dualism behind us, move on or forward as if unaffected. The only place to go, to move, if we are to get outside the dualism is between: “one must pass ...through binaries, not in order to reproduce them but to find terms and modes that befuddle their operations, connections that demonstrate the impossibility of their binarization, terms, relations, and practices that link the binarily opposed terms”.

A Thousand Plateaus : Capitalism and Schizophrenia, Deleuze and Guattari.

Volatile Bodies : Towards a Corporeal Feminism, Elizabeth Grosz.

 

Circulating Objects/Assemblages : Making Spaces/Creative Strategies

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Occupant Spatial Relations 

Sites centred around interactions of creative practice and architectural theories of making spaces.

Architecture understood as a collection of collective parts.

A diagrammatic art of lived abstraction and lived-in abstraction.

A space for inhabiting experience.

Attention to material : Architecture as the excitement of building/dwelling/becoming

An inhabiting event is the medium of architecture.

Garden : Spatial Markers/Bodies/Paths.

Spatial Practices : Human Bodies/Spatial Bodies. Tate Modern. #7

Zuzana Kovar, notes that the shortcoming of Tschumi's event is that while it introduces a processional understanding of architecture and mobilizes the body in space, space it self remains static.

Equation becomes a spatial assemblage for occurrences.

For Deleuze, an 'assemblage' extends the understanding between bodies and spaces.

Program is determinate.

Event is indeterminate.

A program gives a fixed outcome, a fixed spatial experience. An event does not, critically the 'notion of event' is that it activates potentialities. Each space, may be thought of as composed of multiple singular potentialities that lay dormant, unless activated. 

All spaces contain multiple potentialities.

Event Is Not Program.

There is no architecture without actions, no architecture without events, no architecture without program.

Architecture=Space + Event.

Tschumi.

Program is to be distinguished from 'event', a program is a determinate set of expected occurrences, a list of required utilities often based on social behavior, habit or custom. In contrast events occur as an indeterminate set of outcomes, revealing hidden potentialities or contradictions in a program and relating them to a particularly appropriate (or possibly exceptional) spatial configuration that may create conditions for unexpected events to occur.

Generating uncommon or unpredictable events through particular spatial configurations of the in-between.

Abject(ion) Studio Space.

Subjectivity/Spatial Bodies.

Discursive Objects/Architectural Occurrences/Resonances.

Assemblages, fired, raw pigments, paint, chalk, wax, plaster. 

The Enabling Constraint.

Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits.

Erin Manning.

Ceramics Speculative/Exploratory Practices.

New Ceramic Forms of Research/Theoretical Objects.

Creating physical origins/entities : Correlations of Utility and Relevance.

 Outpost 111122

https://www.flickr.com/photos/russellmoreton/

Creating physical origins.

Biology of Cognition.

We become observers through recursively generating representations of our interactions, and by interacting with several representations simultaneously we generate relations with the representations of which we can then interact and repeat this process recursively, thus remaining in a domain of interactions always larger than that of the representations.

We become self-conscious through self-observation; by making descriptions of ourselves (representations), and by interacting with our descriptions we can describe ourselves describing ourselves, in an endless recursive process.

Autopoiesis and Cognition.

The Realization of The Living. 1970.

Humberto R. Maturana.

Francisco J. Varela.

For Niels Bohr,

Nature is richer than our metaphysical prejudices, it has more imagination than we do.

The well defined and solid picture of the world given by the old physics is an illusion.

Meaningful Information : Utility and Relevance.

Natural systems rooted in the physical world.

Correlations that care both physical but also intentional.

Relative information is generated by the interactions that weave the world.

The organism cares about its relevant relative information, it connects between something internal and something else generally external, 

Helgoland.

Carlo Rovelli.

The Minds Eye

Bridget Riley.

POETICS/ARCHITECTURE.

Effective Correlations : Architectural Body.

Recasting/Reconfiguring Life.

