Metonymy : The Body Of Drawing/On Precarious Enclosures/Wanting Shelter.

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Zola Jesus : Arkhon

Metonymy as often treated as a subtype of metaphor by cognitive linguistics has a different working mechanism. Metaphor is based on perceived similarity between things, while metonymy on the relationship within things.

The trace and trait of mark making is a durational gesture on the way to becoming an line/outline/contour.

Mark-Making 'names' something absolutely inhuman, the shadow and the strain and the loss of any criterion to distinguish between the intended and the unintended and between human indications and marks produced by natural processes.

Line, takes marks, traces out of duration into forms set in eternity.

Seeing the relation between the daughter's and the father's image making as that between metonymy based on contiguity, and metaphor based on similarity, each produces in a different way a defective image. The portrait image based on resemblance fails to unite the inner essence of the subject, just as a shadow traces only the contours of the body.

In Drawing the problem is to 'slow' the consideration of the mark, so that it does not move too quickly toward line-contour-figuration or image. But to allow it to hesitate on the edge.

Images In Mind.

Pliny's Story of the Origin of Drawing.

Deborah Tarn Steiner.

Contemporary Fine Art Practices.

The Lines of Thinking about Drawing.

Michael Newman.

Drawing-as markingtime-memory-matter in the work of Avis Newman.

Working/Thinking with-Imprint-Index-Trace-Mark-Photograph-

Inside The Visible.

Catherine De Zegher. 1996

The image exists after the object.

First we see, then we imagine.

Maurice Blanchot.

To the artist, the creation of objects is a process of sequencing their work processes, rather than the completion of work.

Eva Hesse's practice offered Christina Iglesias a model for a process-based way of working, rooted in a deliberately limited range of materials.

Eva Hesse, Lucy Lippard.

On Making Skins-Shells.

Metonymy.

The sculptural spaces Christina Iglesias constructs are kinds of dream-catchers. They are there to transport our imagination. We again see how the light in the text is filtered and refracted on its journey through different materials, in a way that is very similar to the experience afforded by Iglesias's sculpture, in that sense, she creates spaces that are materialized poetry. 

Ceramics as Performative/Speculative/Experimental and Discursive.

Adventures Of The Fire, into a process of experimentation that is expressed as an incompleteness through forming an incomplete part of a bowl, and in doing this it presents a new form as a gate. Experimentation is always towards the new and as such it presents a basic direction about creation. As a venture, a process of experimentation, that is all about the new, notwithstanding if it is successful or unsuccessful.

When seen separately as individual pieces, these works with their widely varied experimentation on forms and new techniques/technologies are perceived as ordinary ceramics and craftwork. But when they are assembled together according to a different method of display, they collectively become an installation and a formative artwork/network. One module constitutes one artwork and each artwork creates one space, then it is no longer necessary to divide ceramics into genres of traditional ceramics and contemporary ceramics, or ceramics as expression and ceramics for use. 

The Space Of Fire-Charcoal, includes ceramics that impart a feeling of charcoal or have colour that contrasts with charcoal.

The Space Of Earth-Clay, presents contemporary formative works in front of a curving wall of layered fragments of bisque-fired pots, earthenware, stoneware, white porcelain, bancheong and celadon. Stories about the flow of time and plasticity of clay are told here.

On Making and Taking Up Stories.

On Feelings and Correspondences.

Ceramic Space and Life.

We humans occupy space as big as our physical bodies and expansion of space occupied by individuals give rise to the concept of collective space. A space enables its members to communicate with each other and produces unique culture and creates communication within itself. If such meaning of space is expanded, each and every object takes space as its volume.

Space contains objects, and people experience cultural communication within the space.

Every space that is occupied by each work presented at this exhibition feels different depending on the shape-colour-volume-texture and meaning of the work, not to mention the physical dimensions of the space in which the individual work is placed.

