Localities of experience and research : Making Entangled

Making Entangled : An eclectic synthesis of knowledge fields

Potters Wheel/Studio Space/Reconstrution/Licie Rie/V & A London.

Mary Quant, V&A London.

Confronting Spatial Intelligence-tracing the use of spatial intelligence. 

What are we learning about in the concrete particularity of this space?

Leon van Schaik : Spatial Intelligence

‘Architecture is the product of our spatial intelligence, of its workings in establishing the mental spaces of every individual, and of the spatial values shared by groups.’

The Retreat, Upper Lawn Pavilion. 1959

This country retreat presents itself as a glass box but is grounded by its relationship to the pre-existing masonry of a walled garden. 

Leon van Schaik comments that the little glass house retreat built by Peter and Alison Smithson around a walled garden evokes for him memories(mental spaces) of being a schoolboy working in a conservatory in a walled garden at Cliveden, such that the notion of a retreat is this ideal of being built into the walls of an existing walled garden.

You rise up into its glazed upper storey with views over the rolling hills beyond and perch atop the wall on the edge of a threshold space carved out of the woods, or remove yourself from view sink down to the ground and sit with your back to the wall.

Kenneth Frampton subscribes to a general theory of architecture independent of any local articulation beyond adaptations to meet the needs of local climatic conditions.

Dalibor Vesely, an architectural theorist who spent his teaching life demonstrating that in the modern era the unity of time, place and culture that is essential to architectural reality has been fractured. Leon van Schaik comments as a consequence in architecture today our spatial knowledge is either buried deep within our unconscious, or it is surfaced in a highly simplified (adolescent) form.

Architecture as ‘a purveyor of esoteric spatial luxuries to domestic elites’ (Schaik, 2008:84)

It follows that this fractured reality is deeply problematical to architecture, to the increasing number of architectural practices that have no ready connection to the daily expectations of citizens, resulting in a brutal instrumental policing of space (and our mental spaces) via the architecture that underpins the politics of our corporate or governmental interests.

Mediators for spatial experiences.

Interior design presented as an interactive and immersive spatial inquiry

The ruined site of the abbey at Waverley, near Farnham has been appropriated as a site and as a place within which to position and develop my practice. The Abbey, its buildings, and its grounds have provided a valuable source of the material evidence for thinking about hapticity and time in a pastoral setting.

The Scriptorium presents the “performativity of research” through specifically designed apparatuses and partitions. These designed components, made objects, together with annotated texts and drawings conspire to create a complex interior design, a “Place Study” staged in a niche-like space. This interior presents itself as both distinct and relational to the other projects in the MA Interiors Show. The interior presents the many manifestations of creative research that have been developed through engaging with the site.

The small ‘Scriptorium’ conceived as a space as a refuge, an intimate minimal construction that features a doorway and an interior that contains a place for objects, perhaps books, as well as a small sitting area. This construction, an open cell perhaps is evocative to a state of contemplation between the fabric of the everyday. The rather hybrid design appropriates a merging of minimalism, modernism and the plastic architecture of a ruined Cistercian Abbey. The construction comes into close contact with its occupant, it is a restricted spatial apparatus that attempts to promote through its awkwardness distinctive experiences.

Libraries with research conduits for immersive and interactive cognitive mappings, allowing a praxis to enter the practicability of the everyday, a crafted philosophical inquiry, building new livelihoods.

Colour Texture Surface Enclosures Voids

Sample Materials: Relationships through Localities/Mood Boards/Technical and Physical Details.

Erasure in drawing and architectural planning (space voids) as a methodology to superimpose multiplicities.

Erasing : Kirosan Observatory, Anti-Object, Kengo Kuma. 

Multiplicities and Memory, Peter Zumthor.

Learning Spaces as a performative spatial practice through a process of tuning and minimizing. Noh stage in the forest, Kego Kuma.

PLANNING DOCUMENT use GRAPHIC DESIGN, theories and applications to visualize, design and map out the nature/interior spaces and experiences of this proposal.

Natural Connections: Retreat and Awareness through Architecture (Architectural Experience).

