Slow Philosophy : Diffractive Over Layering/Accretions Of Making

Diffractive Readings/Visual Material and Resources.

Over Layering/Accretions : Asperity~Inhabitation~Urbanism

Of interiors, constructions and abject deconstructions into and around the ruinous. White (bleached) and soot fumed stains, textures, patinas of process and time, usage and possible shelter. Urban vessels poetically conveying a visual, tactile complexity, that of built and lived in spaces.

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

Orange School Graph Books 

Harleston 2020-2021

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

Living Places : The Intensity of Inhabitation/Grey Tones Chromatic or Achromatic.

Outpost 181024

Philosophical Solitudes~Sensual Objects

Here the full meaning of the philosopher's solitude becomes apparent. For he cannot integrate into any milieu; he is not suited to any of them. Doubtless it is in democratic and liberal milieus that he finds the best living conditions, or rather the best conditions for survival.

Gilles Deleuze.

Life Of Spinoza.

Ann Cline.

A Hut of One's Own/Life outside the circle of Architecture.

How to cook a wolf.

Essay as Cookbook.

The pleasure of Sue's little house and her inspired oblivion to the ugliness of poverty, appeals not because of its strangeness, but because of its calm. The pleasure of her little house as with the 'bagatelles' around Paris lay in the intensity of its inhabitation.

At first when you entered it, the house seemed almost empty, but soon you realised that it was stuffed with a thousand relics. You ate by one candle, everything from one large Spode soup plate. I have never eaten such strange things as there in her dark smelly room, with the waves roaring at the foot of the cliff. The salads and stews she made from these little shy weeds (gathered from the cliffs and nearby field) were indeed peculiar, but she blended and cooked them so skilfully that they never lost their fresh salt crispness. She put them together with thought and gratitude, and never seemed to realize that her cuisine was one of intense romantic strangeness, to everyone but herself, moreover it was good.

M. F. K. Fisher.

Inherent Light.

The light that seems to glow from within a colour.

To attend to colour, then is in part, to attend to the limits of language. It is to try to imagine, often through the medium of language, what a world without language might be like.

David Batchelor.

Retinal Studies

Colour, David Hornung. 2005

Knowing Obscures Seeing.

Vision is influenced by our preconceptions about reality. In viewing a scene, we establish unconscious hierarchies that reflect our functional relationship to objects and our momentary priorities.

The camera, like the human eye, sees only shapes and colours. It documents the world impartially through a lens that is similar to the eye. The functional relationship we have with objects creates visual expectations that interfere with our ability to see 'like a camera.'

In retinal painting, one concentrates upon colour and shape while resisting the urge to name individual objects. When vision is directed in this manner, one actually experiences a different way of seeing. The result is a picture in which the subjects seem to be constructed purely out of colour shapes.

The Impressionists developed a way of painting that, at its most extreme, sought to replace drawing as the basis of pictorial composition with the objective transcription of colour shapes as observed in reality. Claude Monet (1840-1926) in particular attempted to build his pictures strictly out of his response to visual sensations. He proposed that the painter should record only the patterns and colours that  fall on the retina and ignore the 'identity' of the subject. This constituted a new kind of realism that reflected the physical nature of vision.

Bridge Tones.

Tones, tints, or shades that combine qualities of two distinctly different colours and act to soften those differences when placed near them in a composition.

Chromatic Darks.

Very dark chromatic greys that have discernible temperature.

Chromatic Greys.

Subtle colours that result from considerably lowering the saturation level of prismatic colours. Chromatic greys weakly exhibit the distinguishing quality of the hue family to which they belong. 

Median Transparency.

An illusion of transparency where the value of the colour at the overlap is halfway between that of the two parent colours. The hue of the overlapping area blends the hues of the two overlying colours equally.

Luminosity.

The amount of light reflected from the surface of a colour. Value is a measure of luminosity.

High Key.

What an image is said to be when the colours in it are predominantly light in value.