An individual work has meaning by itself, regardless of where and how it is juxtaposed in the space and how viewers perceive it. Such existence and meaning give rise to art of a new concept within a space. An installation itself becomes an exhibition, one space exists as one single artwork.

Ceramic Gate, while being one single piece of art, also shows how architecture is directly integrated into ceramics, this installation was designed to be in harmony with the existing gallery building, while also presenting ceramics as a core formative element. This installation was a joint work of participating artists in Ceramic Space and Life, and it is considered as suggesting a model (methodology) for the combination and integration of architecture and ceramics.

Eight spaces to present an architectural concept, displaying works grouped into natural elements of People-Water-Fire-Clay-Metal-Light-Wood.

Each of the eight sections of the exhibition sheds light on the fundamental nature and artistic values of ceramics, by displaying ceramics of different types, traditional and contemporary, and ceramics as expression, and ceramics for use together, and at the same time new meaning is created as each individual work communicates with the space in which it is placed. 

The space, illuminates ceramics into spatial harmonies of Space Art and Ceramic Art, gathered here these 150 works will suggest the future direction of ceramics by showing marks and traces of the past.

Ceramic-Object. 

Hong-won Lee, Curator

On Precarious Enclosures/Wanting Shelter.

No ideas haunt us as much as those of stable matter and fixed place.

An intense attentiveness is born of the perpetual sense of being an outsider and the continual readjustment in viewpoint that it requires.

Cristina Iglesias.

Alone or Aligned?

An Aesthetic Identity.

Lynne Cooke.

1993 was a pivotal year for Cristina Iglesias, for the first time her work was convincingly contextualized in relation to her peers and mentors. That same year she entered into an agreement with Artscape Nordland to create a site-specific sculpture in a remote area of Northern Norway.

In Sintitulo untitled ( Laurel Leaves) 1993-94, she explored a way of staging spatial relations rooted in Modernist architectural histories that has since remained the core of her aesthetic.

Barbara Stafford situated Iglesias's work in a cultural history in which places of shelter and refuge serve a fundamental role in that they address psychic as well as functional needs. Referencing both organic and man-made structures from archaic times onward, Stafford argued that Iglesias's works evoke both the age-old escapist dream of being hedged from life and the desire still urgent today for a terrestrial paradise wanting shelter. 

For Stafford, Iglesias's precarious enclosures at once vulnerable and somehow out of place, put an intolerable pressure on the meaning of mental security. Eloquently situating her art in relation to architectural typologies and histories, Stafford establishes the terms in which Iglesias's practice would be parsed henceforth.

The Daughter of Butades.

Drawing traces is the act of differentiation of figure and ground (the reserve).

Butades's daughter and her many marks around the shadow, do not yet form the unified-idealizing contour, nor yet the figure against the ground.

Architectural and Environmental Ceramics.

Perforated Screens.

Gate-Wall-Pavilion-Object

Ceramic Houses

Nader Khalili. 1990

Architectural Ceramics for the Studio Potter.

Peter King. 1999

Leylines : Drawing frame, lead strip and drawings.

Leylines : Drawing frame, lead strip and drawings., a photo by Russell Moreton on Flickr.

25/10/2012 

P1213401red photogram.

P1213401red photogram., a photo by Russell Moreton on Flickr.

SPATIAL INTELLIGENCE through the conscious use of personally inflected mental space

Architecture that forces us to confront our own spatial intelligence by moving us so much that we recall the eidetic origination of our own mental space.(Schaik,2008:80)

"Thus we cover the universe with drawings we have lived. These need only to be tonalized on the mode of our inner space."

Gaston Bachelard. The Poetics of Space.

The phenomenology of space - the matter of how we experience it.

Gaston Bachelard, Poetics of Space (space and reverie), The Psychoanalysis of Fire. Poetics as an evolving and discursive system of dialogues that acknowledges environmental changes, of other spatial narratives and histories, and things that are not just about place and space.

