Garry Fabian Miller, The Light Gatherers: Beyond the Middle Place

On the property/structure of things/materials/colours : About philosophy/drawing

 Outpost Studio 261021

On the property/structure of things/materials/colours

Drawings going beyond figure/ground relationships

The manifestation of weight derives from form along with substance.

I no longer wanted to make markings on a piece of paper, I wanted to make the drawing integral to its structure and properties.

About Drawing, Richard Serra.

Serra has questioned whether his 'Deadweight' series borders on the pictorial, because these drawings set two similar shapes against a common ground as if to construct a compound figure. However Serra's use of overlap protects against this possibility and preserves the material independence of the two sheets of paper.

Preface, Being and Becoming. C. Robert Mesle.

The secret of life is enjoying the passing of time. James Taylor

Process-Relational Philosophy. 

An Introduction to Alfred North Whitehead. 2008

The assumption of a moving viewer, Richard Serra in a Japanese Temple Garden.

Richard Serra believes that the physical grasp of a space must occur through time in the form of movement or effort, so he temporally extends his own working of a surface.

Tempered, measured movement such as the application of layers of paintstick, narrows the conceptual gap between the space and time we imagine to experience bodily.

Serra's program  (a temporal art of substance), to link bodily consciousness to material substance, to integrate vision and touch as well as space and time.

Movement/Sensation marks both space and time, it does so psychologically as well as physically.

The Interaction Of Color

Albers theorized the relation of space and time to weight.

The two basic quantities or substances question, how much and how often, distinguishes two kinds of quantities, one of size, extension in area, and one of recurrence, an extension in number. These measurements establish weight in space and weight in time.

Serra's accumulated, living movement, his layering of paintstick, collects weight in space and weight in time.

The human body (corpus humanum) is composed of many individuals (of different nature), each one of which is highly composite.

The individuals of which the human body is composed are some fluid, some soft and some hard.

The individuals composing the human body, and consequently the human body itself is affected in many ways by external bodies.

The human body needs for its preservation many other bodies from which it is, so to speak, continually regenerated.

When a fluid part of the human body is so determined by an external body that it impinges frequently on another part which is soft, it changes its surface and as it were imprints on it the traces of the external impelling body.

The human body can move external bodies in many ways, and dispose them in many ways.

The human mind is apt for perceiving many things, and more so according as its body can be disposed in more ways.

Bento de Spinoza : Ethics, Part II, Postulates I-VI, Proposition XIV

Bento,s Sketchbook : John Berger. 2011

Manuel Neri

Bodies of intensity, imprinted with a ghostly figural outline.

Sculptures and drawings showing ambivalence,hostile, intimate, relationships.

The contradictory shocks between form and substance are absorbed by the emotional resilience of the dialectic of pleasure and doubt. Neri proves this in the course of his own work, through his successive approaches to different materials, which make him oscillate between allusive figuration and the most direct realism.

Pierre Restany. 1988

How do things translate into lived experience?

Whatever the answer, it will be known only in relation to the particularity of a personal physical encounter with the work, never as a principle of order or composition.

Drawing Thick, Richard Serra.

Agencies/ways of doing, phenomena and research emerge with specific relationalities to things at hand.

A diffractive methodology is a knowledge making process, creating ongoing differences, states of being/becoming.

Diffraction as a tool for analysis, attunes us to the differences generated by our knowledge.

Opening up ways for greater sensitivity towards how we are part of the worlds continuous becoming.

Organism-Person-Environment : The Architectural Body.

Arakawa and Gins 

The theoretical object/body in doing/sensate built architecture

Living Spaces : Spatial Agencies/Creative Philosophies into a world of continual process and becoming, where each person relates to every other and to all of nature.

Architectural Thinking/The Interrelated Universe : Process and Reality

Mattering : Mind-Movement-Material

Spatial Interventions in Architecture

Filtered Light and the interactions of objects

Entanglements of Materials and Substances

Asperities, opacities, reflections, textiles,

Lines Of Flight : Drawing on Mattering

Steven Holl, House,St Ignatius, Scale

Place Making/Drawing/Materials/Construction

Beach Ruins : Belgium

Rutile/Yellow Ochre washes, transparent glass/glaze, texture/textile and pierced clay/concrete.

