Mute utterences, air within the photographic experience
Monday, 29 November 2021
Sunday, 28 November 2021
Collages : Diversions, Contradictions and Anomalies.
Collage's integral methods of discordance and displacement have so insistently reflected turbulent developments in twentieth century art, science and geopolitics that our response might be to categorise the whole genre as iconoclasm or subversive fantasy.
PETER ZUMTHOR ATMOSPHERES
2006 Birkhauser, Basel, Switzerland.
Wednesday, 24 November 2021
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
Subject and Subject Matter
The Attempted Myth of Today
Primitive Civilizations Influence on Modern 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.
Life Drawing/Staging Oneself/Others
Body in Space/Resilience,Endures
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.
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.
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.
Interior and Exterior
What It Isn't
Light and Shadow
What to Say?
Movements of the Soul
The Forms of Age
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.
Tuesday, 23 November 2021
Monday, 22 November 2021
Cyanotype from a site drawing, Space for Peace, Winchester Cathedral 2011.
Human mapping of social groups wthin the duration of the event.
Mono Print : Cyanotype process on paper, 52x42cm.
Winchester Discovery Centre
09:00am Wednesday 02 Oct 2013 to Thursday 31 Oct 2013
Russell Moreton is a visual fine artist working with alternative and historic photographic processes. He uses pinhole cameras for inquiry into architectural space, these initial perspectives are further collaged and rendered through the Cyanotype process. He is currently working in the library spaces, and aims to produce a series of working ideas/blueprints for display.
Venue: Winchester Discovery Centre