Monday, 15 April 2019

Maternal Body : Clay Impression and Fragmented Form/Raku Beaker Form

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.

Artist Statement/Chapel Arts Residency 2010

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.

Wednesday, 3 April 2019

Aesthetics and the Spatial : Sensual Things of Light and Gravity

Immaterial Architectures
Painting/Form for Reading Spaces/Intervals
Pattern and Chaos/Liminality/Tectonics
Architectural surface for a Library,  raw materials, light, silence and solitude.

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

Orchestration of light to mutate through time

Intensity and integrity of Wilmarth's practice/vision.

Choreography of light/moving eye

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.

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.

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.

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.

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.

White Noise : Nocturnes of Silence

Tuesday, 2 April 2019

Intercessor/Ways of Following : Art, Materiality, Collaboration

Anthropology With Art
Tim Ingold

Ways Of Following
Art, Materiality, Collaboration
Breathing and Dancing
Katve-Kaisa Kontturi
Open Humanities Press

Power of Gentleness
Meditations on the Risk of Living
Anne Dufourmantelle

Out Of Our Heads
Why you are not your brain, and other lessons
from the biology of consciousness
Alva Noe

Russell Moreton
The Aesthetic Spaces Between Objects

Geometries of Mind
Books, Papers, Readers, Libraries

Hidden Curriculum
Speculative Learning Environment : Russell Moreton.
Re- Imagining Education, Brockwood Park School.

The Scriptorium : Collage and Architecture
Theatre for Research
Speculative/Performative Learning Space

a thousand plateaus
Deleuze, Guattari

Body Without Organs
Smooth Space
War Machine