Cyanotype Drawings : Landscapes/Maps and Performance

Mapping Relationships : Contexts and Locations #2
Collage and drawing with cyanotypes, photographs, negatives and painted surfaces.

Mesh/Material/Light, Cyanotype Process
Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia


The Cathedral : Place Studies

Pastoral Space: Material, Inquiry and Craft.#5

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.

 

Template and Form 2010.The Yard,Winchester.

Omslagsfoto : 

Landscapes from the Metropolis of Death. Otto Dov Kulka.

Mapping Relationships : Contexts and Locations #3

Collage and drawing with cyanotypes, photographs, negatives and painted surfaces.

Blueprint : Kengo Kuma, Sensing Spaces.

Panspermia : Cyanotype Drawing
Drawing on paper,150x240 cms
Full size human form drawn through "performance" on paper with cyanotype and black ink. Astronomical data and traces of seed heads together with reference material/notes (directed panspermia) in pencil.

Anthropomorphic and Botanical Cyanotype Drawing (Detail)
Botanical traces with leper graves


We live our lives sunk in vast forgetting. Milan Kundera, IGNORANCE.

Human mapping of social groups from the occupancy of the Winchester Cathedral "Space for Peace" 2011.
Mono Print : Cyanotype process on paper, 52x42cm.

Meeting Place

Site based drawings and inquiries.

Consciousness

Body

Space

Material

Creative Vocational Research

Psychogeography : Narratives across a site plan (Waverley Abbey)

In The Process of Translation

https://uk.pinterest.com/russellmoreton/art-and-process/

https://www.pinterest.co.uk/moreton0888/in-the-process-of-translation/

Waverley : Psychogeography

 

Waverley Abbey was the first Cistercian abbey in England, founded in 1128 by William Giffard, Bishop of Winchester. It is situated about one mile south of Farnham, Surrey, in a bend of the River Wey.

 

History

During the first century of its existence, it founded six monasteries, and despite the members thus sent away, it had 70 monks and 120 lay brothers in 1187. It kept about thirty ploughs. The site was subject to regular flooding, however, and in 1203 the foundations for a new church and monastery were laid on higher ground. The new church was dedicated in 1231. King John visited Waverley in 1209, and Henry III in 1225. The abbey also produced the famous annals of Waverley, an important source for the period. By the end of the thirteenth century the abbey was becoming less important. By the time it was suppressed by Henry VIII in 1536 as part of the dissolution of the monasteries there were only thirteen monks in the community and the abbey had an annual net income of £174. Stones from the abbey when it lay in ruins were taken to build nearby houses, including the house at Loseley Park. The ruins of Waverley Abbey are managed today by English Heritage. The sign at the entrance to the ruins states that it was the inspiration for Sir Walter Scott's novel Waverley . However, this is probably not the case. Sir Walter Scott chose to adopt the name for his fictional hero Edward Waverley, the heir to an estate in southern England who travels north and becomes embroiled in the Jacobite uprising of 1745. Waverley Abbey was however featured in Arthur Conan Doyle's classical romance, Sir Nigel. It was the scene of his winning of his war horse, Pommers, and his youthful embarrassment of the avaricious abbey authorities.

Posted by Russell Moreton at Thursday, February 11, 2016 

Making Spaces/Proximities : Navigating theory and redundancy.

Outpost 120224

Studio Spaces.

A Scriptorium, a space within the wall.

St Jerome at his study.

Making Spaces/Proximities : Navigating theory and redundancy.

INTIMUS

Interior Design Theory Reader.

Julieanna Preston.

Mark Taylor.

Declaring a field of inquiry that lies beyond disciplinary boundaries of design and architecture, all of the texts included in this reader establish generative and active exploration of interior design as a practice informed by the intellectual scholarship surrounding its cultural production and creative practice. They are not foundational in that they do not recognise or declare an originary state or propose any fundamental canon. Collected in order to catalyse creative associations within this operational field, the texts in this volume are presented via an organisational strategy that refuses both chronologic and thematic structure.

Essentially they present a connectivity to do with inhabitation and spatial presence as outlined in the examples above that is at once distant, by discipline, and intimate, by content.

Proximities/On interior theory related to the specifics of inhabitation and bodily presence.

