The Trace and its Connector/Ceramics, drawing and walking/wayfaring with things.

 Outpost 040523

Raveningham Sculpture Trail 2023

50.

Russell Moreton - Interested in revisiting an earlier project that I created at Kilquhanity (A Pathway Between Sunrise and Sunset), in which I mapped movements of the sun onto the landscape through demarcated pathways and intersections to create site based drawings for cyanotype prints.

Anecdote of the Jar

 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

Making Visible.

Walking The Drawing.

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

Castelvecchio an attitude to history. Carlo Scarpa.

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.

Kairos : The movement and its moment

Being Alive.

Up, Across and Along.

The trace and the connector.

Tim Ingold.

Jannis Kounellis.

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.  

Hand Built, Slab Ceramics.

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

Architectural Facades/Camera Obscura. 

Darkroom's Erasure.

One day , we will understand that darkrooms were one of the last pools of darkness, where a pure form of thought was made visible. In the darkness at its heart, photography enabled us to see ourselves and the world more clearly, it was a place of truth and visions.

Dark Room, Garry Fabian Miller.

“The Pot, ancient as it is, is the first instance of pure innerness, of something made from the inside out.”

Adam Gopnik 2014

Richard Batterham

In 1981 he provided a rare statement: “The main work is not to make pots, but to allow them to come, to allow them to grow, to allow them to be alive, and to communicate warmth and life in that uncannily direct and undemanding way that true and naked work can, vulnerable as it is. To make this possible, I feel that it is necessary to use our skills and materials with humility and respect. This requires a certain quietness of living.”

A Vessel Defines Emptiness As Presence : Craft, Studio Practice /Theory and Analysis on Hans Coper, Edmund De Waal, Martin Heidegger

STUDIO PRACTICE, THEORY AND ANALYSIS.

MA SCHOOL OF CRAFTS AND DESIGN.

Working Notes : Brockwood Granary 2014

Theory and Analysis Documents, UCA Farnham

“A predynastic Egyptian pot, roughly egg-shaped, the size of my hand : made thousands of years ago it has survived in more than one sense. A humble, passive, somewhat absurd object, yet potent, mysterious, sensuous. It conveys no comment, no self-expression, but seems to contain and reflect its maker and the human world it inhabits, to contribute its minute quantum of energy.”

Hans Coper, 1969

Jean Vacher acknowledges Hans Coper’s links with Modernism and that his pots possess an “innerness” that might be profoundly biographical in nature stemming from “the profound displacements that occurred to him and his family as a result of the upheavals in Europe.” (Personal e-mail correspondence CSC 28 March 2014)