Middle Key.

What an image is said to be when the colours in it are predominantly medium in value.

Achromatic Greys.

Greys that are created by mixing black and white. Achromatic greys have no evident coloration when seen against a white background. Black and white are also achromatic.

Greyscale.

A graduated representation of the value continuum broken down into a finite number of steps, usually ten, eleven, or twelve achromatic greys.

Non proportional Colour Inventory.

A graphic rendering of specific colours observed in an object.

Proportional Colour Inventory.

A graphic representation of the exact colours and their proportions in a observed object.

Retinal Painting.

A term coined by Harriet Schorr in reference to painting from observation in a manner emphasizing the faithful transcription of coloured shapes as they appear on the retina of the eye. An outgrowth of Impressionism, this method favours accurate colour rendering over drawing to describe form. 

Shade.

The result of mixing a colour with black.

Tint.

The result of mixing a colour with white.

Tone.

Made by mixing grey (either chromatic or achromatic) with a colour. Tone can also have a more general meaning. The term is sometimes applied to all colours achieved by admixture including tints and shades.

Colour Unity.

The Altered Palette.

Unifying Strategies for Colour Mixing.

Any primary triad will have inherent limitations, but these are what give a palette its character.

Comparisons between the compositional study and the finished inventory clarify just how the inherent light in a design or painting is a projection of the palette from which it originates.

The colour overtones associated with specific pigments will limit possible saturation range. These limitations can be thought of as an expression of the character of illumination inherent in a colour. Just as a fluorescent light produces a characteristic quality of light that unifies what it illuminates,  any primary triad exerts a characteristic quality of inherent light through intermixing. 

An almost fool proof way to achieve family resemblance among a group of colours is to generate them from a limited source. Intermixing any primary triad (plus white) can produce a wide range of tones that share a common light quality.

A triadic dot study, teaches a mode of examination that, in a few steps summarizes the tonal range of a selected palette. The follow-up applies the colours of the study to a composition and puts the palette into action.

Earth Tone Primary Triad.

A primary triad of chromatic greys (so called because of their resemblance to pigments found in nature, e.g., ochres and umbers).

Low Key.

What an image is said to be when the colours in it are predominantly dark in value. 

Ceramic Oxides/Body Stains.

Chromatic greys from earth tones producing weak muted colours.

Ceramics and Architecture : Architecting and its ecologies/matters of concern.

Outpost 100223

Human Bodies/Spatial Bodies

Architecting and its ecologies/matters of concern.

Circulating Objects : Lines/Holloways.

Making Journeys.

The body's participation in explorations, engagements and its care in attending to the values of immediacy, vulnerability, fragility, improvisation, performance, movement, multiplicity and becoming.

Apparatuses and their ecologies for learning.

The choreographic object/agent.

The role of the body is scored through a shifting agency and the power of techniques of things.

Theoretical objects of things which do theory without us imposing it, on them.

Oren Lieberman. 2013.

The Production of The Unexpected.

The Joy of Speculative Play.

Perception/Thought/Action

A caring curiosity that wants to know and understand and explore relations.

Projective Speculations.

Ecologies/Locations.

Questioning/Research.

Processual learning occurs in movements, gestures, postures, expressions and exchanges with other bodies and things.

Landscapes Of Actions.

Modalities Of Intravention

Constitutive Qualities Of Dance.

Ephemerality

Corporeality

Precariousness

Scoring

Performativity

If we start by moving, by thinking through moving, and by living through moving. We'll arrive to that disturbing vision : that the predicament of dance is to be an art of erasure. Dance always vanishes in front of our eyes in order to create a new past. The dance exists ultimately as a mnemonic ghost of what had just lived there.

Lepecki. 1996.

Bodily interactions highlight the entanglement of material through a process/processual understanding and situated analysis.

The Archive.

Matters of Concern.

Terms of Engagement.

Interrogate with descriptors and new issues of practice.

Bringing Things to Life.