What is being teased out hear is a multifaceted dialogue between that which is theoretical in nature, abstract, knowledge-based and immaterial and that which is grounded, physical, phenomenal and concrete. Not wishing to pull these apart, but rather to encourage convergence, this book identifies a territory of emerging points that collectively register connections of understanding with reference to a field tentatively named as the theoretical domain of interior design.

This conception forms a working method for searching and organising texts, and for mapping their locations as a relational matrix. Described in other theoretical discourse as rhizomatic, networked or diagrammatic, matrices foster the formation of connections among notions as opposed to defining or creating singular isolated entities.

However, one image in particular harboured virtual potentials pertinent to our inquiry.

Within the pages of Emily Post's book 'The Personality of a House' is a photographic plate attributed to New York architect William Laurence Bottomley. This seemingly unassuming image gently frames the prevailing issues, topics and texts in this volume. 

The doors reveal a space between the opaque panelling, a space within the wall occupied by a small vanity or dressing-table. Another mirror backs the niche which doubles the light, and the ruffles and tassels of swagged curtains are softly gathered at the boundary of this closet and cloister. The room seems to be dressed in parity to the self-reflective body that inhabits it. And yet, it is a private space,  a space for one, a space for an individual.

The mirrors reflect very little of the greater surroundings, but the scale of the panelling and the floor-to-ceiling height help to extrapolate that this secret space occurs as an informality among the far more social and self conscious home atmosphere.

How might this 'Perfect Example of Dressing-Table hidden behind panelling when not in use' be physically, socially and theoretically constructed? How are the intricate details of curved timber work on the doors and stool indicative of current and historical values of ornament, surface, gender and politics? While the doors mask the presence of the dressing-table, the mirrored interior expands infinitely. What appears as a small enclosure is a mode of liberation. What one might assume to be self-indulgent or decadent decoration may be found to be a sign of self-expression.

While the architectural room is wrapped with abstract notions of time and space, this small alcove inhabits its periphery as a pocket where body is central, maybe even fluid, and space is temporal, perhaps even subjective. 

The archive of discursive fields of inquiry.

Navigating theory and redundancy.

On a theoretical praxis, a matrix for gathering material from the archive.

The matrix is intended to be used as a surveying instrument and ordering device with the purpose to catalyse cross- and inter-disciplinary insights.

A matrix or diagram mediates between the virtual potentials generated by the data ( the field of essays/excerpts) and the actual book. The matrix is to some extent graphic shorthand used to declare latent structures of organisation. The diagram is also generative, and can be used to order possible readings.

Seeking theory informative to interior design/spatial practices by trusting that through the act of searching various sources/databases/resources a range of associations and connections would verify an emergent practice. Such associations are fuelled by the abstract and diagrammatic quality of an organising tactical matrix in its flexibility to seek casual and coincidental links among related and sometimes assumed disparate disciplines. By looking for correspondences between seemingly unrelated research and practice, and by moving laterally between existing systems and categories, not in a haphazard manner but through productive leaps generated by rules that had consequential and significant outcomes. This process enabled the gathering of material from several disciplines when the linear historical model seemed inapplicable, and thematic structures too constraining.

Coupled with its ability to engage the complexity of the real, the matrix assists in making sense of the found texts and their potential reformations. Conceptually, such order is not made towards the specificity or hegemony of a discipline, but rather to turn outwards and mobilize forces of action and imagination between matter and information.

Pragmatically, the matrix positions each text relative to a disciplinary body of knowledge (social, political,philosophical, technological, gender and psychological) and then relative to prominent interior design/spatial practice issues (material, colour, light, space, decoration and furnishing). Within this methodology an interpretive role is played in ordering these texts and the multiple locations in which each text could be placed.

Producing an interdisciplinary database search using terms typically associated with interior design as a decorative craft, an architectural speciality, a spatial art or a physical articulation of social interaction located essays framed by a wide range of types of theory, genres of writing and sources of textual discourse.

Many of the researched essays did not declare that they are concerned with 'interior theory', but instead they either operated critically on spaces, places and inhabitation of the built environment's interiors, or offered observations and abstractions of use and inhabitation that engender a criticality in this collection of texts. To include this material raises questions of what constitutes theory, and how theory relates to the critical study of the interior.

Thresholds of experiential concern.

Architectural Body/Transactive Memory.

The reclamation of theory, other spaces, further sites for production and inquiry. 