Ceramic Slab Constructions : Facades/Massing for pacemaker utilities/living spaces

Material as drawing, drawing as construction, architectural models constructed into the assemblage of the making drawing.

Painted Clay Constructions : Gesso, Cyanotype, Cotton, Wire, Glass.

Process-Relational Philosophy : Alfred North Whitehead

Vibrant Matter : Jane Bennett

Blackness is a property, not a quality, that is to say, something fundamental, not an incidental embellishment.

About Drawing, Richard Serra.

Re-visiting the proposal : Making at Raveningham/Building on the lightest of things

Dwelling. Up, across and along relations in the landscape.

Giving Sensation Place.

An Education Of Attention.

Creative Curriculum Making.

Developing a creative inquiry and its presentation through generative art based methodologies.

Re-imagining learning through site based education, art practices and philosophy.

Installing a creative practice as a 'place driven site' for subjective experience, gathering things and personal inquiry from which to present 'findings' into the social environment.

For Tim Ingold, life is the very process wherein forms are generated and held in place.

And dwelling means that the forms people build, whether in the imagination or on the ground arise within the current of their involved activity in the specific relational contexts of their practical engagement with their surroundings.

Tim Ingold, Lines. 2007

Proposal Raveningham 2023

The Simple Presence of Things.

Peter Zumthor.

Raveningham Sculpture Trail 2023

Russell Moreton.

Making and working in drawings, diagrams and constructions that are habitable environments.

Speculative Cosmic Garden and Sculptural Array for Solargraphy.

Interested in revisiting an earlier project that I created at Kilquhanity (A Pathway Between Sunrise and Sunset), in which I mapped out transits and movements of the sun onto the landscape through demarcated pathways and intersections. I propose then to add to these ground markings an apparatus or array to hold small can cameras pointing skyward to record the movement of the sun over the duration of the Sculpture Trail.  

Using the phenomena of light as both a conceptual and practical framework requires a mixture of pinhole cameras, contact photograms and shadow sticks that will demarcate lines and arcs, that will in turn create overlapping territories onto the landscape. The array construction will act in counterpoint to the landmarks, a fixed arrangement looking perpetually skyward. 

Russell Moreton

Spatial practitioner employing a  speculative site based practice linking visual fine art, education, architecture and philosophy.

A Nomadic Narrative/One Place After Another.

 A nomadic narrative, a path articulated by the passage of the artist which is phenomenological, social, institutional and discursive.

Site specificity of competing definitions, overlapping with one another and operating simultaneously within both cultural practices and the artist's own single project.

A provisional conclusion might be that in advanced art practices of the past thirty rears, the operative definition of the site has been  transformed from a physical location, grounded, fixed, actual, to a discursive vector, ungrounded, fluid, virtual.

One Place After Another.

Notes On Site Specificity 

Miwon Kwon. 1997

Transience of Presence : Drawing Gestures, Postures and Movements/Philosophies of Art

 Outpost 241121

The Artist's Reality

Philosophies of Art

Mark Rothko, 1940-41.

Without question the work I  found as incomplete and in places, frustratingly obscure, but it was a book, and a substantial one. It was clearly written as a volume, its contents speaking to a public rather than constituting an artist's private musings

Christopher Rothko, 2004.

The Artist's Dilemma

Art as a Natural Biological Function

Art as a Form of Action

The Integrity of the Plastic Process

Art, Reality, and Sensuality

Particularization and Generalization

Genalization since the Renaissance

Emotional and Dramatic Impressionism

Objective Impressionism

Plasticity

Space

Beauty

Naturalism

Subject and Subject Matter

The Myth

The Attempted Myth of Today

Primitive Civilizations Influence on Modern Art

Modern Art

Primitivism

Indigenous Art

Rembrandt discovered that his patrons were not interested in his plastic preoccupations with light when he painted The Night Watch, and that they preferred the obvious illustrative gifts of his contemporaries and followers. Monet and Cezanne discovered the same, watching Sargent and the exhibitors at the academy sell far inferior goods, succeeding because they adopted the French masters' method in its superficial aspects, while including enough familiarity so that the spectator revelled in the familiar while he was talking about the unfamiliar.

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/propositions between subject and object, human and non human, between what is alive and what is animate.

