Camera Obscura : Kilquhanity 2011
Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011
Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive."
Site drawing from "a pathway between sunrise and sunset" staged at Kilquhanity, Scotland 2011. This research has led to notions of architectural "interventions" and " footprints" through the direct observational mapping of celestial alignments and movements as they pass over the landscape.
Thoughts relating to Spatial Practice as a site of operation in which to locate my practice. Use of spatial correspondences (place, identity gesture and resonances) as a means of mapping the diversity of human presence and passage into architectural space.
Possibilities of using methodologies and aptitudes gained from visual fine art and experience with glass and ceramics as architectural interfaces to instigate situations and promote a sense of an interactive spatiality through the role of the viewer becoming an active interlocutor into the dynamics of the site.
My work utilises simple scientific phenomena and by appropriated registering apparatuses ( chambers to act to become placed in relations to place, this placement is in effect an act of intervention and place becomes site, a proposal is delivered through this action. This proposal is in the form of a relational device/threshold that attempts to fold into the place, a site of creative intervention around a paradoxical inquiry, into objectivity and abstractions, between embodied knowledge’s and findings. These
“working Sites” attempt to engage the interlocutor on their own theoretical and subjective relations and to reveal and form their own singularities from the experience of becoming placed. This immersion into the objective, the philosophical, and the poetic, could be seen as trying to create a “metaphor around dwelling/becoming." A subjectivity enlightened by theorising around issues of the production of space and the notion that time is both a structure and an event. The interlocutor (the
view/relation of others present) becomes brought into “place” becoming as it were a ’’guest” of place through this placing inquiry, place can become ones own familiarity of space.
The Yard Studios, Winchester.
Multi-disciplinary practice, drawing on a long association with Art, Craft and the Building/Construction industry. Working mainly on drawing/mapping with local materials ( Arte Provera), alternative photographic processes and architectural interventions/installations that explore our sense and experience of place. Interested in the intimacy and mobility of “Artists” books and journals as a device to accompany the experience of place. My work commands and demands a need for a reflective solitude, a sense of dwelling amongst absences, that have themselves been transposed into another physicality. Interested in using drawing and materiality as a site of exchanges, traces formed into inclusions within its own experimental field of experience. The practice is continually informed by contemporary practitioners such as Roni Horn, Melanie Counsell, Christopher Bucklow. My work sets out to contains its own sense of a consolidation of time through ephemeral processes and reflection. The use of elemental mobile photographic devices is being investigated as a means of “registering” durations of human occupation continually superimposed amongst the agencies of “Place” and “Time”. The use of the human body as a trace allows my drawings a direct spatial encounter of absence. This method of working directly with the body is a direct result of earlier sculptural works in concrete and clay.
Artists Information & Material For
Interfaith-Group-Show: STRONG VOICES part of Hyde 900/2010
Co-organised & curated by Stephen Cooper & Arielle Klobusiczky
Russell Moreton
Process & Materiality: mirror arcane symbols ranging from science - humanity spiritual -pagan mythology & Christianity
Symbol & Vision: 3 Layers containing a portable space of vision/ thought
Binding Factor : Layers & Locality (Non places)
Layer I
Lyrical intervention with/&/or of Space particular Non spaces
Tracing activity contain in suspended materiality placed in space
Layer II Consolidation of Time
Capturing notion of time bound process, performance and procedure
Documentation of resulting absence from ephemeral activity
Layer III
Surface & Traces
Sense of Equilibrium between matter and process material & activity paused
Haptic Tactile resonance
Locality
Site Specific
response to space, architecture and surroundings including work
of others issues of frontality versus experiencing 3d work over come by designing samples/glimpses of concepts II!
Material & Process: all include water/moisture/ and light
Blue, Cyanotype ( Blue Print)
Off White, China Clay & /or Chalk
Negative Image, Pin Hole Camera
Orange/Brown, Rust
INTERFAITH GROUP SHOW AT THE LINK GALLERY 2010
Artist Statement
Spatial Practitioner using a multi-disciplinary art practice to explore relations in Architecture, Fine Art and Performance. Interested in the production of spaces that are relational and collaborative to both the practitioner and the visitor/interlocutor. My work utilizes simple indexical strategies to engender interest and perhaps a con spiritual enchantment for the everyday. These resultant correspondences “trace strategies” are open, active and present in-situ; they become “placed geographies around human relations.” Previous workings have used the agencies of natural light in both photographic apparatuses and projection through transparency and clay both as a material from which to retain impressions of mobility through its material memory and its analogy to the “Promethean myth" and its use of clay to fashion mortal man. This particular event invokes for me the notion of a shared humanity, a mutuality that could be understood as reflexive through simple material relations and collaborative gestures. Art space can promote these working intimations that are in the realms of beliefs.
Working Notes for Proposal
Notion of a shared hospitality/threshold that excepts diversities through a simple gesture. Explorative/relational surface or device to register and contextualize spatial relations produced by the participation of this event and its reception.
Artist Statement, re proposal for “Strong Voices”.
It is my intension to utilise the ambiguous and strangely intimate nature of a continuous line around a human being to act as a site for the viewer to inhabit an engagement with the work. I am interested in utilizing the “open space” the territory within the traced outline as a sort of vessel for the temporary thoughts and reflections of others. This space hopes to set up a condition, a place that allows a dispassionate observer or thinker time to find and form their own thoughts. The use of material residues left from enactments seems to concur a metaphysical presence to that of the inner trace. The use of simple materiality (clay, chalk, rust) invokes a notion of a shared simple relation, to the human form; these sensibilities are reflected in artists like Giuseppe Penone and other Arte Povera artists. The use of light sensitive materials, liquid light and cyanotype brings the representation of worlds into proximity of a human absence. Photographic processes also bring with them a surface of compressed and superimposed time, an event through which time has left behind, like the trace we are left thinking and reflecting a loss that creates equilibrium in the present. To add a presence of temporality and nowness, water vapour has been sprayed onto the chalk creating moisture a breath around absences.
The Link Gallery , Winchester. Strong Voices, part of Hyde 900
Untitled 2010
Wax, field chalk and pencil on paper 230x150 cm
This work utilises the ambiguous and strangely intimate nature of a continuous line performed around a human being to act as a site for the viewer to inhabit an engagement within the work. I am interested in the performativity of this “open space” the territory within the staged trace, creates an outline as a sort of absent vessel for the temporary thoughts and reflections of others. This space hopes to set up a residency, a place that allows a dispassionate observer or thinker time to find and form their own thoughts.
Wax, Field Chalk and Pencil on Paper, focuses our attention on the vulnerability and finitude of the human condition through a representation of its absence given only in the traces of past gestures. Inviting meditation, the simplicity of the materials and their use, directly evokes an emotional register and aesthetic sensibility tied to the human form. In the open space performed by a continuous line, the work seeks to offer us a temporary haven for reflection, a quiet space of respite, shielded from the incessant press of events.
What is the aspect of Faith/Belief in this work?
Personal Statement.
The work allows for me a space for reflection, however awkward its present location engenders. This drawing its manufacture and its materiality for me speak of the intimate space of a domicile, a domesticity and a sense of a proximity to material and geographical relations. For me there exists within its presence a space to ponder issues, some relevant to ones own intimate beliefs and observations. The poetics engendered by the materiality seek a sense of encounter harboured by territory of a human gesture. This encountered materiality is explicitly subtle, yet it is for me raw, open, unclothed and perpetually awkward. For me the confrontation of this awkwardness reveals the trace as being both vital and mortal. It is into this state of the vital and mortal I can begin to harbour my sensitivities and those of others.
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