In their book 'Intersections : Architectural Histories and Critical Theories', Iain Borden and Jane Rendell outline nine epistemological tendencies on which theory is constituted within critical discourse. Rather than champion a narrow definition or description, their categories are expansive and inclusive, and when considered relative to the scope of our inquiry assist in substantiating numerous items that would normally fall outside the limits of architectural or design theory, most notably some that take the form of turn-of-the-century advice literature or historical analysis of a place or activity.

Of particular interest are those texts that are observational in nature or assert new paradigms of dwelling in light of technology. In most cases, selection of such texts proved a matter of locating the speculative mode of inquiry within the written work, registering the inferences and extending them as conduits to other contemporary works or notions. In other cases, it became an exercise in dwelling in the period, revelling in the details specific to when the text was written and recognising that theory and critical history have been defined and couched differently across time.

For if theory is conditioned by inquiries and speculation about what occurs between events, situations, objects and actions, then the method of inquiry or the analytical device employed is of primary concern.  

Art Works/Spatial Relations.

Beyond the formal values/qualities of drawing.

Figuration and the spatial inter-personal concerns of/found in drawing.

Extending the body in drawing.

Jenny Saville.

Cecily Brown.

Manuel Neri.

David Smith.

Atmospheres/Light.

The Flame of a Candle.

Charcoal, Alternative Photography.

Gaston Bachelard. 

CLAY.

Mythical city of Orion. 

Speculative retreats/Tarkovsky/Krishnamurti/Hannsjorg Voth.

Making for life on the hospitality of the body.

The architectural body and the body in care.

INTERIOR SURFACES.

Photographic Exhibition/Retrospective.

Desiring into the pathology of the image.

Breaking into corporeal and subjective spaces.

Erasures/temporalities within the materiality of photographic sensations and their memories.

Drawing Zones/Studios/Sites of Inquiry/Concern.

 

Outpost 230124

Architectural Body.

Thresholds.

Drawing.

Confronting Bodies.

Drawing : The Indexical/To Work Inside Feeling.

Inscripting Self : The Daughter of Butades.

Kairos : The movement and its moment.

Being Alive.

Tim Ingold.

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

Lefebvre, The Production of Space.

Drawing on the Movements of Desire and Attention.

Empirical evidence carries emotional connections, Bachelard.

The drawing itself is desperate to keep hold of an absence, it all began with a silhouette of a shadow on the wall. In the myth of Butades, the drawing is not generated by 'loss' itself but the her anticipation of loss captured in the moment of turning away, and act that unites blindness to memory.

Derrida.

Drawing is a gaze turned inward into the task at hand, it draws on the inevitable, displacement and absence of the 'thing' and its relation, its otherness.

The 'mark' and its imaginary space are encountered as a fact of existence. In drawing it is this evidence of beingness that is invested in the work, 'drawing itself' becomes a coming-into-being into the presentness of language of the image.

The image corresponds to its own unfolding pulsion, to an obsession, to a desire to expand its own flux beyond the assigned body. Material keeps desire on the inclined plane of appearances surrounding it with its gravity, the drawing materializes a surface in which desire condenses itself and infiltrates inside the oppressive operative grids/apparatuses of language.

Drawing on the holding apart instances, moments and intervals between consciousness and self consciousness. The early formative drawings of children are not guided by a visual exploration of space, but by the hand as an exploration of movement, it is only later that drawing is guided by the eye. In children graphic expression is blind, disconnected from perception, rather it is led by muscular, tonic and plastic sensations.

The 'Stage of Drawing' is at attempt to discuss what Avis Newman believes to be a crisis in art as to how an artist deals in a non-literal way with a sense of humanity, which for her is part of the essence of the artistic project. Her selection from the Tate Collection is based on a definition of drawing not as expression, but as an act of consciousness, the manifestation of which is culture, and by extension the social and political realm. In this exhibition, drawing tends and relates to the indexical as the effect of a corporealized process. In fact the aim is partly to divest drawing of the artist, so one can see this act of consciousness.

According to Newman, this indexical definition of drawing is opposed to a materialistic one, which would be about investment/authorship in the material world and would concern itself indirectly with sociological art, for Newman on the contrary we are trying to locate the area where meaning has no economy and does not have to justify itself by purpose.

