Photographic Landscape : Tactile Light/Entropy/Process and Image

Photographic Landscape, a photo by Russell Moreton on Flickr.

Collage : Photographic Diversions, Contradictions and Anomalies.

Collages : Diversions, Contradictions and Anomalies.

Collage's integral methods of discordance and displacement have so insistently reflected turbulent developments in twentieth century art, science and geopolitics that our response might be to categorise the whole genre as iconoclasm or subversive fantasy.

Sally O'Reilly

Spatial Proposals/Social Constructs/Architectural Settings.

Spatial Practices, Canterbury School of Architecture UCA.

Interior Design, Farnham UCA. 

Space and Place

THE PERSPECTIVE OF EXPERIENCE

Yi-Fu Tuan

1959 : Patti Smith

Peace and Noise

Lingering at the threshold between word and image

Cy Twombly

Claire Daigle

Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration. 

Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation.

Research Material
Photographic Drawings

PETER ZUMTHOR ATMOSPHERES

Architectural Environments
Surrounding Objects
2006 Birkhauser, Basel, Switzerland.

Time as a structure and an event #1

Spatial Represetation from Moving Pinhole Camera

The photographic medium, an elusive nexus of  invisible and visible,  the conceptual and physical rendered as observational.

Surface View : Photographic Drawing/Architecture of Emergence.

Surface View : Photographic Drawing., a photo by Russell Moreton on Flickr.

Cyanotype and drawing for architectural glass.

Cognitive/Imaginative Mappings within The Drowned World, JG Ballard.

The Architecture of Emergence: The Evolution of Form in Nature and Civilisation
Michael Weinstock

Spatial Practice/Spatial Representation : P1213401 red photogram from 10 Days in the City.

P1213401red photogram., a photo by Russell Moreton on Flickr.

Postcard/Star Atlas : Cyanotype (used as index for recorded disc)

Postcard/Star Atlas : Cyanotype (used as index for recorded disc), a photo by Russell Moreton on Flickr.

Verso

A for Andromeda, BBC4 27.03.06 90 minutes

1973 Romantic Poets

Disc Full

Contact Photography

Contact Photography, a photo by Russell Moreton on Flickr.
http://russellmoreton.tumblr.com/archive

Russell Moreton
Winchester Discovery Centre
09:00am Wednesday 02 Oct 2013 to Thursday 31 Oct 2013

Russell Moreton is a visual fine artist working with alternative and historic photographic processes. He uses pinhole cameras for inquiry into architectural space, these initial perspectives are further collaged and rendered through the Cyanotype process. He is currently working in the library spaces, and aims to produce a series of working ideas/blueprints for display.

Cost: Free
Venue: Winchester Discovery Centre
Telephone: 01962873603

Spatial Representations in Art Practice : Ceramics, Painting and Photography.

 

Cyanotype Process : Figural assemblages from drawing and botanical material.

 

OUTPOST STUDIO 181121

Glass/Skin/Permeable/Translucent,Diaphanous and Wondrous.

The Sensation of Flesh/Skin, Surface and Subjectivity.

An ecological view of cognition, knowledge of the world comes from engagement with things.

Rather than studying the world as an object, we  correspond with it in its own movement of growth or becoming. This correspondence sets up a relation with the world which opens up our perception to what is going on so that we can respond to it.

Tim Ingold. 2013.

Making as a process of thinking.

Making involves the socialised, skilled artist body labouring with materials, responding constantly to tactile, visual and emotional feedback from the emerging form. 

I am exploring emergent objects as landscapes, inhabiting them and of making sense through them.

Barbara Bolt. 2007.

Creative 'practice' and the embodiment of the 'social'.

The Life Class/The Artist's Studio.

Knowledge is emergent as the artist engages with the environments and processes of practice.

Adopting a conception of cognition as ecological assumes thinking and perceiving occur as an organism moves through its environment.

The artwork and the work of art produce a knowledge that is performed in the moving interactions of body, material, and social actors in space and time of which the artwork is a trace.

Tim Ingold. 2000.

