Re-registering Overlapping Spaces : Presentation/Ritual/Repetition.

 Outpost 200423

A4 Ruled Notebook.

Blue/April 2012.

Amongst Lightness and The Reverberation of Material.

Ceramic installation in white cube space.

Open Pit Firing, Shards, Ash, Ceramic Pieces, Low Table, White Cloth, Human Outline

We maybe more sophisticated in material ways, but we have not advanced spiritually beyond the axial age, and because of our suppression of mythos, we may even have regressed.

The history of myth is the history of humanity, our stories and beliefs, our curiosity and attempts to understand the world, link us to our ancestors and each other.

A Short History of Myth.

Karen Armstrong. 2005 

Rollright Stones, Oxfordshire.

Stone Circle, Storytelling, King Stone, Whispering Knights, Witch,

A Summer's Work.

Odyssey/Beauty/Struggle.

The Material Acts.

Summer 1994 : Artist's Studio.

The viewers nevertheless allow themselves to be drawn into his game, in order to 'see' as though for the first time the pure existence of things. 

Presentation/Ritual/Repetition.

Art is contemplation and must act upon our consciousness.

Objects/Things are part of the artist's immediate existence.

Contemplative experiences become truly meaningful when they occur in everyday life and when nirvana or the state of superior awareness blurs into samsara or ordered time.

For Tapies, repetition is above all else a perpetual questioning or a perpetual becoming.

A working process that is additive, which incorporates changes and accidents and as such his methods are hardly erasing anything that is already present on the canvas.  

A Summer's Work, Antoni Tapies.

The Embodiment of Minimal Gesture.

The Solitude and Discipline of Firing. 

Heja Chong.

Drawing from the philosophy and traditions of Bizen, she has undeniably developed her own aesthetic identity, embracing the raw materials of her new world, the pots and firing responding to the evolving nature of her life and environment. Adhering to the principle of Bizen, she is conscious  that her level of involvement within this tradition, may not always be recognised or understood by others.

Viewpoint/Distance/Synthesise Forms.

Framing a Figure in Space.

Drawing is not the form, it is the way of seeing the form.

Edgar Degas.

The foreignness of the intimate or the violence and charity of perception.

R. Bruce Elder. 

Raveningham.

The Autonomy of The Natural Environment.

Sculpture/Playing with the existence of things.

Field Studies : Pathways around the Sun.

Drawing : Assemblage of Lightness and Weight.

Enmeshed Space : Working Drawing with Handwritten Notes.

Lawn Deliberation/Mappings of Human Agency/Space/Time.

Space projected from the body is biased towards the front and right.

The future is ahead and 'up.'

The past is behind and 'below.'

Time as a structure/place to observe things in constant motion/relation.

Drawing Site/Spiral Windings/Diagram/Spherical Markers

Terracotta, lime wash/lamp black/blackboard paint/chalk/ink

Ground Pegs/Labels/Text Markings/Archival Information

Points becoming lines, Tim Ingold.

Spatial Construct : mediated space anticipating a destination, as seen through the fragmented myths, movie locations or souvenirs that vanguard the real place, access to places through their likenesses.

The workshop proposes strategies to confront our bodies with the multiplicity, unpredictability, directness and autonomy of the natural environment. The aim is to explore and develop consciousness of the body itself being an ever evolving landscape within a greater surrounding landscape.

Body/Landscape

Frank van de Ven.

The Psychology of Time.

Temporal Perspectives.

Relative Orientations/Past/Present/Future.

Time is  often referred to as 'the tacit dimension' within psychology because unlike other types of perception, it is not directly available to any sensory organ but can only be apprehended through change and the dynamic flow of environmental events. And yet despite its ephemeral nature, time is a dimension that has a significant impact upon a wide variety of psychological behaviour. 

From a cognitive perspective, it can be demonstrated that the orderly nature of one's environment stems, in part, from the fact that events' spatial characteristics are structured in and over time. Music, speech, body movements and walking gaits are among the many events in which the sequence of notes, words, or actions unfold with a characteristic rhythm and tempo over a given time span. The particular arrangement of this spatial-temporal structure not only influences how an event is perceived and remembered, but also the overall accuracy with which the event's velocity and total duration are subsequently judged.  

Different cultures have different conceptualizations of time which can be reflected in the types of metaphors that are used to describe time as well as the overall pace of life.

Curriculum Making.

The Enactment of Dwelling in Places.

An Ontology of Dwelling.

The dwelling ontology we want to describe rejects any possibility of living in the world through mental schemas of the world, and insists that the material-relational world is the only world in which we live, the only source of our capacities to communicate and learn, the only world in which our activities take effect, and the only world in which meaning inheres.

Greg Mannion, Hamish Ross.

Tim Ingold is an anthropologist who has looked at the interface between people and the environment. In The Perception of the Environment, he argues that ecological psychology and the philosophical writings of Heidegger and Merleau-Ponty share the view that the world becomes  meaningful through active inhabitation, or 'dwelling', rather than cognitive representation. 

Re-registering Overlapping Spaces #2

Public intimacies, personal dialogues in social spaces.

'Blocking In' of a private studio space of creative inquiry into the public realm as a permeable intervention.

Main reception area, UCA Canterbury 2010

Russell Moreton, Spatial Practices MA.