Drawing even in the most fragmented of forms, there is a recognition of our sense of self and our history as we mark. It is not only the functioning of perception that interests me but also the activity of sensation.

Avis Newman.

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 provide/produce the establishment of places, localities made special for one reason or another.

In looking at drawing, one may see not the thing itself but its possibility, its suggestion and its uncertainty as to what stage it is in its becoming.

What ever the intent, the drawing is always the artist's response to whatever, draws-the-artist's attention. To what Cezanne called the 'little sensations' and for the artist it is a question of how to rescue sensation from its subordination by representation.

Drawing as experience and experimentation, demands that the artist be susceptible to and capable of taking advantage of the uncoupling of everyday space-time and with it the expansion of the field of consciousness, to engage in what Klee once described as 'polyphonic attention.'

In the end drawing is rooted in the dematerialized space of the image, indexical or imaginative, privileging more the world of shadows than the world of appearances. The drawing surface is confirming the possibility and use of a language that albeit in a fragile way, leaves open an interstitial passage through which the imaginary may realize itself as an image.

Drawing manifests the very nature of a feeling-thinking-consciousness-of-the-body.

Drawing makes visible the synthesis, its interval and split between subject and object, between the desiring subject and the subject of language.

To draw is to protect the intensity of thought-feeling, and as such the drawing is always a formulation or elaboration of the thought itself at the very moment/instant in which it translates itself, makes itself 'visible' as an image.

The material of art, any material is that which imprisons and makes definitive desire. It is the way the material is manifested in revealing what defines the split between the imaginary and the subject. Drawing becomes the apparatus, the mechanism that tends to give order to the only dimension in which desire moves, space and time.

Drawing seeks always to reveal the gesture of the artist through the space of the surface, to capture the moment that precedes the birth of the sign. The external space becomes a specular surface, a field that captures and organizes the image. The image always corresponds/is a correspondence to a pulsion of desire, a vector that puts it in communion with tactile and visual sensations.

Drawing makes reversible the movement of desire/attention suspending it in a place understood as a place of projections and reversibility. For John Berger, the drawing shows the paths taken.

Drawing/Spatial Practice.

UCA Canterbury.

Artist Statement. 2009

Zones/Studios/Sites of Inquiry/Concern.

Within my practice drawing is used to form sites which contain visual information, evidence of temporal activities and traces of actual objects. These territories within other territories create flows formed from their permeable boundaries gathered from material, relations and differences. My drawings are about and are inside this temporality of site.

Thresholds.

Brion Cemetery by Carlo Scarpa.

Ina Macaione.

Antonello da Messina.

St. Jerome in His Study, 1474-75.

National Gallery, London.

The only figurative work in the world in which entering and crossing coincide in a unique concept of physical space, defining the specificity of the architecture by transforming the limits of solid materials into the construction of a liminal space which can be crossed by passing through thresholds.

The concept of architecture is the crossing of a space that becomes physically visible when one enters the space itself. In Brion Cemetery by Carlo Scarpa, architecture thus becomes an art form which helps us to overcome the absence of life by expanding the horizon of our minds and hearts, freeing us from our bodies, giving dignity to the void left by the loss of living presences and emotional ties.

The spatial dimension of this small building is a metaphor for the mental workings of meditation. The pavilion is the place where we can enter the mind's empty space, where we can get away from all our passing concerns.

Small cylinders of different heights and sizes, barely visible below the surface of the water. A small, inaccessible maze. A maze through the water, a maze through time, a maze of symbols and enigmas. Here, as in the poetry of Jorge Luis Borges, the maze is an allegory for the complexity of the world, which cannot be understood merely through reason. The maze itself was created to confuse those who rely on reason alone. Its winding paths lead us to a reality that lies far beyond that existential normality which hides deeper complications.

In 'The Garden of Forking Paths' Borges describes the possible outcomes of an event, each of which leads to a further multiplication of consequences, in a continuous 'branching off' of potential futures.

The Stage of Drawing.

Gesture and Act.

Catherine de Zegher.

Architectural Body.

Arie Graafland, Michael Speaks.

Drawings and Ceramic Models.

Making-Living-Environs

Hannsjorg Voth 1973-2003.

City of Orion.

Boat of Stone.

Hassi Romi.

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.

Lightness/Thresholds of loss and of inside spaces constituted by darkness.

Outpost 050224

Walking with Carlo Scarpa, Brion Cemetary.

