Friday, 31 March 2017
Tuesday, 28 March 2017
Blueprints : Anthropological Forms
We sense the reality of something precious and mysterious, which reaches out to us with a claim that is in some way not of this world.
This is no longer a person, but the 'mortal remains' of a person. And this thought fills us with a sense of the uncanny.
The body is being reclaimed for this world, by the rituals which acknowledge that it also stands apart from it.
The human form is sacred for us because it bears the stamp of our embodiment.
Beauty, Roger Scruton
Botanical traces with leper graves
Cyanotype material on paper 1400x2400cm
This is no longer a person, but the 'mortal remains' of a person. And this thought fills us with a sense of the uncanny.
The body is being reclaimed for this world, by the rituals which acknowledge that it also stands apart from it.
The human form is sacred for us because it bears the stamp of our embodiment.
Beauty, Roger Scruton
Botanical traces with leper graves
Cyanotype material on paper 1400x2400cm
Thursday, 23 March 2017
Saturday, 18 March 2017
Friday, 17 March 2017
Thursday, 16 March 2017
Monday, 13 March 2017
Saturday, 11 March 2017
Friday, 10 March 2017
Clay : Drawing Forms and Vessels
The vessel inhabits rich, liminal territory of uncertainty and abstraction. (Daintry2007:12)
CLAY : Speculative City : From Pilgrim to Tourist
From Pilgrim To Tourist (or a short history of identity). Zygmunt Bauman.
Clay drawing/situation/collage based on a performative script/reading
Constructed in-situ at the Yard,Winchester. A life-size record and memory of a human presence as a site for mutual introspection.
Inspired in part from the novel " The Children of Men " by P D James.
Artist Statement/Chapel Arts Residency
Practitioner using the creative receptiveness of material together with the inclusion of drawing to harbour transits and passages of human presence, vulnerabilities centred around the human condition. My work adopts strategies which articulate a sense of absence and anonymity within the abandonment of the work to its location. I feel drawn to this registering of passage, encounter together with its farewell. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place. The performative recording by physical means which renders itself as a trace of human presence, now becomes a vacant territory open for the consideration of others.
My work continues to investigate this sense of material response with the performative trace of a human absences. The place-ment of these acts attempts to promote thresholds from which to reflect upon spatial, sociological and psychological conditions and perceptions.
Currently working in clay, low fired to produce and promote a fragile vessel. This vessel is installed to act as a dwelling presence reverberating in a resting place. from which work is drawn into the human form to register a surface of absences resulting from past gestures and solitudes.
Russell Moreton a visual artist uses simple gestures of drawn Human traces gathered and presented amongst natural materials. Exploring themes around the Human condition, vulnerability and abandonment. Materials are employed to further underpin our sense of place and time. The act and gesture of drawing adds a ephemeral mark amongst the materiality and locality of place. Currently using clay to register these themes, installing work Augury Vessel 2010 into Chapel Arts as part of their research residency programme.
Vessel as a fundamental expression of being and non-being a ‘no-thing’
CLAY : Speculative City : From Pilgrim to Tourist
From Pilgrim To Tourist (or a short history of identity). Zygmunt Bauman.
Clay drawing/situation/collage based on a performative script/reading
Constructed in-situ at the Yard,Winchester. A life-size record and memory of a human presence as a site for mutual introspection.
Inspired in part from the novel " The Children of Men " by P D James.
Artist Statement/Chapel Arts Residency
Practitioner using the creative receptiveness of material together with the inclusion of drawing to harbour transits and passages of human presence, vulnerabilities centred around the human condition. My work adopts strategies which articulate a sense of absence and anonymity within the abandonment of the work to its location. I feel drawn to this registering of passage, encounter together with its farewell. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place. The performative recording by physical means which renders itself as a trace of human presence, now becomes a vacant territory open for the consideration of others.
My work continues to investigate this sense of material response with the performative trace of a human absences. The place-ment of these acts attempts to promote thresholds from which to reflect upon spatial, sociological and psychological conditions and perceptions.
Currently working in clay, low fired to produce and promote a fragile vessel. This vessel is installed to act as a dwelling presence reverberating in a resting place. from which work is drawn into the human form to register a surface of absences resulting from past gestures and solitudes.
