Thursday, 28 June 2012

Photograph (206)a

Photograph (206)a by Russell Moreton
Photograph (206)a, a photo by Russell Moreton on Flickr.

Life as Interdemendancy : The Human and Nature
Collage based around photographic material gathered from the natural world and events happening within the artist's own biographical proximity ( imminent birth of a second child ).

Light left behind : Cornwall in June.

Postcard with a photogram created with the cyanotype process, a visual poem gathered from the garden of a loved one.

Tuesday, 26 June 2012

Monday, 25 June 2012

Postcard : used as index for recorded disc.

A for Andromeda, BBC4 27.03.06 90 minutes
1973 Romantic Poets
Disc Full

Fragment of a map, part of a process of inquiry, a testing of visual properties, or just an accumulator for all these things, quietly appropriated into the working practice.

Sunday, 24 June 2012

Human Filament 2010

Human Filament 2010 by Russell Moreton
Human Filament 2010, a photo by Russell Moreton on Flickr.

Human form on lightweight Chinese paper, cyanotype process with photograms of threads and stones. Outline and interior networks mapped in ink.


Drawing formed the structure of this painting made from "hands" with cyanotype,paint,pencil and found objects.

Saturday, 23 June 2012

The human drawn amongst residues, equations filled with unknowns.

Human form (detail) rendered from performance, outline and sedimentation. Drawing on paper with wax and liquid rust residues from obsolete machine parts. Material sourced from the artist's own biographical accumulations.

Sunday, 17 June 2012

Pleiades (detail) from a star chart superimposed over a figure

Occurrences,consciousness, body and space.

Drawing with body trace (detail), tissue paper with gummed tape,pencilwith red ink and beach pebbles on paper.

Velocity of the Visual : Fenced Building/Hole in the ground

Wednesday, 13 June 2012

Link Gallery Winchester 2009

Chalk figure,human body with local materials.

Artist Statement, re proposal for “Strong Voices”. Hyde 900 2010

It is my intension to utilise the ambiguous and strangely intimate nature of a continuous line around a human being to act as a site for the viewer to inhabit an engagement with the work. I am interested in utilizing the “open space” the territory within the traced outline as a sort of vessel for the temporary thoughts and reflections of others. This space hopes to set up a condition, a place that allows a dispassionate observer or thinker time to find and form their own thoughts. The use of material residues left from enactments seems to concur a metaphysical presence to that of the inner trace. The use of simple materiality (clay, chalk, rust) invokes a notion of a shared simple relation, to the human form; these sensibilities are reflected in artists like Giuseppe Penone and other Arte Povera artists. The use of light sensitive materials, liquid light and cyanotype brings the representation of worlds into proximity of a human absence. Photographic processes also bring with them a surface of compressed and superimposed time, an event through which time has left behind, like the trace we are left thinking and reflecting a loss that creates equilibrium in the present. To add a presence of temporality and nowness, water vapour has been sprayed onto the chalk creating moisture a breath around absences.

Russell Moreton

Thursday, 7 June 2012

Layered drawing (detail) 2010

Layered drawing by Russell Moreton
Layered drawing, a photo by Russell Moreton on Flickr.

Drawing on paper with fragile tissue paper layers and a human form with astronomical data from a star atlas, approximate size 150x240cms.

"the unmade daisy chain"

Seven "acts" around a simple gesture recorded through the cyanotype process.

Concrete and Space 2012

Collage: 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.

Sally O'Reilly

Tuesday, 5 June 2012

Collage 2011, reflective of spatial practices

Collage from material sourced during the working intervention "Superimposure and Adaptation of a Workspace" hosted in the reception area of UCA Canterbury.