Starting conditions for responsible and curiosity driven engagements with the world.

Place-Refreshed.

New-Agencies

The Interconnectedness of Places.

For Ingold, congealed places become relationships/connections for lines of occupation.

Curriculum making/experience as the enactment of dwelling in places.

Landscape Constructions/Observatory/Garden.

Raveningham, drawing,mapping, landmarking paths, wayfinding, territories.

Ceramics and  Architecture

Marking The Line.

In response to Sir John Soane.

Joanna Bird. 2013

Arranging the physical space/circulation to receive forms/intraventions.

Christie Brown, her practice engages with mythology and narrative and the parellels between psychoanalysis and archaeology through figurative work, which references archaic collections and the significance of inanimate objects in human lives.

Carina Ciscato, relocated to London in 1999, where she worked in the studio of Julian Stair and Edmund de Waal. The move, the contrast in culture and in attitudes to ceramics, has seen her work grow in confidence and move in exciting new architectural directions.

Nicholas Rena, his art is concerned with reconciling the domestic and the sacred, through the medium of the vessel, a form that reveals in a single look an exterior, the figure- and an interior – the inner life. Rena's strong , expressionist forms make explicit this duality, this communion and tension between our inner and outer life. His intensity and feeling for interior space imbues his work with immense presence and stillness.

Clare Twomey is an advocate for craft as commensurable to the wider visual arts. Her practice can be understood as 'post studio ceramics' as her work engages with clay yet often at a critical distance.

Twomey's work negotiates the realms of performance, serial production, and transience, and often involves site-specific installations. She is especially concerned with the affective relations that bind people with things, and how objects can enable a dialogue with a viewer.

Joanna Bird Pottery

Director of the Joanna Bird Foundation.

London.

Ceramic Forms and Paintings.

Materials/Substances on a drawn and constructed surface.

Drawings, wax and yellow ochre on layered canvas and paper.

Water : A Phenomenal Lens.

The transformative properties of the substance.

The 'void space' water gardens and the interior ceilings of the adjacent apartments are connected by reflected light from the ponds. These 'void spaces', three inches of water over black smooth stones from Ise, are analogous to a sacred space within the every day world of domestic urban life.

An attention to phenomenal properties of the transformation of light through material can present poetic tools for making spaces of exhilarating perceptions.

Imaginative metaphysics shows that man becomes all things by not understanding them- for when he does not understand he- becomes them by transformation himself into/with them.

 

Refraction/Reflection/Spatial Reversal Phenomena.

Time : Duration and Perception.

Duration as a multiplicity of secession, fusion, and organisation.

Henri Bergson.

One's perception modifies consciousness, attention is broadened, time is distended, just as in the density of language.

Thus when I measure time, I measure impressions, modifications of consciousness.

Saint Augustin.

Time conceived as the analog between architecture and cinema, passing time was measured and observed in a precise strip of sunlight which slowly formed different reflections as it passed across the glossy lack floor.

The physical and perceptual experience of architecture is not a scattering or dispersion, but a concentration of energy. This physically experienced 'lived time' is measured in the memory and the soul in contrast to the dismemberment of fragmented messages of media..

Steven Holl.

Hungate, Norwich. 

Anglian Potters

Undercroft, Norwich. 2023

Helgate Proposal

Exploratory Ceramic Practice.

Clay Making. 

Plaster Work.

Commissioning of Gas Kiln for large scale works.

Glass Tech Kiln.

Tim Ingold : Textility of Making/Hungate Clay Drawings/Speculative Constructions/Interior Design Theory

The House is all about the poetry of shelter and siege from the elements and cosmos.

Gaston Bachelard.

In And Out Of Material. 2007.

Tony Cragg.

All our senses scan the space in front of us; the future, in both a literal and metaphorical sense, lies before us.

Clay, is always a working idea, a matter/material process between things, a form of thinking in process.

Clay-Drawings in volumes, void spaces and surfaces.