Experiencing The Phenomenology of Place at Waverley Abbey

INTERIOR ARCHITECTURE through a sensitive adaptation of place studies, and using materials and built spaces to form the container/scaffold/stage for an activity not its contents. Working spaces that can be given a multiplicity of tasks that can accommodate the humanities and the life sciences.

Architecture and landscape, together with the localised weather, and the sheltering buildings all contribute to finding the mental spaces for the retreat.

APPARATUSES DURATIONS EFFECTS

THINGS-MAKING-PEOPLE-IN THE WORLD

Heightening the experiential experiences of place. Ramps, stairs and passages as devices (movable) to examine and to create immediate architectural interventions. Notion of the observatory (part built/part still under development) (monuments as instruments, Japor). The camera obscura’s darken room becomes a stage and a cinema; a drawing black boarded room for making creative reciprocal social practices.

MAKING SPACES PARTIAL to the material flows and currents of sensory awareness in which IMAGES and OBJECTS reciprocally take shape/meaning.

The Body in Space: merging/mediating/climbing over architecture and its territory in the landscape.

Keywords,

Place Studies : Spatiality : Phenomenology of Place : Spatial Intelligence :

Relational Aesthetics:

Retreat, Sensing Spaces, Experiential, Pastoral, Architectural Fabric, Ruined Buildings, Historical Community/Order, Neo Romantic, Camera Obscura, Mortality, Consumption, Palimpsest, Remote Sensing, Architectural Interventions, Material, Massing, Body, Objects and Things, Craft, The Physical Body (Historical/Postmodern), Contemporary Art Practices, Tim Ingold

‘Making’ and the inter relationships of Archaeology, Anthropology, Art and Architecture.

Assets of Site

Listed Historical Site, Tranquil (of road site in parkland), Otherness (ruination and romance), Water, Archaeology (building), anthropology (significant settlement Cistercian Abbey)

CREATING FORMS AND MESSAGES

The Way Things Are Connected (or the stickiness of dependence between things and humans)

Kengo Kuma. Anti-Object

Not Networks, but rather Entanglements or Meshworks/Mesh (implying infinite connections and infinitesimal differences) or Mess (resists neat compartmentalization and order). 

Mark Dion. Archaeology

The Work, its Shelter, the Collection and its Process and Furniture (Agency)

The Wunderkammer as a structural feature (De Waal, V&A )

The Mapping/Charting Table (conduit, meeting/passing place)

Tim Ingold. Making

Ian Hodder. Entangled: An Archaeology of the Relationships between Humans and Things.

Peter Greenaway. The Physical Self.

The Self in a Spatial/Social/Corporeal Situation The Tactility/Closeness of Learning (Craft)

DESIGN CREATIVELY/COLLABORATIVELY AND STRATEGICALLY THINKING IN THE RUINS

THINKING IN THE FICTION OF RUINS

THE ABBEY AS A REMNANT OF ITS WORLD, IN WHICH WE HAVE COME TO LATE,

TO A WORLD THAT HAS SEEN TOO MUCH.

POLITICS OF PLACE, English Heritage/Listed Building, has been used as a filming locating in contemporary cinema ranging in genres from the historical to the dystopian. Recently use of the site as a film location allowed the building of a temporary tower structure situated in close proximity to the existing ruinous fabric of the site.

POETICS OF SPACE/Bachelard AETHETICS OF DECAY/Trigg

THE WAR OF DREAMS/Marc Auge 

The Theatre of Operations.

Ruins, as a notion and a phenomena are slowly disappearing from our western cities, out of a lack of time (faute de temps) Marc Auge further comments that we are condemned to produce waste, not remnants of the past.

LOCATION, Streetfinder O/S. GPS Locality and access options/experiences.

World placing with solar and astronomical positioning. Scale and proximity

HISTORY, site, occupations, ruination, dereliction, reclamation into a garden feature. SITE SPECIFIC to GLOBAL CONCERNS

LOCALITIES and HISTORIES

HUMAN EXPERIENCE, Qualitative and Quantitative

DWELLING, LEARNING, RUINS, AND MEMORY> WHAT REMAINS? 