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

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

Edgar Degas.

The human figure, like any animated object is alive. Even when in a seemingly static position- whether sitting or lying- it is actually in constant motion. To capture this fundamental fact, which makes the body profoundly different from a statue or a mannequin, one must learn to see both its physical structure and its actions in space.

Daniela Brambilla.

Between seeing and drawing, what is felt, hidden, made rendering visible.

Blindness, searching, instants marking the barely known phenomena between organism, person and environment.

The searching and reflexive nature of drawing, a questioning through the performative social body, and its perceptual spatial agency and with materials, environments and others.

Human Figure Drawing

Drawing Gestures, Postures and Movements.

Daniela Brambilla, 2014.

With a series of curved lines drawn quickly, without lifting the pencil from the paper, in a loose way and almost without looking away from the subject, identify the lines that make up not the outside, the external contour or the details, but the morphological whole of the figure at that precise moment- in a certain sense the internal engine, a synthesis between intentions and actions, between mind and body.

To achieve this result draw around the form's centre and at the same time beyond it, without defining volumes with closed lines.

Gesture

Seeing Contours

Superposition

Interior and Exterior

Proportions

Modelling

What It Isn't

Memory

Balance

Techniques

Light and Shadow

Chiaroscuro

Viewpoint

What to Say?

Movements of the Soul

The Forms of Age

The Sketchbook

Imagination

If you have learnt to write, you will also learn how to draw. The manual skill is the same; you are just changing your way of seeing and feeling. To understand the meaning of this statement, ask yourself: “Where am I when I am drawing?”

Thinking Bodies : Deleuze and Guattari's becoming-woman

Nicole Dawson, 2008.

Deleuze and Guattari have argued that we cannot reach outside of a dualistic conceptualization of human bodies simply by seeking to transcend or bypass it. They contend: “The only way to get outside the dualism is to be-between, to pass between, the intermezzo”. We  do not get past or move beyond the dualism. This is not a successive stage of progression. The dualism is a conceptual event whose historical and contemporary activity gives rise to consequences that cannot be invalidated or ignored, thus, the situation is not such that we put the dualism behind us, move on or forward as if unaffected. The only place to go, to move, if we are to get outside the dualism is between: “one must pass ...through binaries, not in order to reproduce them but to find terms and modes that befuddle their operations, connections that demonstrate the impossibility of their binarization, terms, relations, and practices that link the binarily opposed terms”.

A Thousand Plateaus : Capitalism and Schizophrenia, Deleuze and Guattari.

Volatile Bodies : Towards a Corporeal Feminism, Elizabeth Grosz.

 

Garry Fabian Miller, The Light Gatherers: Natural Magic, A Human Nature

 Outpost 100523

The line that develops freely and in its own time goes out for a walk, and in reading it the eyes follow the same path as did the hand in drawing it.

The Thinking Eye, Paul Klee. 1961

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through which without colliding would produce the establishment of places and localities made special for one reason or another.  

Another kind of line however is in a hurry. It wants to get from one location to another, and another but has little time to do so. For Klee, the appearance of this line is more like a series of appointments than a walk. This appointment seeking line goes from point-to-point, in sequence as quickly as possible and in principle in no time at all. For every successive destination is already fixed prior to setting out and each segment of the line is predetermined by the point it connects.

The Walk and The Assembly.

Tim Ingold.

Life Drawing.

Herbert Boeckl is not concerned with beauty of line, as his predecessors Klimt and Schiele were; he always sees the body in the context of space and draws 'from within': he builds up his figures from a structural core. The surface thus takes on a strongly moulded, modelled aspect.

Georg Eisler.

From Naked to Nude.

Wayfaring a Human Landscape.

Material : The ways/movements of practice.

Making : The designed/the discursive.

The lines of the network in a contemporary sense, join the dots, they are connectors. 

The lines of the meshwork by contrast are the trails along which is lived.

Up, Across and Along. 

Tim Ingold.

Camera Obscura : Reflections and the dark room.

Camera Obscura : Reflections and the dark room., a photo by Russell Moreton on Flickr.

Twilight Abstractions : Liminal Zones/Psychological Realities

Twilight Abstraction : Liminal Zone., a photo by Russell Moreton on Flickr.