Thinkers and Vessel Makers

Studio Practice : Social Sensing/Innerness Studio Practice

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

Theory and Analysis

Craft and Design/Interior Design Building, Dwelling, Thinking Scripting Rooms/Spaces and Events

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

Building human presence, to dwell shaped by 'the vocational' (physical and human topography)

Everyday Aesthetics

The Arts : As a Form of Experimental Psychology 

The Play Of Affect/Space and Politics 

Apparatuses and Architectures

Rethinking Materiality/At The Potters Wheel How Things Shape The Mind

Colin Renfrew 

Making

Tim Ingold

The Essential Vessel Natasha Daintry

I think that part of our problem is that it is not easy to talk about sensing, doing and being? They're not concepts as such neat little fixed shiny packages of ideas, but more existential states which shift and move as you inhibit them more amorphous, like clay.

One can speak of this duality of inside and outside but the real experience is more kinetic, more fluid and interchangeable.

Heidegger, Coper. Baldwin, De Waal, Zumthor 

The Potter/The Pot

Where Brain. Body and Culture Conflate Lambros Malafouris

‘Speculations about the first shelters, the relationship between our home and the universe, about spaces that we first use as surrogate houses as we form our spatial histories and our mental space. It is about the contemplative effects of the miniature, about the paradoxical way in which the scale of many of our most cherished monuments can switch in our minds from large to minute- the quality of intimate immensity. It is also about propositions around the complex relationships between inside and outside and the surface between, about the phenomenology of roundness’ (Schaik,2008:86-87)

‘We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. What that form is called-Architecture, Gardens, Technology- is not important.’

Kengo Kuma.

On Anti-Object: An extended essay that is not so much history or theory as a volume of self-assessment that gives an opportunity for the author to contextualise his own body of work through considered self-reflection.

My purpose in writing this book is to criticise architecture that is self-centred and coercive. 

Kengo Kuma.

‘Like McTieman or the theorist Paul Virilio, Kuma sees new digital and information technologies as leading us to an aesthetics of disappearance, rather than image or form.(Steele,2008:3)

Beginning as one always does in the middle, in mediis rebus, one experiences a sense of disorientation, a sort of cartographic anxiety or spatial perplexity that appears to be part of our fundamental being-in-the-world. It is an experience not unlike that of Dante, in the opening lines of his Commedia:

Introduction: Spatiality. Robert T. Tally Jr. The New Critical Idiom, Routledge 2013

Midway along the journey of our life, I woke to find myself in a dark wood,

for I had wandered off from the straight path. (Dante 1984:67)

As a number of critics and theorists have noted, this bewilderment has increased with the modem and especially postmodern condition.

This latest mutation in space-postmodern hyperspace-has finally succeeded in transcending the capacities of the individual human body to locate itself, to organize its immediate surroundings perceptually, and cognitively to map its position in a mappable external world.

(Fredric Jameson 1991:44)

‘My ultimate aim is to erase architecture’ (Kuma,2008:3) 

How then, can architecture be made to disappear?

‘To be precise, an object is a form of material existence distinct from its immediate environment. I do not deny that all buildings, as points of singularity created by humankind in the environment, are to some extent objects. However, buildings that are deliberately made distinct from their environment are very different from those that attempt to mitigate this isolation, and the difference is perceptible to everyone who experiences them.’ (Kuma,2008:Preface)

‘A monument is a form that preserves time through the compression of space, a form in which visual perception is the parameter. A monument is a compression of time and space’ (Kuma,2008:92) Anti Object.

Procedural Architectures : Collected Texts and Diagrams/Images

Organism-Person-Environment

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave. Architectural Body

Madeline Gins and Arakawa Working Notes/Holding in Place

Wayfinding/Movements through accumulated research Running scripts, enactments, instances, involvements Collaborative texts, complexity, emergent, discursive

From The Bookcase to The Field Table : Landing Sites of Inquiry 

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture Existence, Space and Architecture Christian Norberg-Schulz

A child 'concretizes' its existential space. A Philosophy of Emptiness

Gay Watson Artistic Emptiness

Everything flows, nothing remains. Heraclitus

Rethinking Architecture Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343 Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition, annotations, commentary, illustrations and photos.