MAPPING/REMOTE SENSING using the palimpsest of this landscape/of its human occupation, of its demise to re-instate and re-imagine the cultural and anthropological shifts that have affected humanity.

RE-INSTATING a gathering with intellectual concerns in the humanities.

SPEAKERS/REASEARCH POSTERS/EXHIBITIONS and ART WORKS/SCREENINGS.

Oren Lieberman, Immediate Architectural Interventions/Intraventions. 

Mark Dion, Thames Dig, tents, taxonomies, teeth and texts.

Kate Whiteford, Land Drawings, installations and excavations

Colin Renfrew , Remote Sensing, aerial photography of sites (WW2) being used to re­ image specific archaeological notions of place.

Tim Ingold, MAKING, on the entanglements of Archaeology, Anthropology, Art and Architecture.

METHODOLOGIES

Temporary structures, blue screens, stage flats, projection, surfaces and skins, envelopes and membranes, optics and materials, programmes and debate, exhibition and research, global networking and virtual presentations, workshops around the phenomenology of place and its interrelationships with critical spatial practice. Presentations and Symposium, Curriculum and Practices, Site Specific Work and Performance.

Public Intimacy in Social Spaces. Architecture and The Contemporary Arts.

Learning through Making, (The Parallel of Life and Art) Anthropology, Archaeology, Art and Architecture.

Visitor’s Centre, with interpretive exhibition (Stonehenge/Denton Corker Marshall) or an immersive intervention (Winchester Cathedral,Anima-Animus/Elferova and Wilson). A place where the interior space evokes a sense of place/a becoming (Existential, Historical, Social, Cultural) see ‘The Physical Self exhibition curated by Peter Greenaway. The Fate of Place/Human Sociology.

A contemplative space or spiritual/secular retreat featuring a series of interventions (Follies/Pavilions/Huts/Heidegger/Tschumi) that focuses the gaze on a particular view or detail, framing a distant reference (landmark or natural phenomenon, research into Lutyen’s ‘Thunder House’ for Gertrude Jekyll).

Museum of Wisdom. Kengo Kuma. 

Noh Stage In The Forest. Kengo Kuma. 

Hortus Conclusus. Peter Zumthor.

The Solar Pavilion. Alison and Peter Smithson.

The Secular Retreat, Living Architecture. Peter Zumthor. 

Heidegger’s Hut, Bachelard’s Poetics, Ingold’s making.

Spatial Apparatuses, Buildings and Social Devices/Agendas 

Events as Interventions producing Intraventions from Sociology, Architecture and the Humanities/Contemporary Arts.

USING the existing site to host concerns and education through a light footprint of temporary structures and intermediary arts based events.

THEMATIC SPACES in literature and the arts locate themselves within the ruins; become new creative points of departure, new narratives that add to the spatiality of the events experience.

CRITICAL SPATIAL PRACTICES (Architecture/Fine Art and Performance) as a methodology for engaging with the transformative processes now emerging is of vital scholarly concern for design practices and professionals.

Inclusions of observation and practice.

Experiential experiences from a place by the river, under the canopy of dappled sunlight; a secluded proximity of the monks dormitory through the pleasing decay that is aging beautifully.

Variegated and mutable veiling of transparencies through sunlight and a gentle breeze.

Shadow (voids) and Forms (layered movements) Permeable membrane (time passes through here)

The River (Jackie Leven/Kenneth Patchen, The Skaters) a corporeal presence on loss, memory/absence, subjectivity and flow.

Kengo Kuma. Complete Works, Kenneth Frampton.

‘Our aim is to create architecture that confronts and fuses with the earth’

‘Architecture should not be cut off from the ground like a building designed and transported to the site’

Kema’s ‘anti-objective’ architecture is anti-perspectival in that it is categorically anti­ thetical to the subject/object split of the occidental tradition.

‘The asymmetrical projection of the Water/Glass volume, derived from the diagonal platform of the Noh stage, makes it explicit that there is no single ideal point from which this waterborne scene may be experienced.’ (Frampton, 2012:12)

Katsura Aesthetic.

