Thursday, 22 February 2018

Immaterial Architectures : Raveningham Pavilion




Christopher Wilmarth ; Poetics/Duality of Light and gravity
Other Architecture
Constructing Metaphysical Space

Wilmarth's art reveals his essential concern with the mystical and physical properties of light, especially the ways in which light evokes reverie and generates sensations of space and containment.

The Architecture of Natural Light : Henry Plummer

EVANESCENCE
Orchestration of light to mutate through time

Intensity and integrity of Wilmarth's practice/vision.

PROCESSION
Choreography of light/moving eye

VEILS OF GLASS
Refraction of light/diaphanous film

Wilmarth made possibly his strongest, most beautiful works on paper, exploring a new level of expression while retaining continuity with past work.

ATOMIZATION
Sifting of light/through a porous screen

These drawings also contain allusions to the human presence. Their haunting, foreboding quality is prefigured in the grave, austere tones of some of the glass and steel structures.

CANALIZATION
Channelling of light/through a hollow mass

The duality of light and shadow and contrasts between abstraction and representation continue to be central concerns in his final drawings.

ATMOSPHERIC SILENCE
Suffusion of light with a unified mood

Wilmarth's sculptures from the early 1980's are influenced by the poetry of Stephane Mallarme.To affirm Mallarme's emphasis on the spiritual, the artist used a simple ovoid form, evoking a multitude of symbols, including the human head. These ovoids were made of blown glass, which Wilmarth viewed as "frozen breath". The artist pursued this figurative impulse into the mid 1980s, combining the anthropomorphic ovoid shapes with the larger abstract forms of his earlier sculpture.

LUMINESCENCE
Materialization of light in physical matter

Wilmarth composed with planes of delicate colour and light, placing plates of blackened steel behind translucent sheets of etched glass imbued with a luminous, greenish cast.

"He employed a painterly technique that emphasized the tactility and fichness of his materials, which like an alchemist he persistently sought to transform. He continually examined the concept of duality: contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality  and ethereality, form and spirit are repeatedly presented; the synthesis of geometric with organic forms, the range between abstraction and representation are constantly explored."
Laura Rosenstock, catalogue essay.







Wednesday, 21 February 2018

DSC_0195a -Lines/Interior Spaces

DSC_0195a -Lines/Interior Spaces.
Assemblage : Spatial Object/Collage.
Film Still, Architectural Plan, Lead, Stained Glass, String and Pins.
Russell Moreton




Order and randomness, meticulousness and impulsiveness, drawing excess and graphic reduction are just some of the vibrant, tension-loaded poles that characterize the large-format drawings of the German artist Jorinde Voigt (b. 1977).

Her works condense various elements of the cultural environment in the dynamic sequences of strokes, turbulently curving lines, diagrammatic structures, numbers, word fragments and collaged color areas of her drawings – which the passionate cello player refers to as “scores” or “notations”. She systematically analyses pop songs or pieces of classical music, kisses, temperature profiles, an eagle’s flight-path, horizon lines or the color values of individual plants and the contents of philosophical texts. Voigt uses measureable parameters like place, time, or sound volume, and self-defined rules or selected algorithms, and combines these fragments and impressions of reality to produce dynamic relational structures, thus creating a polyphony of different ways of perceiving the world.

Jorinde Voigt’s largest solo exhibition to date – which builds a bridge from her early notations, reminiscent of classical conceptual art, to her most recent works that reflect the human desire to fly – traces the development of the specific system of symbols the artist uses to document and orchestrate processes of perception, imagination and thought.

Curator: Stephanie Damianitsch


Without the agency of time and light, there is no record.

Beginning as one always does in the middle, in mediis rebus, one experiences a sense of disorientation, a sort of cartographic anxiety or spatial perplexity that appears to be part of our fundamental being-in-the-world. It is an experience not unlike that of Dante, in the opening lines of his Commedia:

Midway along the journey of our life,

I woke to find myself in a dark wood,
for I had wandered off from the straight path.