Event Spaces, as an experience of distributed artistic subjectivity and shared art-of-inquiry. 

A Body Of Relations

Reconfiguring The Life Class

Yuen Fong Ling. 2016.

Intermediaries and happenings between my body and other bodies and their technologies, where their performativity is revealed offering new perspectives on the roles within the life class.

In my fixed physical position as the life model, the notion of the 'pose' reflects a union of the conscious and unconscious, instilled by the act of being looked at, and the ways to record this through optical devices and machines.

Modelling Subjectivities

Life Drawing, Popular Culture and Contemporary Art Education.

Margaret Mayhew. 2010.

Drawing is important because it delineates between elements in the physical, visual, psychological and cultural field, it also delineates between bodies and spaces, art and fashion, and present uncertainty verses timeless tradition.

The act of drawing itself involves considerable self control on behalf of the drawers, not only in mastering hand-eye coordination, but in concentrating on the present moment, the present action and in the immense discipline of looking at a naked body, culturally marked as sexually available, and not displaying sexual interest.

Margaret Mayhew. 2010.

The body is never isolated in its activity but always already engaged with the world. 

Merleau Ponty. 1999.

Through the configuration of the body as potentially transparent, against which the human being can only push with her hands at the limits physical and psychic geographies that are between inside and outside. 

Photography and the permeability of time evoking a physical experience of observing and examining other worlds.

Aesthetics of intimacy, photography and bodies of desire, the gaze of the passionate camera.

The intimacy and equivalences created through the photographic experience.

Her inert body both inside and outside the vitrine.

Potentially something dangerous about the  experiments with her body, with and into its layering and embodiment within speculative spacetime dimensions.

Here the viewer has the sensation of seeing through a double protective layer of glass and skin.

Art Practice/Building Distant Realities/Wonder

Like glass and within the glass, with the skin that separates the body from outer/other space as well as inner geographies and selves.

Written on the body, maps and navigations of interior spaces. Winterson/Woodman.

Her poetic image of a space that presses psychically on her from the outside.

The earthbound, partial female body, transgressions of the everyday limitations on the body.

The psychic geography manifested within frames of spatiality that becomes an inner space that flips outwards and defies limits.

Through and beyond the drawn/sculpted and painted body.

Site for psychic inner explorations, a corporeality for others rooted in the body's present moment of experience.

Diffracting Drawing and Painting.

Mattering as a reconfiguration of its own making, understanding and encountering.

Atmospheres : Architectural Environments, Surrounding Objects. 

Peter Zumthor. 2010.

Manuel Neri, Studio, Benicia, 1980

Francesca Woodman, Untitled contact sheet, Providence, Rhode Island, 1976

Material Thinking and the Agency of Matter.

Barbara Bolt. 2007.

Things and Bodies/Shifting Signs

The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.

Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.

Time is persistently liminal, a suspended, extended present.

Mattering/Mutability,Accident, Flux

Experience/Existence/Presence 

Life Drawing/Staging Oneself/Others

Body in Space/Resilience,Endures

Organism-Person-Environment

Haptic slippages between subject and object, between what is alive and what is animate.

Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.

Architectural Agency/Learning Space : Brockwood Park Art Barn/Studio Works AS/A2 Students

Spatial Agency : Reflective Journal 2013. #5

Reflective Journal 2013. #5, a photo by Russell Moreton on Flickr.

Enchantments between materials, snow, paper and plaster : Bramdean 2010.

Text Extract/Inclusion. "Pure Presence"

The enchantment of modern life: attachments, crossings, and ethics : Jane Bennett 2001.

It is a commonplace that the modern world cannot be experienced as enchanted--that the very concept of enchantment belongs to past ages of superstition. Jane Bennett challenges that view. She seeks to rehabilitate enchantment, showing not only how it is still possible to experience genuine wonder, but how such experience is crucial to motivating ethical behavior. A creative blend of political theory, philosophy, and literary studies, this book is a powerful and innovative contribution to an emerging interdisciplinary conversation about the deep connections between ethics, aesthetics, and politics.