Non Corporeal Architecture ( 2001 A Space Odyssey, the final room with its dematerialised phantom character of absence and voyeurism)

Japanesse Vernacular, Void/Ma space, Translucency, Sequence of Spaces,

Siddig El’Nigoumi’s pots hold an interior space that cannot itself be transposed only broken ; they are in effect testimonial silences to his humility and his agency working with clay. In my mental space on these inner spaces of Nigoumi’s ceramics I can reach a correspondence, a pitch with its distinctive mutual timbre that is still active. The existential trait left in the innerness of these vessels is irreducible to my own subjectivity.

Site drawings, archaeology of found objects, anthropological observations, time based media, architectural plans.

Interior Spaces/Making and the adaptation of existing.

Photographic drawings, collage, montage, interventions through designed walls/pathways/interactions.

“Hut” Sensing Spaces/Building.

Materials, aesthetics, volumes, dwelling, social, light and dark, place.

Localities of experience and research.

Negative Capability Exhibition (art works in response to archaeological sites),Winchester University.

Making Spaces/Proximities : Navigating theory and redundancy.

Outpost 120224

Studio Spaces.

A Scriptorium, a space within the wall.

St Jerome at his study.

Making Spaces/Proximities : Navigating theory and redundancy.

INTIMUS

Interior Design Theory Reader.

Julieanna Preston.

Mark Taylor.

Declaring a field of inquiry that lies beyond disciplinary boundaries of design and architecture, all of the texts included in this reader establish generative and active exploration of interior design as a practice informed by the intellectual scholarship surrounding its cultural production and creative practice. They are not foundational in that they do not recognise or declare an originary state or propose any fundamental canon. Collected in order to catalyse creative associations within this operational field, the texts in this volume are presented via an organisational strategy that refuses both chronologic and thematic structure.

Essentially they present a connectivity to do with inhabitation and spatial presence as outlined in the examples above that is at once distant, by discipline, and intimate, by content.

Proximities/On interior theory related to the specifics of inhabitation and bodily presence.

What is being teased out hear is a multifaceted dialogue between that which is theoretical in nature, abstract, knowledge-based and immaterial and that which is grounded, physical, phenomenal and concrete. Not wishing to pull these apart, but rather to encourage convergence, this book identifies a territory of emerging points that collectively register connections of understanding with reference to a field tentatively named as the theoretical domain of interior design.

This conception forms a working method for searching and organising texts, and for mapping their locations as a relational matrix. Described in other theoretical discourse as rhizomatic, networked or diagrammatic, matrices foster the formation of connections among notions as opposed to defining or creating singular isolated entities.

However, one image in particular harboured virtual potentials pertinent to our inquiry.

Within the pages of Emily Post's book 'The Personality of a House' is a photographic plate attributed to New York architect William Laurence Bottomley. This seemingly unassuming image gently frames the prevailing issues, topics and texts in this volume. 

The doors reveal a space between the opaque panelling, a space within the wall occupied by a small vanity or dressing-table. Another mirror backs the niche which doubles the light, and the ruffles and tassels of swagged curtains are softly gathered at the boundary of this closet and cloister. The room seems to be dressed in parity to the self-reflective body that inhabits it. And yet, it is a private space,  a space for one, a space for an individual.

The mirrors reflect very little of the greater surroundings, but the scale of the panelling and the floor-to-ceiling height help to extrapolate that this secret space occurs as an informality among the far more social and self conscious home atmosphere.

How might this 'Perfect Example of Dressing-Table hidden behind panelling when not in use' be physically, socially and theoretically constructed? How are the intricate details of curved timber work on the doors and stool indicative of current and historical values of ornament, surface, gender and politics? While the doors mask the presence of the dressing-table, the mirrored interior expands infinitely. What appears as a small enclosure is a mode of liberation. What one might assume to be self-indulgent or decadent decoration may be found to be a sign of self-expression.

While the architectural room is wrapped with abstract notions of time and space, this small alcove inhabits its periphery as a pocket where body is central, maybe even fluid, and space is temporal, perhaps even subjective. 