Madeline Gins and Arakawa. 2002. 

Drawing Apparatuses: OUTPOST 2022.

Daylight observed, spatial exposures and tracked blueprints.

Intermediaries induce space between (relations) object and process, they create, set in motion diffractive phenomena.

Deconstruction, removal and revealing of objects by taking away, an archaeological process of context sheets to reference a layered and exploratory removal of material.

SPAB Shotesham Working Party.

An attitude to historical buildings.

Well-being within the preservation and social agency of what remains of the building.

Working with lime, soft capping, clay lump, flintwork.

The ruin, its tower and the early church in the landscape.

Wayfinding/Shelters/Involuntary Remains/Sculptural Outcrops. Exposed Architectural Fragments.

Lime/Flint a plastic architecture, a fabric made up of instances of building gathered from the locality.

The 'lift-line' and the shuttering and infilling of flint-work, prior to the whitewash render finish.

Undifferentiated Landscapes.

A Field of Earth.

Jean Dubuffer.

Dubuffer used a plasterer's technique, in which walls are coated using shaken branches instead of loaded trowels. He applied many layers, scattered substances such as sand and other materials, the mortar was scratched, poked and prodded until it gave the impressions of teeming matter, alive and sparkling, he could then use it to evoke all kinds of indeterminate textures, even galaxies and nebula.

Earth Colours.

CHROMAPHILIA.

A mortar of mixed material, of added soil, ash, gravels and other earth elements added to this viscous paste.

Anthropology, a study of what remains from  human societies, rituals and artefacts.

A contemporary art/architecture that takes on anthropological and sociological concerns.

The sensorial realm of practical making, learning and well-being through the hapticity of craft.

Mobility-Movement-Being Alive.

Tim Ingold.

Red Kiln 

Hebden Bridge, 2007.

Refurbish, new fibre lining, ceramic fibre adhesive, fire cement, gas burners.

Re-locate and re-assemble for larger architectural ceramics.

Outpost Members

Submit archive material. 

Anglian Potters.

Demo day with Rebecca Appleby.

Creative explorations of concept, media and scale.

An Artist Who Uses Clay As Her Medium.

In 2019 Rebecca started a new body of work titled 'Graces' which was of great significance and helped her to re-ground her practice in sculptural exploration of symbolic relationship between architecture, industrial and bodily transfiguration. 

In 2021 Rebecca was awarded a grant from the Arts Council to take risks and connect with a broader network and audiences, enriching and invigorating her career.

Interested in Order-Chaos-Impermanence, philosophical concepts addressing change.

Influenced by ceramists Gordon Baldwin, David Roberts.

Work/Making/Exhibition Titles

Urban Traces/Fragments/Translations.

Ceramics and The City.

Palimpsest. 

Fractures/Personal Trauma.

Concrete Cancer.

Ceramic sculptural works derived from Painting, Collage and Drawing.

Research material around abstract painting and architectural de-construction.

Ashraf Hanna, clay body, 55% mixed molochites.

Handbuilt slab forms fired to 1180 degrees centrigrade.

Monoprinting with slips on newsprint, underglazing, body oxide washes,  paper stencils, scratched, sprayed, and incised mark making. 

Scaffolds/Tentative Architectures : Drawing Architectural Surrounds

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Making/Building made indeterminate through a retention/questioning of a framework and the insertion of an event that introduces a slippage/deviation of that of a framed outcome.

Bernard Tschumi. (equation as a provisional framework)

Tentative/Processual Architectures. 

Arakawa and Gins.

Lucy Orta.

Shortcomings of Phenomenological Thought.

One places oneself at the centre, designates oneself, measures oneself and uses oneself as a measure. One is in short a 'subject' and space is a projection of oneself or its counterpart, that it is defined therefore not in its own right, but in relation to the subject. Space, my space is not the context of which I constitute the 'textuality' instead it is first of all my body and then it is my body's counterpart or other, its mirror-image or shadow. It is the shifting intersection between that which touches, penetrates, threatens or benefits my body on the one hand and all other bodies on the other. This maintains the boundaries between body and space, subject and object.