Trust in the material and its 'spiritual incitement' that comes from the world.

The spatial dimension of this small building is a metaphor for the mental workings of meditation. The Pavilion is the place where we can enter the minds' empty space/stillness, where we can get away from all our passing concerns.

Thresholds, Carlo Scarpa/Ina Macaione.

Life Affirming Sentiments.

Light-Shade

Bitter-Sweet

Vital Nourishment.

Departing from Happiness.

Feeding the Body.

Feeding the Soul.

Francois Jullien

The Flame of a Candle.

Gaston Bachelard.

On the Loss of (Dark) Inside Space.

Constanze Kreiser.

Is inside space on the verge of disappearing? 

Is it being hindered by constantly improved light technology which is causing one of its fundamental qualities – darkness – to dissipate?

And for what reason?

Is it for the benefit or more outside space?

Or for the benefit of a new spatial quality?

Questioning the way increased use of artificial lighting affects interiors, architectural designer and installation artist Constanze Kreiser opens a philosophical examination of the mediating effect of light. She observes how an enclosure is gradually made lighter in the sense of weight and mass through the addition of openings that emit or filter light. Her polemic on lightness and darkness raises questions of how light measures time, space and inhabitation and the temporal rhythms of everyday existence. 

Light constitutes space in that it creates bright and dim zones, enabling the physical perception of a space.

Space does not originate with the construction of a building, but exists in the act of marking a small unit from an infinite quantity. It is exactly this process which is achieved by sunlight: that which it illuminates is outside, shadowed surfaces forming inside.

Depending on whether lightness or darkness dominates, inside space is a dark space by day and a light space at night. Thus inside space is dependent on light, it is in constant contrast to the prevailing light conditions. Inside space at night has, however, existed only as of the invention of artificial means of lighting – from pine-torches to light bulbs. By day, inside space floats like a dark island in a sea of light.

Bodies and Mirrors.

Ann C. Colley discusses the correlation between physical bodies and their surrounding, particularly  the space of nostalgia and recollection in Victorian literature. Working from the role memory plays in recalling our relationship to known environments. Her text through selected autobiographical accounts discusses the spaces of childhood through the invisible, aesthetic and ubiquitous body, and the proposal that the interior is not simply defined by objects within it, but by our movement and inhabitation around and among them.

Three distinct models of how the consciousness of one's physical being illuminates the interiors of home. John Ruskin text speaks of the invisible body, Walter Horatio Pater of the aesthetic body and Robert Louis Stevenson of the ubiquitous body.

They, Ruskin, Pater and Stevenson considered how their physical being had related to the walls and windows of childhood. Conscious of how this relation defines the sense of one's surroundings, they let their memories resuscitate the dialogue their bodies had once had with these interiors. They understood that it is the child's being that shapes and illuminates the interiors of home. Articles do not define interiors; bodies that move and feel their way among these objects do.

Intimus, Interior Design Theory Reader.

Their orientation anticipates those like Maurice Merleau-Ponty in The Primacy of Perception who argues that it is not through thought, absented from the body, that one knows one's surroundings, but through one's 'bodily situation' – that one is conscious through the body's position in space. This is taken further by twentieth- century architectural theorists such as Kent Bloomer, Charles Moore and Robert Yudell, who insist that one measures and orders the world from one's own body, and that the body is in 'constant dialogue' with the buildings surrounding it.

Body, Memory and Architecture. 

Drawing Inscriptions/Spaces/Breaths.

Remaining in the simplicity of our origins.

A Breathturn.

A flow of energy that wends its way ceaselessly through the world, animating it as it goes. 

Simple pots of simple thinkings/orderings and findings/feelings attained through the privilege/practice of the beginner's mind.

Sadhana, bearing the difficulties of existence.

Working Interiors for the making of the imagination.

Marking of a small subjective space from a infinite quality.

Ceramic Volumes/Vessels and Surfaces/Openings of Light and Dark.

On Drawing/Conversation.

Twombly/Artaud.

Corporeal Acts.

Documents and Sensation.

Images 'exist' in a domain of emotional and physical extremes.

.In drawing, acts of reading and perceiving are concurrent as a simultaneity of mental factors.