The archive of discursive fields of inquiry.

Navigating theory and redundancy.

On a theoretical praxis, a matrix for gathering material from the archive.

The matrix is intended to be used as a surveying instrument and ordering device with the purpose to catalyse cross- and inter-disciplinary insights.

A matrix or diagram mediates between the virtual potentials generated by the data ( the field of essays/excerpts) and the actual book. The matrix is to some extent graphic shorthand used to declare latent structures of organisation. The diagram is also generative, and can be used to order possible readings.

Seeking theory informative to interior design/spatial practices by trusting that through the act of searching various sources/databases/resources a range of associations and connections would verify an emergent practice. Such associations are fuelled by the abstract and diagrammatic quality of an organising tactical matrix in its flexibility to seek casual and coincidental links among related and sometimes assumed disparate disciplines. By looking for correspondences between seemingly unrelated research and practice, and by moving laterally between existing systems and categories, not in a haphazard manner but through productive leaps generated by rules that had consequential and significant outcomes. This process enabled the gathering of material from several disciplines when the linear historical model seemed inapplicable, and thematic structures too constraining.

Coupled with its ability to engage the complexity of the real, the matrix assists in making sense of the found texts and their potential reformations. Conceptually, such order is not made towards the specificity or hegemony of a discipline, but rather to turn outwards and mobilize forces of action and imagination between matter and information.

Pragmatically, the matrix positions each text relative to a disciplinary body of knowledge (social, political,philosophical, technological, gender and psychological) and then relative to prominent interior design/spatial practice issues (material, colour, light, space, decoration and furnishing). Within this methodology an interpretive role is played in ordering these texts and the multiple locations in which each text could be placed.

Producing an interdisciplinary database search using terms typically associated with interior design as a decorative craft, an architectural speciality, a spatial art or a physical articulation of social interaction located essays framed by a wide range of types of theory, genres of writing and sources of textual discourse.

Many of the researched essays did not declare that they are concerned with 'interior theory', but instead they either operated critically on spaces, places and inhabitation of the built environment's interiors, or offered observations and abstractions of use and inhabitation that engender a criticality in this collection of texts. To include this material raises questions of what constitutes theory, and how theory relates to the critical study of the interior.

Thresholds of experiential concern.

Architectural Body/Transactive Memory.

The reclamation of theory, other spaces, further sites for production and inquiry. 

In their book 'Intersections : Architectural Histories and Critical Theories', Iain Borden and Jane Rendell outline nine epistemological tendencies on which theory is constituted within critical discourse. Rather than champion a narrow definition or description, their categories are expansive and inclusive, and when considered relative to the scope of our inquiry assist in substantiating numerous items that would normally fall outside the limits of architectural or design theory, most notably some that take the form of turn-of-the-century advice literature or historical analysis of a place or activity.

Of particular interest are those texts that are observational in nature or assert new paradigms of dwelling in light of technology. In most cases, selection of such texts proved a matter of locating the speculative mode of inquiry within the written work, registering the inferences and extending them as conduits to other contemporary works or notions. In other cases, it became an exercise in dwelling in the period, revelling in the details specific to when the text was written and recognising that theory and critical history have been defined and couched differently across time.

For if theory is conditioned by inquiries and speculation about what occurs between events, situations, objects and actions, then the method of inquiry or the analytical device employed is of primary concern.  

Art Works/Spatial Relations.

Beyond the formal values/qualities of drawing.

Figuration and the spatial inter-personal concerns of/found in drawing.

Extending the body in drawing.

Jenny Saville.

Cecily Brown.

Manuel Neri.

David Smith.

Atmospheres/Light.

The Flame of a Candle.

Charcoal, Alternative Photography.

Gaston Bachelard. 

CLAY.

Mythical city of Orion. 

Speculative retreats/Tarkovsky/Krishnamurti/Hannsjorg Voth.

Making for life on the hospitality of the body.

The architectural body and the body in care.

INTERIOR SURFACES.

Photographic Exhibition/Retrospective.

Desiring into the pathology of the image.

Breaking into corporeal and subjective spaces.