As Bennett describes it, enchantment is a sense of openness to the unusual, the captivating, and the disturbing in everyday life. She guides us through a wide and often surprising range of sources of enchantment, showing that we can still find enchantment in nature, for example, but also in such unexpected places as modern technology, advertising, and even bureaucracy. She then explains how everyday moments of enchantment can be cultivated to build an ethics of generosity, stimulating the emotional energy and honing the perceptual refinement necessary to follow moral codes. Throughout, Bennett draws on thinkers and writers as diverse as Kant, Schiller, Thoreau, Kafka, Marx, Weber, Adorno, and Deleuze. With its range and daring, The Enchantment of Modern Life is a provocative challenge to the centuries-old ''narrative of disenchantment,'' one that presents a new ''alter-tale'' that discloses our profound attachment to the human and nonhuman world.

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.

Enchantments between materials, snow and paper.

Material gathered from the sky

Plaster cast around snowball 

Clay Work : Visceral Practices

Clay Work : Visceral Practices, a photo by Russell Moreton on Flickr.

Studio Space,The Yard 2, Winchester.

A Potter's Book: Bernard Leach
Art and Agency,an anthropological theory: Alfred Gell

Pastoral Space: Material,Inquiry and Craft.#4

Pastoral Space: Material,Inquiry and Craft.#4, a photo by Russell Moreton on Flickr.

1000 "pots" performative site 2011. The Yard, Winchester.

Social Spatialisation #2

Social Spatialisation #2, a photo by Russell Moreton on Flickr.

 

OUTPOST 111121

Spatial Practice/Spatial Representations

The Body and Space.

Lefebvre : The Production of Space.

A spatial theory/programme that seeks to reconcile the fractured definitions of space as perceived, conceived and lived, through deployment, occupation, immediate relationship.

The body is a medium that allows us to experience space.

Hortus Conclusus a walled garden. 

A Serious Place

The Garden of Forked Paths

Deviant, troubling and open-ended frames and features.

Boundaries, limits and transgressions.

Beyond privileging her body as subject and ruinous spaces for sites, Woodman made certain methodologies and technical approaches characteristic aspects of her practice in furthering the effects of the body/space encounters.

Cassandra Blair. 2015 

Some Disordered Interior Geometries. 1980-81 

The precision of mathematics meets up with the unruliness of bodies and selves.

Francesca Woodman's artist books.

The Contained Nature of Photographic Representation.

We respond to the experience in the photograph, the inner feeling generated by it.

Study For Space²

Hand drawn frames around the blurred presence of a body.

Francesca Woodman, Untitled, Providence, Rhode Island. 1975-78

The logic of the photograph and the logic of framing the self.

Contact sheet with annotations/spatial coordinates/lines and forms.

Every surface is sensitive to light, to pressure, to inscription.

Architectural surfaces heighten the relationships between the body and space.

Emotion, Space and Society.

Organism-Person-Environment

The flickering presence of Woodman suggests a less knowable form of subjectivity that remains porous to one's environment, a form of subjectivity produced in relation to to objects and buildings.

An intimate mode of looking : Francesca Woodman's photographs. 

Jane Simon. 2010

Ellipses as aposiopesis signals a certain trailing off, a sentence ending or not ending in the suspension of unresolved thought.

Francesca Woodman, Untitled, Providence, Rhode Island. 1976

Francesca Woodman, from Angel series Rome, Italy. 1977-78

She ponders the matter of things, the shape of herself that/what remains on the floor's emulsive surface. Skin, flesh, building materials, decay.

Photography sustains her inquiry into forms of subjectivity.

Intimate Viewing and The Play of Boundaries

The surfaces of representation through the articulation of a photographic process/practice.

Framing/Accommodating the Subject :Viewing apparatuses and mechanisms.

Photography and Architectural Voyeurism

The Split Wall : Domestic Voyeurism. Sexuality and Space, Beatriz Colomina. 1992

Negative and indexical shapes, corporeal and architectural playfully succumbed into an emulsive surface containing shadow and light.

The InHUMAN : Reflections on Time. Jean-Francois Lyotard. 1998