Russell Moreton a visual artist uses simple gestures of drawn Human traces gathered and presented amongst natural materials. Exploring themes around the Human condition, vulnerability and abandonment. Materials are employed to further underpin our sense of place and time. The act and gesture of drawing adds a ephemeral mark amongst the materiality and locality of place. Currently using clay to register these themes, installing work Augury Vessel 2010 into Chapel Arts as part of their research residency programme.
Vessel as a fundamental expression of being and non-being a ‘no-thing’
A vessel is both a
hollow receptacle for liquid, and also a place where
“The mind of man
balances and reconciles opposites” Tom Chetwynd,
“We turn clay to make
a vessel; but it is on the space where there is nothing that the
usefulness of the vessel depends.” Tzu, Lao, Tao Te Ching.
Around Form and
Formlessness.
A Vessel is an
effortless three-dimensional manifestation of form and formlessness.
‘The benign
existential riddle of the vessel is that we only see the material bit
that holds our coffee.’ (Daintry2007:8)
One comes about as a
result of the other, and this search has a particular resonance at
the beginning of this fledgling millennium as technological progress
masks a perilous sense of physical and psychological uncertainty.
(Daintry2007:6)
Pottery is bound up
with the elemental needs of civilisation.
The search of
form/cultural and individual through participating with the potters’
wheel.
Alternative
“Thinking”States, Sensing, Doing and Being.
‘Its not easy to talk
about sensing, doing and being. They’re not concepts as such, neat
little fixed shiny packages of ideas, but more existential states
which shift and move as you inhabit them-more amorphous, like clay.’
(Daintry2007:6)
Amorphous values of
things/memory manifested through existential states (as a spatial
device/movement/atmosphere) in architectural spaces?
Zumthor, Holl,Paalasa,
Bachelard.
For the potter the
making of a cup or bowl through the opening up or hollowing out of
clay is itself ‘an essay into abstraction, a clothing of
emptiness’; for a vessel is as much defined by the negative space
in and around it, as the skin of the ceramic itself.
This skin is a sort of
negotiation between inside and outside, between solid and fluid, and
where they intersect. A vessel embodies something and nothing and is
an effortless three-dimension manifestation of form and formlessness.
(Daintry2007:8)
Thursday, 9 March 2017
Fake Fish : Hidden Curriculum (Life-Sensation)
In Defence of Sensuality : John Cowper Powys 1930.
Foreword.
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.
J.C.P.
Dedicated to the memory of that great
and much-abused man
Jean-Jacques Rousseau
Tim Ingold
MAKING 2013
Anthropology, Archaeology, Art and Architecture.
Practical Geometry
The Architect and The Carpenter
The Cathedral and The Laboratory
Templates and Geometry
The Return to Alchemy
Foreword.
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.
J.C.P.
Dedicated to the memory of that great
and much-abused man
Jean-Jacques Rousseau
Tim Ingold
MAKING 2013
Anthropology, Archaeology, Art and Architecture.
Practical Geometry
The Architect and The Carpenter
The Cathedral and The Laboratory
Templates and Geometry
The Return to Alchemy
Tuesday, 7 March 2017
The waste City - Perfomance El Prado
Audiovisual product of an artistic project titled The Waste City.
Consisting of an action with Danza Butoh dancers in the Prado Museum, Madrid's most famous monument.
Monday, 6 March 2017
Sunday, 5 March 2017
A Sense of Looking : A Vicarious Topography
Drawings : Speculative Constructions in Photography
fig478 Photographic Forms/Intervals
Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"
"All that is solid melts into air"
Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)
Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013
Possible Worlds
The Sensual Reciprocity of This Enchanted Isle
fig604 Light is doing things
Autonomous Project/Creative Anarchism
Psychogeography : The Skies over East Anglia (35mm film)
Corporal Trace/Movement
A Sense of Looking : A Vicarious Topography
fig478 Photographic Forms/Intervals
Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"
"All that is solid melts into air"
Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)
Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013
Possible Worlds
The Sensual Reciprocity of This Enchanted Isle
fig604 Light is doing things
Autonomous Project/Creative Anarchism
Psychogeography : The Skies over East Anglia (35mm film)
Corporal Trace/Movement
A Sense of Looking : A Vicarious Topography
Saturday, 4 March 2017
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