Cultivation Field 8th - 22nd June 2012 3rd Floor, 42 Market Place, Reading, RG1 2DE and The Keep, 571 Oxford Road, Reading, RG30 1HL Opening: 7th June 2012 17.00-19.00 at 42 Market Place and 19:00-21:00 at The Keep Open hours: 8th June 12:00-16:00; 9th to 22nd June 12:00-18:00 (42 Market Place is closed on Tuesdays) Third Thursday event on 21st June 18:00-21:30 at The Keep, presentations by Sarah Lewison, Alexandra MyGlynn and other to be announced Cultivation Field explores plant and land cultivation through diverse art practices. Plant life could be considered a low-tech material, because it is vegetation, but in the second decade of the twenty-first century plant life is in constant production as part of consumerist high tech industry. Cultivation Field looks at the cracks in land cultivation systems, collective engagement within local communities, plant based objects and methods of production. Included in this exhibition is a film work about Fritz Haeg’s Edible Estates project in New York. The film tells a historic story of land cultivation on Manhattan Island in relation to contemporary collective engagement with local communities. Brook & Black’s work Plot 16: the Fermenting Room; was developed for their Modern Art Oxford’s allotment residency at Rose Hill. Here brook & black grew hops on a frame that replicated MOA’s building, which was once a brewery. Adi Gelbart’s film Vermin is a vegetable sci-fi. Pil & Galia Kollectiv’s Asparagus: A Horticultural Ballet shows the moment when their dancers dressed as asparagus enter the park to contemplate 1950’s garden furniture. Sarah Lewison’s work with And, And, And on the Monsanto hearings is included in Documenta 13. Sarah Lewison will be talking presenting this work as part of Cultivation Field exhibition. A Rachael Champion installation will be in the grounds of The Keep’s garden. Caitlin Parker’s photographs are images taken at Chernobyl in 2007 where plant life has grown in formerly human occupied space. Julian Perry’s paintings of allotment sheds at Manor Gardens Allotments are reminders of the evictions that took place to make way for this year’s Olympic site. Reading as a town was once a site of much plant cultivation. The company Sutton Seeds was started there in 1806. One of the exhibition venues is close to the area in which Sutton Seeds was situated until the 1960’s. Participating artists: Robyn Appleton, Tom Baskeyfield, Shameela Beeloo, Rebecca Beinart, Camilla Berner, brook & black, Rob Carter, Rachael Champion, Andrew Dodds, Maria Deegan, Adi Gelbart, Fritz Haeg, Maria Hofstadler, Tom Ingate, Ulrika Jansson, Pil & Galia Kollectiv, Rosalie Kim, Gayle Chong Kwan, Sarah Lewison, Alexandra McGlynn, Stéphanie Nava, Raquel Estrada-Nora, Phil Newcombe, Francesca Owen, Caitlin Parker, Julian Perry, Minna Pöllänen, Janette Porter, Sneha Solanki, Stih & Schnock, Jo Thomas, Carly Troncale, Charlie Tweed, Jane Cradock-Watson, Elizabeth Wewiora Cultivation Field is curated by Kate Corder who is a practise based PhD candidate in the Art Department at University of Reading. The exhibition follows on from the Cultivation Field Postgraduate Symposium that took place in September 2011, also organised by Kate Corder. The Cultivation Field exhibition is support by Arts Council England and the Earley Charity, Reading. Additional support comes from the Art Department at the University of Reading, The Jelly, Open hand Open Space, Office for Contemporary Art Norway, Sutton Seeds and Laura’s Organics. Cultivation Field Kate Corder

Monday, 4 June 2012

Collage : A Discursive Spatial Practice

Document and phenomena #1

Cyanotype and drawing on pierced paper.

Anthropology and Art : Leg tattoos, body markings and spatial ( star) coordinates.

"We live our lives sunk in vast forgetting." Milan Kundera, IGNORANCE.

"We live our lives sunk in vast forgetting." Milan Kundera, IGNORANCE. by Russell Moreton

Fingal's Cave, Staffa. Walking on black stone.

Fingal's Cave, Staffa. Walking on black stone.

In Defence of Sensuality : John Cowper Powys 1930.


The author feels that perhaps some explanation is due to the reader for the rather unusual employment of the word "Sensuality" which serves as the title of this work. The advantage given to the author by the use of this particular expression is that it enables him to proceed from rock-bottom upwards as far as he likes. A more refined title would have cut him off, in his method of developing his idea, from the physical roots of existence; for while it is easy to indicate the overtones and undertones of Sensuality it would be hard to bring a gentle, vague word, like the word "sensuousness" down to the bare, stark, stoically-stripped Life-Sensation which is the subject of this book.


Dedicated to the memory of that great
and much-abused man

Jean-Jacques Rousseau

Saturday, 2 June 2012

Immateriality in the "process" : Working in the Granary.

Digital image of studio space with work in progress (Panspermia).

Space for Peace (viola and flute) 2012.

Pierced drawing marking the placement and movement of people during the "Space for Peace" event hosted in Winchester Cathedral.

Embodiment in clay and space.

Clay sculpture awaiting plaster waste mould, re-cast in reinforced concrete.