La Jetée "a fusion of science fiction, a psychological fable"

Textual Realities, J G Ballard on Chris Marker.

P6120006 MOV

CCTV Installation/Visual Fine Art.

UK based Visual Artist using drawing and experimental photography to explore issues around embodiment. Interested in creating spatial charged architectural interventions using glass and ceramics as conductive and introspective spaces, surfaces and structures between buildings.

Pinhole Camera/Molecular Sieve Drum : Time as a structure and an event #1

Time as a structure and an event #1, a photo by Russell Moreton on Flickr.

Pinhole Camera/10 Days in the Laundry, Winchester : Blueprint, text and place.

Blue print, text and place., a photo by Russell Moreton on Flickr.

New Ceramics/Drawings/Constructions/Apparatuses/Daylight

Ceramic Forms/Inscriptions/Lines of Knowing.

Wayfaring, walking/sensing between things. 

As wayfarers we experience what Robin Jarvis has called a progressional ordering of reality, or the integration of knowledge along a path of travel.

Up. Across and Along, Tim Ingold.

Structural Modalities/Making/Tensions : Spatial Forms to gather/interact with discursive research

Sensing Spaces : Through displacements and hidden volumes.

The Hut is a vessel in the making for reflective dwelling.

The Pot with its interior underpins its fidelity, its completeness.

Some pots are tuned and balanced for their “innerness”; others promote their surfaces (noise) at the expense of their interior integrity (quietness)

Vessels of Defined Spaces : Creatures of Light and Dark

In sensing a pots interior from its surface, we are as it were in some intimate tacit correspondence with its spatial sensing centre. We become known to it through its maker’s creative gesture of innemess. This anthropological inner space linking us to the potter is both sensual and distant; its vacancy allows us dwell in the maker’s absence.

https://www.flickr.com/photos/russellmoreton/

To build, dwell and explore the space of drawing through intuitive and abstract making.

Drawings/Constructions/Apparatuses.

There is no stage at which humankind does not demarcate, beacon or sign their space, leaving traces that are both symbolic and practical.

The Production of Space.

Lefebrve.

Like drawings, assemblages drawn and made showing the paths taken.

Landing Sites/Holding Places.

Between The Body/Sensing Spaces/Voids.

Perceptions, body, organism, environment,

Mezzanines, lofts, basements, balconies, walkways, scaffolds, access platforms.

Living Architectures/Narratives/Dwelling within the Ruinous. 

Tarkovsky.

Bachelard.

Making Gestures and Connections in Space. 

The Memory of Objects.

The Provocative Combination of Densities.

Inner Architectures/Clay/Sensorial/Conceptual/Places

I placed a jar in Tennessee, 

And round it was, upon a hill. 

It made the slovenly wilderness 

Surround that hill.

The wilderness rose up to it,

And sprawled around, no longer wild. 

The jar was round upon the ground 

And tall and of a port in air.

It took dominion everywhere. 

The jar was gray and bare. 

It did not give of bird or bush, 

Like nothing else in Tennessee.

Wallace Stevens, ‘Anecdote of the Jar’ (1919)

Innerness for the potter is always at the heart of the practice, as manifested through the opening up of the thrown vessel.

Inner spaces of defined interiors forming vessels that are intrinsically cyclical through light and dark by way of their surfaces and volumes.

Like the cellar, the pots interior and its containment of light and shadow becomes a dwelling space for a submerged primordial memory. (Bachelard/Trigg)

The clay links the vessel to both locality and our geocentric position.

‘Pleasure is moving from darkness to light and vice-versa.’ 

Grafton Architects. Sensing Spaces: 2014

The pot promotes an architecture of the soul, of an intimate yet social interior illuminated through the imagination.

In The Making : Hollowing out Space through Innerness and Difference. 

Quietus : Interiors of Silence and Space.

Innerness : A (sensorial) space or even a place interior to its environment 

Splitting.

Spatial representations/cuttings into the urban/social fabric of architectural redundancy.

Gordon Matta-Clark.

The co-existence of overlaying fragments of construction, by selective excavation and creative demolition.

Castelvecchio an attitude to history. Carlo Scarpa.

Site is the un-doing of place.

Generative and provisional, site-specific investigations for sensing place.  