Henri Lefebvre.

Phenomenology always stops at boundaries, at the boundary of the body, which is precisely where abject(ion) continues beyond. It is because phenomenology concerns the lived body rather than bodies in a plural and more general sense that it is a discussion of wholes rather than transitions and exchanges unable to accommodate volatile processes.

Inhabitations : Cultures Of Melting Snow.

The In-Between.

There is no room for the in-between, no way to describe exchanges between entities and the effect of those exchanges. All is static and no cannot as Francois Jullien wrote of Plato, think of the snow in the process of melting. One can only think of either snow or water, but never the process of change.

Abject(ion) Architectures of Process, with brings to the fore interrelated areas of Relational Architecture and Emergent Phenomena.

Architecture in Abjective(Abject (ion) States of Subjectivity.

Frameworks/Scaffolding.

Affective Matter/Mattering.

Kovar turns to Abjection a concept developed by Julia Kristeva, abjection-abject(ion) is both process and product, and can hold a discussion of the transgression of borders. It concerns anything that crosses the symbolic, anything that is expelled literally or figuratively, and that is necessary to keep at bay in order for subjectivity to prevail, issuing from abject(ion) is therefore a threat to our subjectivity, a threat to the boundary between Subject-Object/Body-Space.

Expanding on the processual and material nature of abject(ion), such an undertaking begins with Event and is rounded off with discussions of Affect and Matter.

Zuzana Kovar.

A Disclaimer.

Following Deleuze this book is interested in what 'Abject(ion)' does, rather than what it is.

Drawing (at times) on aspects of the same theory, Kristeva is interested in the disruption of psychological boundaries and Deleuze who deals with both psychological and physical boundaries. Through Deleuze we are able to engage with abject(ion) more holistically.

This book is not concerned with making 'abject' architecture, that is making buildings with abject matter. But is rather concerned with developing ways of thinking about bodies, spaces, and the relations within and between these through the lens of abject(ion).

Architecture in abject(ion) promotes an interest revealed by a sensibility that favours theory and textual practice over images and objects, and goes towards explaining why illustrations of examples referred to throughtout are withheld.

Project 3.1

Body aject(ion) space: A collection of contracts.

The Contracts is the collective name given to a series of projects that explore the notion of abject(ion) as event. Critically, The Contracts are not only explorations (as accommodated by Tschumi), bur also spatial events (as accommodated by Deleuze), and hence the architecture that is defined by the interplay of these events. Given the centrality to this book of the simultaneous abject(ion) of human bodies and spatial bodies, and the indiscernibility in which this results, The  Contracts have come to span a period of three years, hence establishing themselves as the most developed body of work included here.

Architecture in Abjection.

Bodies-Spaces-and Their Relations.

Zuzana Kovar.

A Species of Spaces.

Reclaimations, between a desk and a skip.

Russell Coates.

Archive Mappings/Concerns : Lines/Linkages/Nodes/Points/Intersections.

Architectural Constructs/Events into Material/Making.

Abject (ion) : Affective Resonances/Matter : Clay+Ceramic.

Vessels/Voids/Making from folded spaces.

The simple issues of attending to the material.

Re-Casting Matter, not 'materials'.

Becoming mindful of 'materials' and their 'hylomorphic tendencies'.

Clay retains transitions and exchanges, collects up discrete entities/symbols/inscriptions, places them into volatile spaces/processes of change .

Questioning Subjectivity : Fluidity of matter/material out of place.

The Cinema of Catherine Breillat.

The Process of Abject(ion).