( Dante 1984 : 67)

Introduction : Spatiality .
Robert T. Tally Jr.

the New Critical Idiom, Routledge 2013





















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

Corporeal Phantoms/Attendants : Alternatives/Others in Photography

Landscapes : entering/intruding/emerging (holga819)

Working Title : Montage Samples
Historical Presence #4

Helena Eflerova, 18 minute rehearsal ,GASP 2009

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

Do you live as Humans in the Holocene or as Earthbound in the Anthropocene? (50.37)

Dr. Bruno Latour on climate change and the "Anthropocene": Wall Exchange, Fall 2013

Camera Obscura : Physical Touch #2

Photograph (240) drawing

Sequential Photograph : Performing Photography/The Inseparable Attendant


















Sunday, 18 February 2018

Architectures For Perception : Ceramic/Glass/Wood/Paper

ReThinking Matereriality
The engagement of mind with the material world
Elizabeth DeMarrais, Chris Gosden, Colin Renfrew

The Affordances of Things
Towards a  Theory of Material Engagement
Aesthetics, Intelligence and Emotions
Relationality of Mind and Matter

Material Agency
Towards a Non-Anthropocentric Approach
Carl Knappett, Lambros Malafouris

At The Potter's Wheel : An Argument for Material Agency
We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.

The Neglected Networks of Material Agency : Artefacts, Pictures and Texts

Material Agency as Cognitive Scaffolding

The Cognitive Life of Things
Material Engagement and the Extended Mind
Lambros Malafouris, Colin Renfrew

Minds, Things and Materiality
Michael Wheeler

Communities of Things and Objects : A Spatial Perspective
Carl Knappett

Imagining the Cognitive Life of Things
Edwin Hutchins

Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts
Charles Goodwin

Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach

Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life

Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they  need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)

The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from  the message they convey.

MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas

Organising Structures : Socially Shared/Culturally Shaped

Organising Structures : Artist Notebook, Body/Landscape

Architectural Surface : Constructional Forms in Glass













https://www.flickr.com/photos/russellmoreton/24505820206/in/dateposted-public/



Saturday, 17 February 2018

Working Ideas : Eye Catcher, Folly, Hut, Sculpture

Ann Cline
A Hut of One's Own
Life Outside The Circle of Architecture.

Herzog  and De Meuron
NATURAL HISTORY







Reading Into the Visual : Another Photography/Exploratory Images

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,





















Thursday, 8 February 2018

Mapping Under The Dome : Dark Tones

Darkness is a better form of freedom
Therese Oulton, in conversation, January 2013
Women In Dark Times
Jacqueline Rose

Jozef Van Wissem & Jim Jarmusch
The Mystery of Heaven
Sacred Bones Records. 2012

Everyone Stands Under His Own Dome of Heaven 1970

'Each man has his own dome, his own perceptions, his own theories. There is no one god for all'
Anselm Kiefer

In paintings of often stunning luminosity, Therese Oulton manages to paint us into the darkest spaces of our times.
A form of experience permanently menaced by itself.
Jacqueline Rose





https://www.flickr.com/photos/russellmoreton/39854735761

Wednesday, 7 February 2018

Drawing Rooms : Cyanotypes/Collages/Photography

Slow Philosophy. 2017
Reading against the institution
Michelle Boulous Walker

Saturnian Form : Lead and Library Dates
Russell Moreton

Emilio Prini
The filter and welcome to the angel, 1967
Environment with participants, doves, artificial green grass, socks, ultra-violet light.
Dimensions variable,
Installation, Studio Bentivoglio, Bologna.

Artist-run exhibition space

Emilio Prini well illustrates the spirit of Arte Povera: the artist is not the creator of artefacts, nor even of a documented 'happening'. In the transferral of energy and subjectivity into matter or an event, the work exists in the instant it comes into being and is simultaneously received.

To document his work in photographs and present these as a record of it contradicts the very basis of Prini's art.
Arte Povera, Themes and Movements
Carolyn Christov-Bakargiev

Intermedia Chart
Dick Higgins
Molvena, Italy. 1993