Hand Built, Slab Ceramics.

Oxide washes, incised lines and piercings undertaken to the raw clay forms.

Architectural Facades/Camera Obscura. 

Dark Room.

Garry Fabian Miller.

The internal mechanisms with which we see and experience visual and physical phenomena depend on a bottom-up approach. Building up from elements of abstraction, the opposite top-down approach of given figuration stifles necessary imagination.

Curiosity, imagination and enthusiasm all hold a power in the mind to ignite the creative act.

The Lake of The Mind.

Steven Holl.

Stochastic thinking suggests an interconnected ecosystem of architecture together with all of the arts to achieve new levels of correlation.lay

Confronting The Human Body : A Body Of Relations

 Outpost 270423

Temporal Demarcations.

Figural Workshop.

Confronting The Human Body.

The Psychology of Nakedness.

Looking/Showing/The Eye/The Gaze.

In the scopic field, the gaze is outside; I am looked at, that is to say, I am a  picture.

The spectacle of the world, in this sense, appears to us as all-seeing, this all-seeing aspect is to be found in the satisfaction of a woman who knows that she is being looked at, on condition that one does not show her that one knows that she knows.

Jacques Lacan.

What is a Picture.

The Split between The Eye and the Gaze.

A Body of Relations.

Reconfiguring The Life Class.

In the article What is a Picture? Jaques Lacan relates the space between the gaze and the eye to the 'screen'. The 'screen' allows the simultaneous perception and projection of the image. In the life class, Lacan's gaze is significant for the life model and the artist as it formulates the intentions of the psychological engagement and reveals the fundamental pursuit of desire in the methodology of life drawing practice. The subject needs to become an object of its own 'scopic drives' and therefore possessed by the perception of others. Lacan's gaze is somewhat estranged from the body, as it never allows for subjectivity to be fully complete.

Yuen Fong Ling. 2016

Palimpsest/Involuntary Surfaces.

Drawing/Corporeal Intertwinings of body/space.

Bodyscapes/Movements/Materials.

Haptic/Visual Abstractions.

 

Life Class/Drawing.

The contested space/subject of the nude as a form of art.

The Impossible Nude.

Transfer/Temporal/Media.

Dyeline Sheet/Rolled Inked Surface.  

Charcoal/Burnt Umber/Pencil

Shading Colour/Glass Pigments/Fired Glass.

Seeing Dark Things : Chemical Photography/Images from the darkroom.

 Concept of a 'Filtow'

A filtered radiance emanating from a vessel not an object interrupting a beam of light.

Seeing Dark Things.

Roy Sorensen.

The thing contained is not the thing contained.

The spherical intersection space was also crafted in curved thin wood layers.

Steven Holl.

The Representation of Deep Time.

The Mutability of Colour Relationships.

Unleashed Colour World.

Manifestations of Unhindered Radiance.

Albers, yellow square.

Monrian, square of yellow in its field of white. 

For both Mondrian and Winifred Nicholson, colour concentrates light and transforms the world.

Flowers were sparks of light.

I used flowers as chalices of light to make my own pictures.

My Cibachrome darkroom has been as much a domestic space as the Alber's basement and Winifred Nicholson's farmhouse kitchen. They are places where ideas about the emotional range of a yellow square can exist as naturally as reflections and shadows cast by the sun and moon.

In this new colour world of mine, the circle became nature, and the square became thought.

 

The circle and square together embody what I think of as human nature.

Dark Room, Garry Fabian Miller.

Generating an Aura.

Fusing and Pulsating Pigment.

Pinhole Photography 

Photo Tin/Medium.

Cromer.

Raveningham.

Site Cyanotypes/Drawings/Intermediaries

Spatial Collages Reconfigured  

The Darkroom's Erasure, a second lecture by Garry Fabian Miller

Raveningham/Trails and Wayfaring/ Finding enlightenment in the ground beneath one's feet. J. G. Bennett.

Existing between the subjectivity between things.

You Are The Weather.

Roni Horn.

Clouds and Clocks.

The project arises between a dialectic between the poetic and the systematic.

Between Science and Art.

The Embodiment of Minimal Gesture.

Wanderlust, A History of Walking. 

Rebecca Solnit. 2002

The Mind at Three Miles an Hour.