In critical theory, abjection is the state of being cast off and separated from norms and rules, especially on the scale of society and morality. The term has been explored in post-structuralism as that which inherently disturbs conventional identity and cultural concepts. Julia Kristeva explored an influential and formative overview of the concept in her 1980 work Powers of Horror: An Essay on Abjection, where she describes subjective horror (abjection) as the feeling when an individual experiences or is confronted by the sheer experience of what Kristeva calls one's typically repressed "corporeal reality", or an intrusion of the Real in the Symbolic Order.

The process of a body excreting from within itself. A transition between inside and outside, a disruption of physical and psychological boundaries of the still prevalent understanding of body as subject and space as object.

A moment of indiscernibility, the result of which is the product of repulsion, the abject and where body, space and abject become an ambiguity, ranging in intensity from subtle gestures to confronting actions immersed in the viscosity of our leaky bodies.

Making Processual Paths Of Volatility : Ceramics

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Intricate Local Behaviours : Conversations/Correspondences between unrelated entities.

Lines. (Making/Thinking/Matter/Material)

Tim Ingold

What Is Art ?

Joseph Beuys.

I find it interesting that you say that this stool or box speaks to you, whereas this floor, as you said, doesn't. A similar thing happens to me, and I ask myself: What is this due to, the fact that it doesn't speak to me, or only a little? It makes me think that these ready-made things, this precision, actually compels me to behave in a particular way, not just these things here, but also a certain window, or a specific type of architecture that is very fixed very straight, that derives from something very thought out; this compels me to live or behave in a similar way,

Volker Harlan.

Beuys: Yes, right, exactly; in other words, this lives (points to the box) while the other (points to the floor) is dead. The first doesn't force itself on you, the other continually forces itself on you.

Thinking Processual.

Resistance/Viability : Mapping/Living

Meaning that it is not so much a matter of crossing boundaries, but rather a matter of open-endedness. A place where boundaries have become diluted and single figures are already coupled or heterogeneous figures (in the case of Bacon, man-animal).

Kovar/Deleuze.

The Architecture of Abjection.

The Logic of Sensation.

Working From Simple Things/Gestures/Materials.

https://www.flickr.com/photos/russellmoreton/

Theoretical Movements in Clay+Ceramics.

The Circular/Elliptical Matter/Mattering of Things.

Gathering/Pouring/Manifolds : Forms of Thinking. 

Events.

Arte Povera.

The Way, without demarcation, rather a way of viability by which the continuum of life is renewed.

The Philosophy of Living.

Francois Jullien.

The Quiet Mind :  Silently without resistance

(Sound of barking) Do you listen to that dog? Wait, wait. Silently? Listen to it completely silently, which means without any resistance, without any irritation, just listen to it. When you listen quietly there is no resistance, there is no irritation, you do not identify yourself with the dog and the barking of it, your mind is quiet.

Meditation

The meaning of that word is to measure, basically (for oneself).

https://www.krishnamurti.org/transcript/in-meditation-there-is-no-direction/#:~:text=One%20must%20be%20wholly%20and,is%20vain,%20full%20of%20confidence

Human Bodies/Spatial Bodies.

Kounellis/Opera, interventions, unscripted by workmen, bodies on trolleys. 

Penone, wooden frame, human body, empty frame installed in a stream.

Beuys, accumulator, clay balls, wires, simple sturdy wooden table.

Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits.

The Enabling Constraint. 

Erin Manning.

Visual Art Practice. 2024

Whether abject(ion) issues forth from a human body, a space or any other entity, it sets the whole world in motion and instigates a chain of exchanges.

In 'becoming' for Deleuze and Guattari we form a multiplicitous assemblage where individual elements are blurred, and together begin to act as a kind of whole. But a whole that is not fixed, as the assemblage also has a side facing a BwO which is continually dismantling the organism.

Through abject(ion) the smells, textures and physical forms of our body space and this excrement leaking out, become fused together. We become part of the space: the space becomes a part of us.

Abject(ion) re-configure the body and space physically through the transference of matter.

Architecture Without Organs (BwO)

The BwO is in fact produced as a whole, but a whole alongside the parts. A whole that does not unify or totalize them. But that is added to them like a new, really distinct part.