Erasures/temporalities within the materiality of photographic sensations and their memories.

Everyday Living Places~Fielding Mobility : The Intensity of Inhabitation/Grey Tones Chromatic or Achromatic.

Outpost 181024

Siting Awareness : Studio event in the midst of its potentiality.

https://axisweb.org/artist/russellmoreton

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.

Colour Sympathies~Modes of Existence

Visual Art Landing Site : A site of situated awareness.

Landing Site : Glass/Filtered Lightworks : Cleaving Collage.

Colour Sympathies~Modes of Existence.

Atmosphere~Landscape : Entanglements of Affect/Aesthetics.

The Poetics of Space. Gaston Bachelard.

The classic look at how we experience intimate places. 

The Eroded Steps. Giuseppe Penone.

Dean Clough Contour Lines.

Land Drawings, Installations, Excavations. Kate Whiteford.

Remote Sensing. Colin Renfrew.

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

Reliquaries for experience : Wayfaring/Lines and Interior Spaces : Materials of movement and attention.

Reliquaries.

https://www.curatorspace.com/artists/russellmoreton

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

2024

Ceramic

170mmL x 240mmH x 60mmW

Wayfaring/Lines and Interior Spaces : Materials of movement and attention.

Processual clay+ceramic constructions that articulate through processes of mark making and intermediaries, surfaces spatial bodies and interiors all entangled in a complex scaffolding of its own making.

"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 Quiet Mind : Silently without resistance. Books/Reliquaries : Working of matters and the exteriority of their relations. Marking/Wayfaring Inscriptions : Clay+Ceramic

(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. Krishnamurti.

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

Exploring Ceramic Art: Movement and Attention

This title targets specific keywords like ‘ceramic art’ and ‘movement’, enhancing SEO by attracting audiences interested in art processes.

Meditation and Art: The Quiet Mind in Ceramics

Combines popular search terms ‘meditation’ and ‘ceramics’, appealing to those exploring mindfulness in creative practices, increasing search visibility.

Wayfaring Through Clay: Art and Perception

Focuses on the unique concept of ‘wayfaring’ linked to clay art, appealing to niche audiences and improving content relevance in search results.

Wayfaring Places : Studio Compositions~Immersive Cells of Inquiry.

Undisciplined small spaces, places of refuge and solitude. A physical space, where an atmosphere quietly echoes spatial metaphors of enclosure, interiority and the sited and situated condition of making.

Studio Environments : Reconstructions and Fictions. Studio spaces for speculative making.

Wayfaring Landscapes~Affective Aesthetics of Difference.

https://www.curatorspace.com/artists/russellmoreton

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

 

 

A collection of slab-built ceramic sculptures crafted by artist Russell Moreton.

These works are described as exploring themes of "making" and the metaphysical nature of architectural spaces.

The sculptures are intended to evoke the silence and tranquillity found within historical architectural settings.

Moreton's process often involves slab construction techniques and research into specific historical sites to develop these forms.

The research collage depicts a curated collection of materials focused on late 20th-century art and architecture, likely from a research board or publication. Jannis Kounellis: The large black-and-white image features an installation by Jannis Kounellis, a key figure in the Italian Arte Povera movement, known for using raw materials like iron and coal. Carlo Scarpa: A handwritten note identifies another part of the collage as related to Carlo Scarpa, a Venetian architect renowned for his masterful renovation of historic buildings and intricate detailing. Architectural Detail: The top-right image showcases a historic stone structure, typical of the locations Scarpa worked with, showing a sculpture placed inside a renovated architectural space. Art Montage: The overall composition functions as a visual research montage, contrasting structural, industrial forms with historical contexts.

The documentary image and pinhole photograph features text referencing Rodin | Beuys Working Practices and includes a photographic portrait of a man reminiscent of artist Joseph Beuys. The collage incorporates elements that resemble technical drawings or maps of buildings, possibly related to architectural studies or documentation. This style of layering images with text overlays and handwritten annotations is consistent with artistic practices aimed at disrupting conventional viewing, similar to the "dynamic labyrinth" concepts explored in 1960s exhibitions.