Monday, 30 December 2013

Land #1

Land #1 by Russell Moreton
Land #1, a photo by Russell Moreton on Flickr.

Experimental Photography : Life drawing, star map fragments on photographic paper.

Friday, 27 December 2013

The Mirrored Abbey : Humanity

The Custodians, Richard Cowper 1976.
russellmoreton.wordpress.com/

russellmoreton.tumblr.com/archive

Humanity : An Emotional History
Stuart Walton. 2004

Fear
Anger
Disgust
Sadness
Jealousy
Contempt
Shame
Embarrassment
Surprise
Happiness

Friday, 20 December 2013

Photograph : Blueprint (816)

"Spatial turn" The increased attention to matters of space, place and mapping in literary and cultural studies, as well as in social theory, philosophy, and other disciplinary fields.

Spatiality, Robert T. Tally Jr. Routledge 2013.

Paper Interventions/Architecture #4 (work in progress)

Paper Interventions/Architecture #1 (work in progress)

Amulets have appeared throughout history and across cultures in a variety of forms.
They are tiny embodiments of the anxieties we feel and their assumed powers often
draw on the dark arts of superstition and magic.
Charmed Life is curated by artist Felicity Powell and features 380 amulets from the Pitt
Rivers Museum. The amulets, ranging from simple coins to meticulously carved shells,
dead animals to elaborately fashioned notes, were collected by the banker and
obsessive folklorist Edward Lovett who scoured London by night, buying curious
objects from the city’s mudlarks, barrow men and sailors.
The exhibition includes new pieces and videos by the artist.
A touring exhibition from Wellcome Collection, London in partnership with Pitt Rivers
Museum, Oxford.

Wednesday, 18 December 2013

Translucent Spatial Diagram : Body and Place #6

Leylines : Installation with layered transparencies.

“Leylines” has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has also produced insightful local knowledge from those dwelling nearby.

Beams and Netting: Negotiations in the chamber.

Clay, Hessian, drawings and transparencies from architectural openings, drawing frame, antique glass, lead and nylon lines.

This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber, and these drawings also reference the supportive ironwork (Ferramenta) which has been playfully re-registered as a graphic leyline . A drawing frame similar to that used in archaeology for drawing has been adapted to illustrate the relative positions of the leyline as registered by the ordnance survey grid, both terminuses being labelled on the frames periphery.

Relational Structures/Notes #4

"It is precisely where the reach of the imagination meets the friction of materials, or where the forces of ambition rub up against the rough edges of the world, that human life is lived"

The Sighted Watchmaker : Making, Tim Ingold .2013
Anthropology, Archaeology, Art and Architecture.

Studio Practices and Place : #8 (Drawing as Spatial Diagram)

Spatial Register
Spatialities : Rugg
Consciousness Obscures
Obscura : a space where
Window
Figure Ground
Drawing Process
Psyche Culture
Agency Device

Split-View Interior.

Split-View Interior. by Russell Moreton
Split-View Interior., a photo by Russell Moreton on Flickr.

Memories as "brief as photos" John Berger, And Our Faces,My Heart, Brief as Photos,

Photography and Reflection : Memory as an application of collage. #4

Tuesday, 17 December 2013

Postcard (364)

Postcard (364) by Russell Moreton
Postcard (364), a photo by Russell Moreton on Flickr.

The Agential Cut/Meshworks

The contingent and relational found through Intraventional processes.

Sunday, 15 December 2013

Site Apparatus/Camera Obscura : Collage on site proposal.

About Camera Obscura:
Marx, Freud, Nietzsche--in vastly different ways all three employed the metaphor of the camera obscura in their work. In this classic book--at last available in an English translation--the distinguished French philosopher Sarah Kofman offers an extended reflection on this metaphor. She contrasts the mechanical function of the camera obscura as a kind of copy machine, rendering a mirror-image of the work, with its use in the writings of master thinkers.
In her opening chapter on Marx, Kofman provides a reading of inversion as necessary to the ideological process. She then explores the metaphor of the camera obscura in Freud’s description of the unconscious. For Nietzsche the camera obscura is a "metaphor for forgetting." Kofman asks here whether the "magical apparatus" of the camera obscura, rather than bringing about clarity, serves some thinkers as fetish. Camera Obscura is a powerful discussion of a metaphor that dominates contemporary theory from philosophy to film.

www.amazon.co.uk/Camera-Obscura-Ideology-Sarah-Kofman/dp/...

Biosphere (Ecology and Entropy) 2012.

Biosphere (Ecology and Entropy) 2012. by Russell Moreton
Biosphere (Ecology and Entropy) 2012., a photo by Russell Moreton on Flickr.

Transformative Drawing Processes
Sun Printed Cyanotype
The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

Wayfaring Space : Consciousness,Materials. Image and Object : The Diagram

----Flow of Consciousness (Figure 2.3, Tim Ingold/Making) Materials of Flow ---- Fl

Space Frame Construction : Morn Hill, Winchester. #1

markings over layered drawings #2

Saturday, 14 December 2013

Experimental Cyanotypes : Tate Modern #1(Millennium Bridge)

Contact prints from Holga 120WPC pinhole camera.

Relational Structures/Notes #2

"It is precisely where the reach of the imagination meets the friction of materials, or where the forces of ambition rub up against the rough edges of the world, that human life is lived"

The Sighted Watchmaker : Making, Tim Ingold .2013
Anthropology, Archaeology, Art and Architecture.

Relational Structures/Notes #6

Relational Structures/Notes #1

"It is precisely where the reach of the imagination meets the friction of materials, or where the forces of ambition rub up against the rough edges of the world, that human life is lived"

The Sighted Watchmaker : Making, Tim Ingold .2013
Anthropology, Archaeology, Art and Architecture.

Monday, 9 December 2013

Scottish Odyssey : The Sea Cave (Fingal's Cave, collage from artist'sjournal)

Artists Book (611)

Artists Book (611) by Russell Moreton
Artists Book (611), a photo by Russell Moreton on Flickr.

Artist’s Book: white and coloured pages, card covers with cyanotype of Winchester Cathedral.

A hand bound book comprising of five signatures each with four folios. This book contains a collection of postcards made from contact prints and photograms from Tidbury Ring using the cyanotype process. Other pages contain some cyanotype paintings/abstracts around the theme of dwelling and hut. Silver gelatin images of St Catherine’s Hill are present as are some experimental pinhole photography.

Waverley Abbey, unprocessed cyanotype.