Deleuze and Guattari.

BwO plays a role in the notion of an open subjectivity. Kovar asks, are or how are abject(ion) and BwO related, and how might this relation be played out in architecture?

The BwO for Deleuze and Guattari is a concept that uses the virtual dimensions of the body as a set of potentialities that may be activated through becoming, importantly it is a body, understood as process that is continually constructing and deconstructing connections. 

To speak of process and the continual construction and deconstruction of connections is to implicate numerous entities between which these connections are made and therefore speak of heterogeneity.

Open Subjectivities.

Unmaking The Human Body/Subject.

Blurring the boundaries between interior and exterior.

Translucent assemblages are all that are left from the transparency/clarity of the morning that will soon dissipate.

Reliquaries of Light and Darkness.

Bodies, spatial and human in transitional movements. 

The Sacred and The Medical Body.

The Hospital Room.

The Killing of a Sacred Deer.

Cronos.

 

Clay/Working/Learning/Making.

Working in Clay and Fire /Mapping Resistance and Viability.

City of Orion, ceramic objects in the landscape.

Raveningham Sculpture Trail. 2024

Ceramic works investigating the relationship of water to the human body and the architectural body of interior spaces.

Water at The Hungate, Norwich. 2023

Exhibitions with Anglian Potters.

Ferini Gallery, Lowestoft. 5

Undercroft, Norwich. 4

All Saints, Cambridge. 2

2019-2024.

Revisited Contemporary Ceramics

Things of Beauty Growing.

The Fitzwilliam Museum. 2018

Anglian Potters. 2018

Teaching Sessions, throwing/handbuilding.

Brockwood Park School. 2012-2015

Speculative Clay Workshop/Walking in the Landscape.

Teaching Academy, Brockwood Park School. 2011

Raku Firings.

St Ninian's Cave.

Scotland. 2013

Bodyscapes, raw clay installations.

Chapel Arts Studios, Andover. 2010

The Yard, Winchester. 2009 

Contemporary Craft Ceramics. 2004-2006 

Life Drawing/Sculpture, figurative/abstractions in clay. 1996-2002

Dexterity Crafts.

Potter throwing domestic pottery.

Walton on the Hill. 1985

Ceramics, architecturally influenced vessels in slab and thrown processes.

Epsom College of Art and Design. 1981-1984

Industrial Pottery experience.

Grayshott Pottery. 1979-1981

Studio Pottery experience. 

The Hop Kiln Pottery. 1978

A Level Ceramics.

Farnham Sixth Form. 1976-1978

Readings of Movement and Attention : Slow Philosophy/Clay/Ecology of Material Thinking

Land Forms/Architectures from marking movement.

Clay, Greenware. Studio Space.

Orange School Graph Books 

Harleston 2020-2021

https://www.flickr.com/photos/russellmoreton/

A Species of Spaces

The Social Turn

Museum Site and Display

Political Philosophy

Makers work in a world that does not stand still

Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations

Tim Ingold 2010

The social life of making

Making speaks in vivid dialogue with two associated themes, material and skill

Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve 

Making becomes a process of iteration, and a maker works with this iteration prolifically 

Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force

Vibrant Matter, A Political Ecology of Things

Jane Bennett 2010

Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds

Tim Ingold 2010

New Urban Adventures in Collaboration/Conceptual Ceramics

Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay

The transformation of the material is a central concern and semiotic significance unfolds with making

Seeking a symbiotic relationship between idea and object 

Materials are substances in becoming

Karen Barad

Towards an Ecology of Materials

Tim Ingold 2012

From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis

 

Materials-Centered Perspective

Making, almost defies precise definition

The composition and/or manipulation of materials that bring into being new or revised objects

Tim Ingold 2010

Cultures of thrift and scavenging, maintenance and repair

Making encompasses the ingenuity of fluid, locally situated and adapted technologies

