Developing non-linearity/entanglements throughout creative practice
Curiously, we live in a conflicted time of both accelerated change and business-as-usual, a time of both transformation and stagnation. For the first time in history we have a global network that is in constant and instant communication with itself-everywhere. We have the much examined problems of ecological stress, urban alienation, and spiritual confusion.
The Architecture Of The Jumping Universe, Charles Jencks.
Emergence/Self Organisation
Maternal Body : Clay Impression and Fragmented Form
Pastoral Space: Material, Inquiry and Craft.
Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency
"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.
1000 "pots" performative site 2011. The Yard, Winchester.
Auguries into the maternal body. Un-fired clay and silica sand.
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.
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.
Human trace drawing with unfired clay bodyscape
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 into Chapel Arts as part of their research residency programme.
Reflective Journal/Spatial Practices
Spatial/Visual Coordinates
https://www.pinterest.co.uk/russellmoreton/
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