Tracing Eisenman

Plenum, juxtaposed to form/haptic values/body absences Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

Space Between People Degrees of virtualization Mario Gerosa

Adaptive Architectural Design Device-Apparatus

Place Function Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 

Building The Drawing 

The Illegal Architect Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity. 

Speculative architecture

On the aesthetics of Herzog and De Meuron 

Without opposition nothing is revealed ,no image appears in a clear mirror if one side is not darkened

Jacob Bohme, De tribus principii (1619) Reflections on a photographic medium

Memorial to the Unknown Photographer Thomas Ruffs Newspaper Photos Valeria Liebermann

Working Collages Karl Blossfeldt

Anti Object

We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. 

What that form is called architecture, gardens, technology is not important.

Kengo Kuma

NOTE BOOKS, June 2014-January 2015 SEQUENCE OF RESEARCH

Re-Casting THE ABBEY as an INTERIOR SPACE within its own ENVIRONMENT THE EVENT CREATES A NEW BOUNDARY AROUND THE SITE

The research found in my exploratory project has been further developed into the intellectual content of the event itself. To facilitate my organisation of the abbey site I am proposing to initiate detailed design based modifications to the circulation of the site. The project will be made functional from the proposal of an exhibition on-site that would act as a precursory event to gauge interest, support and possible funding partners, whilst also testing out some of the logistics that are specific to this site . Further to the theme and direction of the exhibition I propose to construct components that will make up the interior building spaces of the pavilion/stoa. Whilst investigating the actual experiential sense of place, I am proposing a small number of sensitive intervention/art works that will allow me to become more in tune with the possibility' of inviting leading contemporary' artists.

Clare Tomely, Ceramic Interventions, buried and excavated objects. 

Mark Dion, Objects and Taxonomies from the River Wey

Helena Elflova, Anima and Animus, live re-presentation of the Winchester Cathedral performance.

How much of this research is really relevant to both the structure and assessment of a design orientated course/qualification and the proposal of a project brief designed to produce material to test its own suitability. In the light of these findings it would seem more beneficial to work directly with the subjectivities of aesthetics and materials that can be built into “interiors”. My working life has been centred around the craft disciplines of ceramics and glass, with a supplementary career in the construction of timber frame buildings and latterly in art education. My specialist design skills and knowledge’s rest within these experiences.

Forming and Questioning Outcomes and Outposts around Interior Design.

I create an exploratory body dedicated to things and to the world, of such sensitivity that it invests me to the most profound recesses of myself and draws me immediately to the quality of space, from space to object to the horizon of all things, which is to say a world that is already there.

Maurice Merleau-Ponty

Designing/Scripting interiors that are by their very nature contingent and unknowable till built.

Drawing as a thinking process towards the dissemination of the brief. 

Creating something that when finished precedes the confinement of its origins.

Clarifying the relation between space and place which contains inherent difficulties in as much as they are necessarily connected (inasmuch as place carries a spatial element within it even while space is also a certain abstraction from out of place), but there has been a pervasive tendency for place to be understood in terms of purely spatial. Jeff Malpas

SPACE- ROOM TO MOVE

or as a verb To Make EMPTY, EVACUATE, EMPTY OUT. 

The Production of Space/Human Agency/Place

PLACE-VILLAGE, TOWN, or OTHER SETTLED LOCALITY.

PLACE-HOME

PLACE-A VERY SPECIFIC FORM OF BOUNDEDNESS/GATHERING

As a gathering of elements that are themselves mutually defined only through the way in which they are gathered together within the place they also constitute.