Materials carry on overtaking the formal destinations that, at one time or another, have been assigned to them

Sensibilities and dispositions that are centred on a deep and considered relationship with materials

The Craftsman, Richard Sennett 2008

Crafting, often reconnects mind and body in the sites and processes of production, thereby potentially reconstituting labour processes in ways that ascribe agency to workers

Makers finding ways to resist norms of gender and neoliberal entrepreneurial subjectivities, finding ways and spaces for ethical practice to predominate

Contemporary conceptual ceramics operates at the permeable boundary between art and craft, partaking of aspects of both, and ultimately demonstrating (or performing) that permeability

The emergence of the museum as proactive laboratory of social evolution

Extradisciplinary Investigations/Operative Principle

At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice

Microtopias, small contained sites of functioning democracy

Tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline

The New Institutional Practice

Projective Enterprises (should unsettle, activate, and raise questions)

The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary 

So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes

Site-Specific Art and Locational Identity

Miwon Kwon 2002

Collaborations and its Discontents

Claire Bishop 2006

The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions

A complex environment, awash in affect and subjectivity

When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour  

New curatorial initiatives must unpack the terminologies we use to distinguish one project from another

A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives

Unsettling-Complicit

Provocative-Strategic

Interventionist-Collaborative

Perforative Curating/Prescribed Participation

Creating new/more coded patterns of behavior/conventions/role play for visitor's

New Institionalism and the Exhibition As Situation/Social Experiment

Claire Doherty 2006

Participation

In which people constitute the central artistic medium and material

In the manner of theatre and performance

Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it

The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations

The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end

Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries

Artificial Hells (exposing the political and aesthetic limitations in the work)

Participatory Art and the Politics of Spectatorship

Claire Bishop 2011

Site-Specificity/Spatial Practice

The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate

Miwon Kwon 1997

Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames

Participation, creating a bridge between socially engaged practice and the permanent collection

Expressing itself expressing 

Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions

Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact

The strategy of making artworks as response

The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement

Making vessels, beyond the examining and intellectually impoverished questions 

A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

Like the vessel, the house shapes and nurtures the life contained inside

The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community

In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others

Clare Twomey, Lead artist at Tate Exchange 2017

Post Studio Ceramics

Interfaces between Making-Makers-Museums

Exploring object engagement beyond the known historical models of clay practice

'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital

Clare Twomey

Ceramics In The Environment 

An International Review

Janet Mansfield 2005

With Fire, Richard Hirsch

A Life Between Chance and Design (invites the unknown)

Scott Meyer 2012

Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility 

Raku as an Ideology

Breath-Energy-Immanence

Raku, A Review of Contemporary Work

Tim Andrews 1994

The Poetry of The Vessel

A calm invitation to thought and imagination

Chris Tyler

The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world

Arte Povera/Germano Celant, an aesthetic-philosophical movement

An eclectic synthesis of knowledge fields, that emerges into a total space where disparate categories can meet; a art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen

Wayfaring Forms : Living Architectures beyond Function.

 

Outpost 030125

Living Architectures/Wayfaring.

Environments formed/experienced through Movement and Attention.

Lines.

Tim Ingold.

Art's Use of Architecture: Place, Site and Setting.

Artists in 'Psycho Buildings' explore architecture's psyche, through the production of places, sites and settings, sites and settings, which engender spatial experiences that connect the viewer psychically, as well as perceptually and conceptually, to broader social issues and cultural phenomena.

Art and architecture are frequently differentiated in terms of their relationship to 'function' or 'use'. Unlike architecture, art may not be useful in pragmatic terms, for example in responding directly to social needs, providing shelter or somewhere in which to perform open-heart surgery, but we could say that art provides a place for other kinds of function – self-reflection, critical thinking and social change. If we consider this expanded version of the term function in relation to architecture, we realise that architecture is seldom given the opportunity to consider the construction of critical concepts and spatial relations as its most important purpose.