I am interested in the way the inter-connectedness between inscription and representation is 'grounded' in the primitive body. I an not speaking of the language of depiction and representation, but of what constitutes the mental energy of engagement, that is so evident in drawing. How the markers of an action translate the murmurings of the mind. For both drawer and viewer the mark and its imaginary space are encountered as a fact of existence as such it is the evidence of beingness, concerning those primitive, dark, and distant moments, etched in our psychic history that exist within the framework of the image that is now being invested in the work.

Avis Newman.

The Doctrine of Introversion.

The artist struggling to conform to the patterns of everyday existence. 

I can't respond to the society I live in.

David Sylvian.

Placidity.

Condemned to the eternal silence of processes.

Zhuangzi.

INTIMUS.

Mark Taylor, Julieanna Preston.

Matrix Key/Components, clockwise.

Practical Issues

The Field of Possibilities.

The Organizing Matrix.

Date of Publication.

Time Period Discussed.

Disciplinary Orientation.

 

An Armada for Childhood : Proposal for Southampton Art Vaults 08

Possible Worlds

The Sensual Reciprocity of This Enchanted Isle 

Peter Woodcock.

Installation using large paper boats (1.5m long) in a space under the cities walls.

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

Drawing Surfaces : Situated Knowledges/Constructing Atmospheres

Outpost 120123

Constructing Atmospheres/Test Sites for an Aesthetics of Joy.

Margit Brunner. 2015

https://issuu.com/aadr_publishing/docs/constructing_atmospheres_s

Red Is Not A Colour

Architectural Concepts

Bernard Tschumi

What role does the audience play in the definition of a provocative project?

What are the ways in which I want to construct my world?

The in-between chapters that reveal his underlying beliefs and influences. From movies to built spaces or from art pieces to historical events, a melting pot of his imagination. This is where we understand what Tschumi means by his endless questioning  of the world and what the architect's contribution could be.

Antoine Vaxelaire, AA 5th Year. 2013. 

Marking The Line

Ceramics and Architecture.

Christie Brown, Carina Ciscato, Nicolas Rena and Clare Twomey in response to Sir John Sloane.

Cathected

Aesthetic Phenomenon

Aesthetic Causality

Sensual Object

Allure

Graham Harman reminds us that moments of allure, the fusion of always accessible sensual qualities onto a reified sensual object, are ontologically special experiences, but they are very common in human life.

Architecture articulates our experiences of being-in-the world.

The very essence of the lived experience is moulded by hapticity and peripheral unfocused vision.

Pallasmaa. 2005

The simple complexity of the sensibility found in textures and the drama of shadows.

Developing natural aptitudes through the sense of touch.

The senses considered as perceptual systems are defined as a haptic system in which the sensibility of the individual to the world adjacent to their body and by use of their body.

J Gibson. 1966

In some cultures, the senses of smell, touch and taste have collective importance for memories, behaviour and communication.

Indigenous clay and mud constructions, with their plastic properties, seem to be generated more from the haptic senses than the eye.

Hapticity and Alvar Aalto's Architecture.

Sam Barnham.

David Abram, The Spell of the Sensuous. 1996

Juhani Pallasmaa, The Eyes of the Skin. 2005

Juhani Pallasmaa, The Thinking Hand. 2009

Gaston Bachelard, The Poetics of Space. 1969

Making Statements/Making Things : Hungate/Anglian Potters.

The Enabling Constraint.

Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits . Erin Manning.

Architectural slab built pieces investigate ceramic forms as a dwelling place or a model for a building construction. Some thrown shapes on the theme of crucibles fired by the Raku process. Recent work has been exhibited in historical sites and locations, exploring contexts of ceramics and rituals. Studied Ceramics at Epsom School of Art and Design UCA, Visual Fine Art at Winchester, Teaching at Brockwood Park School.

Anglian Potters

https://www.anglianpotters.org.uk/members/russell-moreton/

Water at Hungate.

Hungate Architectural Explorations. 

Air/Place/Breath/Light/Architecture/Ritual/Social Space

Cell-Court-Domain.

Russell Moreton is a visual artist interested in gathering research and responding to the historical site of St Peter, Hungate. He has explored the exhibition theme 'Water' as both a spiritual and corporeal inquiry for site-specific artworks. He has spent time developing working ideas that have an affective resonance to the architectural setting of their presentation. His use of slab built ceramics vessels echo the stillness and muted silence experienced within the medieval fabric of the Hungate. He has used a figural drawing on Chinese paper, processed by the evident passage of water to explore the representation of the human form in this particular place.