DESIGN-TO PUT IN PLACE

Place referred to merely in the sense of position or location - usually the location or position of some already identified and determined entity .

Slippages, Anomalies and liminal spaces. Our relationships with space and place.

THE MEMORY OF PLACE

A PHENOMENOLOGY OF THE UNCANNY

Dylan Trigg’s The Memory of Place charts the memorial landscape into the body and its experience of the world. Trigg analyses monuments in the representation of public memory', “transitional” concepts such as airports and highway rest stops; and the “ruins” of both memory and place in sites such as Auschwitz. The Memory of Place argues that the eerie disquiet of the uncanny is at the core of the remembering body, and thus of ourselves.

STOA, a complex topology.

The Stoics took their name from the place where they met. In the stoa they talked as they walked along the long shaded alcoves. The stoa offered shelter from the sun and rain without becoming an enclosed room. It was an in-between and transitional space, neither outside nor inside. Conversations could commence through casual interruptions in a site of gossip, rumour and information

We imagine the stoa as a spatial metaphor for the emergence of critical consciousness within the transnational public sphere. It is a space for criticality without the formal requirement of political deliberation and for sociality without the duty of domestication.

The stoa is the pivot point at which private and public spheres interact and from which the cosmopolitan sense of being and belonging from the vantage point of the stoa, then the telematic linking of two screens in the public squares of Australia and Korea can be viewed in a new light.

The linking of these screens creates a new transnational public space, a space for the creation of a new discourse on the topology of the cosmopolitan imagination in contemporary art practice.

Thinking the place of art within this context is more than jumping from either the local to the global, the private/'oikos to the public/bouletrion, or even the singular to the universal. It is more like the limmal zone of the stoa.

Public Screens and Participatory Public Space. Nikos Papastergiadis, Scott McQuire

Flesh and Stone,

The Body and the City in Western Civilization. Richard Sennett. 1994

Basically a long shed, the stoa contained both cold and hot, sheltered and exposed dimensions; the back side of the shoa was walled in, the front side consisted of of a colonnade which gave access onto the open space of the agora. Though free-standing the stoas were not conceived as independent structures, but rather as edging for the open space of the agora.

Sennett: Flesh and Stone, page 50. 

Bringing Things to Life

Creative Entanglements in a World of Materials Tim Ingold

EWO= The Environment Without Objects

THINKING AT WAVERLEY, as a site of multiplicity and memory. Walking is Thinking, Richard Long

Heidegger-To participate with the thing in its thinging

Our most fundamental architectural experiences, as Juhani Pallasmaa explains, are verbal rather than nominal in form. They consist not of encounters with objects - the facade, door-frame, window and fireplace - but of acts of approaching and entering, looking in or out, and soaking up the warmth of the hearth (Pallasmaa 1996. 45). 

As inhabitants, we experience the house not so much as an object but as a thing. (Ingold 2008: 8)

Curriculum making as the enactment of dwelling in places

One Place After Another: Notes on Site Specificity, Miwon Kwon. 1997

Marks Gather/Drawings Reserve of Transparency and Presence.

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Exploratory Practices.

Drawing

Drawing on the awareness of a spatial experiential experience not a totalizing context of framed visual analysis and information.

Life Drawing Session and Sensation.

Before The Tyranny of the Framed Subject.

The Observer and Framed Apparatuses of Display. 

Art Bodies/Pathologies of Flesh/Corporeality  in Contemporary Fine Art Practice.

The Written Nude.

Fiona Banner: Performance Nude

From 'The Birth of Venus' to art school classrooms across the globe, artists have, over time, employed life models in an attempt to capture the essence of the female nude. One such artist is Fiona Banner. As this book Performance Nude illustrates, Banner uses paint and line to portray her models; however, she renders them not in figurative gestures, but in words. Straying further from traditional methods, she specifically uses 'real' women rather than practiced life models as her subject, choosing to capture the strain and tension created in the room by the presence of a novice. Whatever discomfort is revealed in the relationship is tested further by introducing an audience to the room and filming the scene for up to an hour. The effect is at timespoetic, at others searching and critical. By portraying her nudes in this way, Banner questions the difference between looking and perceiving; the separation between experiencing something, and the language we use to describe it.