Jane Rendell.

Processes/Processual Thinking that constitute entities.

Moving Attentively In The Field of Material Structure.

The Itinerant Library of Excessive Tendencies.

Heterogeneous matter driven by disparate parts and elements of assembly.

Bricoleur Performing Practices.

Discursive Inquiry/Reading/Making.

Abjection flows between bodies, it never solely concerns one body.

For Kovar, when abjection is one of those processes, a very particular assemblage manifests itself. Where boundaries are disrupted, connections made and zones of proximity that are otherwise absent, are reached. Abject(ion) causes an inherent schism on the physical and psychological levels.

It opens bodies, to one another.

It opens up bodies for 'exchange'.

Such that they are in a perpetual process of being made and unmade, unfinished bodies.

It is precisely because abject(ion) is not only psychological but also physiological that it straddles both genders and is not solely reducible to the feminine. Abject(ion) is both feminine and masculine.

Sensual Objects/Temporal Skin : Intersubjective Spaces/Aesthetics

Blue Aesthetic : Vicarious Causation/Exploring/Thinking with Causality

Realist Magic
Objects, Ontology,
Causality

Timothy Morton

On Vicarious Causation
Graham Harman

http://www.faculty.virginia.edu/theorygroup/docs/harman=vicarious-causation.pdf

Ceramic Deconstructions of Hidden Architectural Interiors : Spaces/Surfaces/Interiors on Solitude/Sensuality

Sensing Architecture : Movements of  Human Bodies/Spatial Bodies.

Thinking/Making within gestures of drawing spatial speculation.

https://www.flickr.com/photos/russellmoreton/53757637955/in/dateposted-public/

A Philosophy of Solitude.1933

In Defence of Sensuality.1935

John Cowper Powys

Exploring the space of solitude, to explore ideas and thoughts with a public. The hermit as a proto-performance artist displaying qualities of spirituality, intelligence, artistry and sensuality.

Anne Douglas.

The Hermit Project.

The Follies Journal. 2003

The House Fifteen Foot Square.

The proposed Hermitage at Cadland (drawing).

Interior Spaces.

The Alchemy of Imagination.

In the dead linen in cupboards I seek the supernatural.

Joseph Rouffange.

The wardrobe is filled with linen, there are even moonbeams which I can unfold.

Andre Breton. 1932

The Permanence of Childhood.

On Poetic Imagination and Reverie.

Gaston Bachelard.

While the child was dreaming in solitude, he experienced a limitless existence. His reverie was not merely an escape. It was a reverie of flight. Dreaming of childhood we go back to the den of reveries.

All the ideas that I want to put forth in this chapter tend to establish the persistence in the human soul of a nucleus of childhood. Of a motionless but enduring childhood outside of history, hidden from others disguised as history when it is narrated, but having real existence only in its moments of illumination which is to say in its moments of poetic existence.

Chamber Music/Reverberations.

Constructed Space/Ceramic Forms.

On Silences, Surfaces, Interiors and Depths.

Wardrobes with their shelves, desks with their drawers and chests with their false bottoms are veritable organs of the secret psychological life, indeed without these 'objects' and a few others in equally high favour, our intimate life would lack a model of intimacy.

They are hybrid objects, subject objects, like us, through us, and for us they have a quality of intimacy on the shelves of memory and in the temples of the wardrobe.

But the real wardrobe is not an everyday piece of furniture, it is not opened everyday and so like a heart that confides in no one, the key is not on the door. Many a time we dreamed of the mysteries lying dormant between its wooden flanks.

Rimbaud designates a perspective of hope, what good things are being kept in reserve in the locked wardrobe? This time it is filled with promise, it is something more than a family chronicle.

Exaggeration is always at the summit of any living image, and to add fantasy to linen is to draw a picture, by means of a volute of words off all the superabundant blessings that lie folded in piles between the flanks of an abandoned wardrobe.