Studios and Sites : Drawing/ Of The Body, figural and indexical.

Proposals On Studios and Sites.

Making/Reading Spaces.

Outpost Studio Sketch Books.

Discursive Contents/Drawings.

Mediating Creative Agency/Studio Works.

1, October 2018-May 2019.

2, May 2019.

3, 2020.

4, 2023.

On Drawing, haptic resonances are felt, registered via the pencil and the different asperities of the drawing body. Marks made, and their markings subsumed into the drawings unfolding causality.

Re-constructive Drawing, Drawn, Wrapped, Moved, Re-drawn, Deconstructed, Re-assembled.

Visual Membrane/Surface of Affective Matter,

Matter Painting/Gathering Materials/Relations/Sensuality.

Body/Building Plot of Affirmation, Augury Vessel 2019, Harleston.

Drawings from Hyde Abbey Gatehouse.

Paintings, proposal Cley 19.

Paper 1500x2845.

Speculative Plot 3000x3000.

Experimental Conditions and Inscriptions.

Charcoal Drawings on Translucent Materials.

Becoming Ephemeral.

Entanglements/Localities/Amalgamations 

Layering of consciousness and becoming.

Something has passed through here. 

Directions and process become objective readings amongst the phenomena of things.

Blueprint, building the drawing, movements and their traces of material memory.

Working drawings as architectural paintings.

The whirling and winding of affective material.

Cyanotype Process/Applied (site/plot) Archaeology (asperity/haptic movement)

Textile reinforcement, semblances, surfaces, reliefs, repairs, temporalities, 

Do not arrest/explain causality, rather move with its potentialities.

Ordered, Assembly, Ritual, Fragmented, Symmetric, Equivalence, Process, Contradictions, Binary, Relations, Singularity, Re-assemble, Floating, Beyond, 

Sensate, Transitive, Reflexive, Becoming, Intense, Animal,Serenity, Aftermath,

Ceramic Drawings

Claywork : The Project and Proposal.

Ceramics in the Environment.

Borderlines/Creative Boundaries and Thresholds.

The redundant stone mullion windows by the south entrance. 

Exploring used and empty frames as a new setting for a constructional drawing or template both as site specific artwork and as an inclusion within a screen/surface or painting.

Developing Inquiry.

Documentation, Artist's Book, Drawings, Diagrams, Templates, 

Process, Mixed Media Artworks, Prints, Alternative Photography, Ceramic Forms, Glass Work..

Other working methods, images from current art practice.

Scriptorium Space.

Architectural model for a performative reading space within a pastoral landscape or community.

Blueprints, cyanotype drawings.

Architectural concerns, cell, court, domain, layered drawing with collaged and absent objects on a historical building plan.

Assemblages.

Raku fragment, drawing, photographs, handwritten notes, field chalk, charcoal. 

Concepts for making with clay.

Finishing the rim,throwing the material, the sensation of making 'outwardness' from 'innerness'.

Clay : Making for the hospitality of the body.

Throwing, form made from the solid unformed centre of the clay lump.

Making volumes/innerness from solid unformed material.

Throwing is manifested/made actual by opening up the space for the imagination previously contained/constrained by the mass of clay. 

Turning, form further modified by the machining/carving into the thrown vessel.

Making volumes by the excavation, the removal of material complicit to its original form.

Turning is mastered/referenced by the rim and the internal volume of the pot/bowl/vessel.

Vessels/Crucibles

The circumference, volume and surface that correspond with/into the clay vessel.

Body, Forms, Interiors. Volumes.

The Intermingling of Material and Place.

Clay, a material of human inscriptions, volumes and surfaces, a silence worn down, abraded by time.

Windows, Building, Drawing, Pierced, Surface, Scripted, Architectural, Body, Facade, Profile, Template,  

The most refined art, and the most difficult and dangerous is that of patina.

Luis Barragan.

An aesthetic nowness that stimulates a 'wondrous beauty'

The rift between and within the object/subject, between object appearance and its essence.

Object Oriented Ontology.  

Earth Colours, Natural Substances, Ceramic Materials, Hand Building Processes. Weathering, Firing,

Ceramic substances/affinities and  their values/phenomena/raw and fired colour.