Outpost 111122
https://www.flickr.com/photos/russellmoreton/
Creating physical origins.
Biology of Cognition.
We become observers through recursively generating representations of our interactions, and by interacting with several representations simultaneously we generate relations with the representations of which we can then interact and repeat this process recursively, thus remaining in a domain of interactions always larger than that of the representations.
We become self-conscious through self-observation; by making descriptions of ourselves (representations), and by interacting with our descriptions we can describe ourselves describing ourselves, in an endless recursive process.
Autopoiesis and Cognition.
The Realization of The Living. 1970.
Humberto R. Maturana.
Francisco J. Varela.
For Niels Bohr,
Nature is richer than our metaphysical prejudices, it has more imagination than we do.
The well defined and solid picture of the world given by the old physics is an illusion.
Meaningful Information : Utility and Relevance.
Natural systems rooted in the physical world.
Correlations that care both physical but also intentional.
Relative information is generated by the interactions that weave the world.
The organism cares about its relevant relative information, it connects between something internal and something else generally external,
Helgoland.
Carlo Rovelli.
The Minds Eye
Bridget Riley.
POETICS/ARCHITECTURE.
Effective Correlations : Architectural Body.
Recasting/Reconfiguring Life.
Madeline Gins and Arakawa. 2002.
Drawing Apparatuses: OUTPOST 2022.
Daylight observed, spatial exposures and tracked blueprints.
Intermediaries induce space between (relations) object and process, they create, set in motion diffractive phenomena.
Deconstruction, removal and revealing of objects by taking away, an archaeological process of context sheets to reference a layered and exploratory removal of material.
SPAB Shotesham Working Party.
An attitude to historical buildings.
Well-being within the preservation and social agency of what remains of the building.
Working with lime, soft capping, clay lump, flintwork.
The ruin, its tower and the early church in the landscape.
Wayfinding/Shelters/Involuntary Remains/Sculptural Outcrops. Exposed Architectural Fragments.
Lime/Flint a plastic architecture, a fabric made up of instances of building gathered from the locality.
The 'lift-line' and the shuttering and infilling of flint-work, prior to the whitewash render finish.
Undifferentiated Landscapes.
A Field of Earth.
Jean Dubuffer.
Dubuffer used a plasterer's technique, in which walls are coated using shaken branches instead of loaded trowels. He applied many layers, scattered substances such as sand and other materials, the mortar was scratched, poked and prodded until it gave the impressions of teeming matter, alive and sparkling, he could then use it to evoke all kinds of indeterminate textures, even galaxies and nebula.
Earth Colours.
CHROMAPHILIA.
A mortar of mixed material, of added soil, ash, gravels and other earth elements added to this viscous paste.
Anthropology, a study of what remains from human societies, rituals and artefacts.
A contemporary art/architecture that takes on anthropological and sociological concerns.
The sensorial realm of practical making, learning and well-being through the hapticity of craft.
Mobility-Movement-Being Alive.
Tim Ingold.
Red Kiln
Hebden Bridge, 2007.
Refurbish, new fibre lining, ceramic fibre adhesive, fire cement, gas burners.
Re-locate and re-assemble for larger architectural ceramics.
Outpost Members
Submit archive material.
Anglian Potters.
Demo day with Rebecca Appleby.
Creative explorations of concept, media and scale.
An Artist Who Uses Clay As Her Medium.
In 2019 Rebecca started a new body of work titled 'Graces' which was of great significance and helped her to re-ground her practice in sculptural exploration of symbolic relationship between architecture, industrial and bodily transfiguration.
In 2021 Rebecca was awarded a grant from the Arts Council to take risks and connect with a broader network and audiences, enriching and invigorating her career.
Interested in Order-Chaos-Impermanence, philosophical concepts addressing change.
Influenced by ceramists Gordon Baldwin, David Roberts.
Work/Making/Exhibition Titles
Urban Traces/Fragments/Translations.
Ceramics and The City.
Palimpsest.
Fractures/Personal Trauma.
Concrete Cancer.
Ceramic sculptural works derived from Painting, Collage and Drawing.
Research material around abstract painting and architectural de-construction.
Ashraf Hanna, clay body, 55% mixed molochites.
Handbuilt slab forms fired to 1180 degrees centrigrade.
Monoprinting with slips on newsprint, underglazing, body oxide washes, paper stencils, scratched, sprayed, and incised mark making.
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