Everyday Aesthetics : Ordinary Lives

What shall I do next?

Tim Ingold.

Finding enlightenment in the ground beneath one's feet.

J. G. Bennett.

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. 

Curriculum Making : The Enactment of Dwelling in Places.

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 

Raveningham/Scripted Places

Garden/Ground/Circulation Diagrams.

Doing Slow Philosophy : Materials/Objects/Things/Walking/Listening to the wind 

Boundaries/in the making between the personal and the commonly shared.

A space where the individuals mental reality meets cultural narratives.

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 2011

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 Deliberations/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.

Reading Matter/Rooms.

The Lake of The Mind.

Stochastic Thinking.

Steven Holl.

Raveningham : Site-specific project place

The Garden of Ongoing Differences.

Diffraction/Energy/Analysis/Attunement 

Site Cyanotypes/Drawings/Intermediaries

Spatial Collages Reconfigured  

Walking/Thinking with Ideas/Observations.

Site Drawings and Observational Mappings.

Cultivation Field.

The circle and square together embody what I think of as human nature.

Dark Room, Garry Fabian Miller.

If the everyday can be considered an ecology where passions circulate in a perpetual state of intensification and entropic decline, the empirical self (and not just David Hume's version of it) is essentially in a state of flux. This posits the human as an organism constantly adjusting to its passionate environment, with a self that is constantly appearing and disappearing, crystallising and dissolving.

Ben Highmore

Rich Lyrical Motifs.

Brilliant Trees.

Within each lesson lies the price to learn.

David Sylvian. 

Artist's Development.

Planting Research

Vital Nourishment.

Raveningham Garden Project.

Circle/Linear Time/Centred on objects.

Spiral/Deep Time/Awareness between things.

Architectural Ceramics.

Inseminations/Sketchbooks

Cell/Seeds/Dispersal/Cloud

Organism-Person-Environment

Working Ideas/Proposals into Matter/Making

Contents/Description/Instructions/Diagram/Drawing

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 Garden/Material of/for Forking Paths.

The Diagram/The Program/The Inquiry

Marking Durations.

Ground Mappings.

Solar/Daylight Observed/Shadows Recorded 

A Garden Observatory/Philosophy of Silence/Solitude. 

Raveningham Sculpture Trail. 

Site Visit 160423

Sculptural Spacings and Sensual Engagements.

Showing Points/Lines/Vectors of Change/Movement.

Dwelling Demarcations/markers of temporality and disappearance. 

A poetics derived/driven from both the systematic and the small wonders of the everyday.

Circular Breathing/Cyclical Lines. 

The Peripheral Movement/Moment

The Space/Time between things.

The Concept of Sculpting Invisible Materials.

The Array, a phonographic inquiry recording transits of the suns pathways across the sky. 

Wanderings, caught up in the wanderlust of stillness and slowtime.

Paths of movement, paths of observation, paths of existential abstractions following daylight.

The artist's creative act of a self amongst others.

A sculptural deliberation that engages with the experiences of working a site in the landscape.

Curatorial.

Spatial Practice.

Practice/Display/Audience.

Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a  project of the mind.

Tim Ingold 'Making'

Camouflage : Neil Leach

Camouflage offers  a mechanism of locating the self against the otherwise homogenising placelessness of contemporary existence. It thereby promotes a sense of attachment and connection to place.

Camouflage may  therefore provide a sense of belonging in a society where the hegemony of traditional structures of belonging - the family, church and so on - has begun to break down. This aesthetic sense of belonging can be compared to other modes of belonging, such as religious devotion or romantic attachment.

Aesthetic  production should maintain the capacity  to operate as  a mediation between the self and the environment, but only aesthetic production whose design has been carefully  controlled can achieve this. The difference between productive and unproductive modes of expression is therefore a question of design. In this respect we can recognise the important social role of design in providing a form of connectivity for ‘cognitively  mapping an individual within the environment. 

Design becomes  a crucial consideration for the effective operation of camouflage.

In highlighting the creative capacity of human beings to adapt to their environment, this book offers a more optimistic account of human existence, which valorizes the present as the site of productive endeavor.

The thing contained is not the thing contained.

Manifesto for explorations of 'IN'

Steven Holl.