Presenting a building as a process rather than an object; a process which continues from the initial conception phase throughout its existence via construction and occupation

Tim Ingold.

Textility of Making, 2020.

https://issuu.com/oliwkaka/docs/publ_ver_15_publish_fin

Building Materials/Brick Form/Buttressed/Tower/Scaffolding

Corten Metal Box Constructions.

Components brought into a spatial form/navigation/exploration of built spaces.

Building as drawing, showing changes taken, marked, erasures, superimpositions, indexical and scored surfaces.

Materials marked, moved and redeployed elsewhere.

Poche/Pierced Walls/Architectural Details

Lead tray/Water/Ceramic/Wooden Wedges.

Making Template/Drawing/Pierced Components

Hidden Spaces/Enclosed/Confined Volumes/Voids

Experiential/Spatial Alterations to the drawn plan as the building commences. 

St Peter Hungate

Norwich.

A History of the Church.

Geoffrey Goreham, Rachel M. R. Young.

1965.

This sketch by John Kirkpatrick, who died in 1728, is the earliest extant picture of the church.

John Bonde also left 6d, to the anchorite of St. Peter Hungate. This  was a man vowed to live a religious life in solitude. An anchorite's cell was often built against the church wall with a connecting window, so that he could hear Mass and yet remain secluded.

The pyx and the metal box or chrismatory (mentioned in 1368) which held the consecrated oils were also locked lest the holy wafer and oils should be stolen and used in witchcraft.

Monochrome by James Sillett, 1828.

Space-Enfolding-Breath.

Monica Wyatt.

Towards a New Interior.

An Anthology of Interior Design Theory

Lois Weinthal, 2011.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Spatiality/Spatial Agency/Light Laboratory : Literary and Visual Cartographies : Lightness,Quickness,Exactitude,Visibility,Multiplicity,

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

Spatial and Literal Cartographies.

Lightness,

Quickness,

Exactitude,

Visibility,

Multiplicity, 

Consistency 

ItaloCalvino,  6 memos for the next millennium.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

The Ceaseless Flux of Disappearances/The Examination of Sight.

Outpost 240923

Drawing in Charcoal : Sensing through Movement.

#The Examination of Sight.

The act of drawing refuses the the process of disappearances, and instead proposes the simultaneity of a multitude of moments.

#Light.

The Ceaseless Flux/Causality Of Disappearance.

#Seeing.

On Disappearances Opposed By Assemblage.

The Drawing Challenges Disappearance/Oblivion.

Catching The Light : The Entwined History of Light and Mind, Arthur Zajonc.

Drawn To That Moment.

A drawing is more than a memento, more than a device for bringing back memories of the time past.

From each glance, a drawing assembles a little evidence, but it consists of the evidence of many glances which can be seen together. On one hand there is no sight in nature as unchanging as that of a drawing or painting, on the other hand what is unchanging in a drawing consists of so many assembled moments that they constitute a totality rather than a fragment.

For Cezanne, one minute in the life of the world is going by, paint it as it is.

For John Berger, how does a drawing or painting encompass time? 

What does it hold in its stillness?

Thus if appearances, at any given moment are a construction emerging from the debris of all that has previously appeared, might it be understandable that this very construction may give birth to the idea that everything will one day be recognizable and the flux of disappearance cease.

Because the faculty of sight is continuous, because visual categories, red-yellow-dark-thick-thin remain constant, and because so many things appear to remain in place, one forgets that the visual is always a result of an unrepeatable-momentary-encounter.

Any image, like the image read from the retina records an appearance which will disappear.

The faculty of sight developed as an active response to continually changing contingencies, and the more complex the view of appearances it could construct from events. 

For the faculty of sight to become developed, the mind uses recognition as an essential part of the construction of appearances, and recognition depends upon the phenomenon of reappearance sometimes occurring in the ceaseless flux of disappearance.

An event in itself has no appearances.

To draw is to look, to examine the spectrum of appearance.

