Tuesday 12 March 2024

Drawing : Layers of relationships, intimacy and circumstance

Outpost 070324

Speculative Haptic Experimentation.





Oxyrhynchus.

Jenny Saville.

John Elderfield. 2015

Several new works are inspired by the ancient Egyptian rubbish dump at Oxyrhynchus, one of the most important archaeological sites ever discovered. Heaps of discarded documents and literature; fragments incredibly preserved are now invaluable. Greek texts as Euclid's Elements and the poems of Sappho are among the excavated papyri.

Saville alludes to this history through a deep layering of paired subjects, faces, torsos, and limbs overlap with shadows and reflections creating palimpsests of living bodies and ancestral apparitions. Silhouettes drawn in charcoal through the surfaces of oil paint underscore the motion of the central embracing figures, while evoking the timeless process of sketching.

Time, figures, and carnality is further compressed by Saville's adaptation of various historical approaches to portraiture. From De Kooning's fluid abstractions of the female figure, to the almost combined couples of Picasso's late paintings and Japanese Shunga prints.


These intermediate studies echo the shifting status of the unearthed papers, once discarded now treasured. The depth and density of things now excavated from their surroundings are now brought into thinner layers of relationships, intimacy and circumstance. Saville's own figures merge ethereally with settings that have been loosely appropriated from photographs and evoke the backdrops of Renaissance Paintings.

 

The Human Clay.

The School of London

On Drawing, John Berger.


Michael Grimshaw.

40 Drawings 1968-1995


Drawing is the architecture of the spirit.


The drawings in this exhibition track a progression, both chronologically and through shifts of language. Inevitably there are tangents and seductions.

The more I draw the more I discover that drawing is really an echo of our being. Its sound, its voice is beyond ideas and runs all reason ragged.

I was interested in drawing 'ordinariness' because nothing seemed more interesting or as magical. This feeling is still no less dull than it was then.

The dense, mysterious spaces and shapes of her paisley dress terrified me and her shifting, speaking head was so impossible to understand as I sat in front of her on the carpet in an urgent and perplexed state. I struggled to make sense of what I saw and felt. These drawings often drew laughter from my mother and father but, in spite of their gentle mockery, I sensed that somewhere buried ion this activity of drawing there lay a wondrous elemental power.

When I look and see an ink drawing of Tobias by Rembrandt, a stubbed pencil remark of Martha lying in the bath by Pierre Bonnard or, say, a cigarette smoking hand by Philip Guston, then clearly, beyond ideas, it is the vision, the coming closer, that really matters.

Today this mysterious quality remains as primal and as tantalising as it did then. My own conceit, the facade and crude consciousness of ideas cannot undo the profound igniting and unconscious power of drawing.





Digital Still : Alternative Processes, Tate Modern.

Digital Still : Alternative Processes, Tate Modern. by Russell Moreton

Photography and Architectural Space.
01/07/2013

Sunday 10 March 2024

Speculative Learning Environment : The Library/Hidden Curriculum #2

Hidden Curriculum #2 by Russell Moreton



Hidden Curriculum #2, a photo by Russell Moreton on Flickr.
26/10/2013

Speculative Learning Environment : Russell Moreton.
Re- Imagining Education, Brockwood Park School. 

a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine

Sunday 3 March 2024

CLAY/WITH FIRE Exploratory Research/Vocabulary

Exploratory Clay/Ceramic Based Inquiry.

The material is just part of the vocabulary of meaning.













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.

Tony Cragg, 1998.


Cutting Things Up.

Material In Space.

Scale.

Impulses through Drawing.

Working Things.


Generation/Generative/Material.

I think mass and energy need to be generated, any effective change has to be generated. It's to do with a positive directed  initiative to change things.


“Generative” for me, in terms of my work, is the fact that within my own work, within any given period the work generates itself and there is a self-generating characteristic. The work I'm making today is only possible because of the previous work of three or four months ago and that was only possible because of the work of nine or twelve months ago.


Even if it's not a linear thing, things are generating. There is a sort of self-propagating, self-generative energy that is inherent in the material, I think. And even in the  term “generative”, from “genus”, is the idea of making a family group of things, whether making an associative group of things or creating a population, a species of things which “relativise” generation.

Tony Cragg.


The material is just part of the vocabulary of meaning.

Cragg wanted  to give the materials 'more meaning, mythology and poetry. He used the skills available to him at the EKWC residency to create ambiguities and tensions, to suggest past and present, to complicate rather than to describe.

European Ceramic Work Centre, Netherlands. 1990, 1992.


With the return of Cragg to studio based work in the early 1990s, when he was experimenting with clay; ideas around humanness, archaeology, and ritual were being explored within different areas of the fine arts. In addition, studio ceramics were frequently using the vessel as an initiating point to develop new forms and sculptural ideas.


Laibe, with its rich possibilities of interpretation that incorporates the past in the present and the universal aspects of human survival within the ceramic vessel form, lies at the heart of these complex and overlapping areas of practice.

Imogen Racz. 2009.  



The Ceramics Reader. 2017.

Andrew Livingstone.

Kevin Petrie.


Ceramics : Materiality and Metaphor.


Why are Ceramics Important?

The Existential Base, Philip Rawson.

Containers of Life: Pottery and Social Relations, Silvia Forni.


Ceramics and Metaphor.

Analogy and Metaphor in Ceramic Art, Philip Rawson.

Sculptural Vessels, Tony Cragg's  Laibe and the Metaphors of Clay, Imogen Racz.


Ceramics in Contexts.

Historical Precedents.

Studio Ceramics.

Sculptural Ceramics.

Ceramics and Installation.

Theoretical Perspectives.


Conceptual and Post Studio Practice.

Contemporary Clay, Clare Twomey. 

Extending Vocabularies: Distorting the Ceramic Familiar

Clay and the Performative 'Other', Andrew Livingstone.


Gender, Sexuality and Ceramics.

Identity and Ceramics.

Image.

Figuration and the Body.

Ceramics in Education.

Ceramics, Industry and New Technologies.


Museum, Site and Display.

Re-defining Ceramics through Exhibitionary Practice (1970-2009), Laura Breen.



With Fire.

Richard Hirsch.

A Life Between Chance And Design.

Scott Meyer.


10 Days in the City : Social Spatialisation #2

Social Spatialisation #2 by Russell Moreton

18/04/2013 08:45