Drawings reveal the process of their own creation, and  their own looking.

On Drawing/John Berger.

Drawing into awareness.

Things/Feelings that are both hermetic and infinite.

Drawing 'situates' impressions between relations and responses.

Between seeing and feeling.

Butades/Haptic trace, inscription.

Derrida/Blindness inherent in drawing.

The drawing is as much about a haptic experience as it is an optical one, the actual contact between paper and brush informs me that a mark will materialize, a mark marking the abstract and the concrete, a hybrid image of reality.

Perceptual Psychology.

My desire is to set up a situation to which I can take you and let you see.

My art deals with light itself, not as a bearer of revelation, but as revelation itself.

Immersive architectural environments to carry the inner world into the outer spaces, so that our sense of lived-in-territory is increased.

James Turrell/Deer Shelter Skyspace.

In the trajectory of the intermezzo.

The Working Diagram.

Relays between points/paths.

Nomadology, Deleuze/Guattari.

Processual Makings of The Everyday : Between Silences on The Sympathy Of Things

Clay~Ceramic~Theoretical~Things~Ties

Archaeologies of making material sensitive.

A processual object that both poses an agencement~question and carries its gathering.

Sociological Bindings~Matter(s) of Concern

Felt Abstractions~Inspirational Radicalism.

Urban Gothic : An Excess Of Changefulness.

Of the creation of concepts, explored through the plane of immanence in which it can be born and the 'conceptual personae' which can activate it.

On Other Forms Of Thought.

What Is Philosophy?

Deleuze and Guattari.

Can perhaps only be posed late in life with the arrival of old age and the time for speaking concretely.

It is a question posed in a moment of quiet restlessness at midnight when there is no longer anything to ask.

Their book is a profound and careful interrogation of what it might mean to be a 'friend of wisdom'. But it is also a devastating attack on the sterility of what has become. When the only events are exhibitions and the only concepts are products which can be sold.

Philosophy they insist is not contemplation, reflection or communication, but the creation of concepts.

Essays : Critical and Clinical.

Deleuze is concerned with the delirium, the process of life that lies behind this invention as well as the loss that occurs. The silence that follows when this delirium becomes a clinical state. 

Material~Felt Abstractions : Delirium and Dissolution.

Spatial Bodies : Between Silences on The Sympathy Of Things.

A Growing Thicket of Thing~Ties

White Odyssey~Archaeologies of making material sensitive.

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

Sensing Places : Towards an Alchemy of Thinking.

Sensing Places : Towards an Alchemy of Thinking.

This site based exploratory apparatus, part self assembly, and part crafted brings together components, materials and filtered light. Built around the involvement of making in the landscape, this event based intervention creates a fictional space articulated through the alchemy of built spaces that merge the poetic with the tectonic.

Dwelling Apparatuses, Heidegger.

RAVENINGHAM 2025

WORKING NOTES

Developing relations on the specificity of a landscape and the weather.

Construction site, towards an alchemy of thinking and making space and the instants of the wonderous.

Some ways of thinking.

Processes enabling situations through strange constructions.

Diffractive apparatus of components, materials and filtered light.

Explorative, site specific and performative.

A fictive space articulated through the alchemy of light and water.

Sensing space, seating for a site of speculative inquiry.

Material Matters : Architectural/Perceptual/Sensing Phenomena.

Correspondences, Human Bodies/Spatial Bodies.

Reflections/Movements/Environments/Landscapes

Using site as a research instrument, a compounded object of self assembly, and crafted components, materials and substances. A sculptural intervention, event based merging the poetic with the tectonic.

Apparatus/Device/Model.

Sensing composition, situating a site for speculative inquiry.

An exploratory and site specific installation that can open up our interior world to the proximity of both the situation of a natural environment and the experience of a conceptually made object/space that facilitates a sense of wonder, resulting in  an alchemy between these two realms of experience.

Art works constantly to  brokers these relations within us.