Un-Constructing the Image/Deconstructive Readings of Totality in Drawing.

Marks produce 'localized instants' of visual proposals/propulsions overcoming things.

Drawings gather 'instants into forms' that are themselves derived from alternative and recomposed durations of experience.

Drawing Surfaces/Sensations : Experiential and Conceptual.

Marks of/Marking : Nowness/Instants/Proximity/Immediacy.

It is the very nature of the 'reserve' that allows drawing to create an 'instant' that proposes the interlacing, interplay of the drawn line as a both dynamic and mutually defining.

The 'reserve' (a spatial perceptual surface) is the apparatus through which drawing actually functions it supports and manifests all of drawings phenomenological values.

Drawing 'transponds' feeling, thinking, seeing,into visual durations of sensations and experience.

Line creates spaces, sensibilities between interior (mind, sensoria, sensations) and exterior (matter, material, surfaces) both of which merge/reciprocate and underpin our existential becomings in the thick of our material existence.

The Searching Line, that proposes, demarcates, launches visual observation and their haptic responses. Schreiter/Lefebrve.

A reserved spatial surface un-folding marks/gestures of both transparency and presence.

Drawing has always been able to treat the whiteness of its surface in a fashion unique to itself. As a 'reserve' an area that is technically part of the image (since we certainly see it) but in a neutral sense. An area without qualities, perceptually present but conceptually absent.

A key consequence of the 'reserve' is that the drawn line  can be released from painting's imperative to bind each and every area into the totality or tyranny of the image as overall design.

Instead 'in drawing' the moment that the line is drawn, it can determine its nature and shape with reference only to the local area to which it immediately belongs. It produces a proximity of a different pictorial logic, that can now assert itself in which the ongoing present time of the drawn line can unfold in its own specific milieu.

Marks on clay surfaces, both plastic and fired, sculptural and pictorial.

Paper Cuts/Collage/Glass/Paint/Line/Filtered Light.

Drawings/Collages/Photography/Performativity.

Woodman/Rodin.

Communicative Space Of Drawing : Radical pedagogy transduces rather than transmits.

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The Communicative Space Of Drawing.

Braking down research.

Radical pedagogy transduces rather than transmits.

Re-combinent poetics/praxis.

The Architectural Scriptorium

The Photographic Darkroom.

The Observatory.

Drawing, defined variously as an extruding, a gathering and/or a pulling closer.

The paradoxical nature of drawing is that it is simultaneously a form of recording and invention, somewhere situated between unconstrained gestures and the reiteration of a point of view.

To re-examine the significance of the human body through drawing performatively and architecture.

To understand how buildings affect individuals and communities emotionally, how they provide people with a sense of joy-identity-and place.

Across The Space Of A Page.

Drawing Propositions/Propulsions from the Body.  

Landing Sites: Organism/Person/Environment

The World Opens Up In Front Of Us And Closes Behind.

The experience of our bodies, of what we touch and smell, of how well we are 'centred' is not locked into the immediate present, but can be recollected through time and memory.

Collisions with Bounded Spaces.

The Haptic and Geometric Grid/Centripetal and Centrifugal Radials. 

Haptic choreographies/circulations that create collisions with environments and bodies.

Body 'fit' and movement is affected by the haptic sense and by the tactile qualities of the surface and edges we encounter.

Patterns are composed mostly of paths and places, but it is the system by which they are related, that allows us to make sense of a bounded space.

Place and its choreography of collision that facilitate the transaction between body, memory and architecture, allowing us to dwell in them in the fullest sense.

All architecture in its beginnings was derived from a body-centred sense of space and place. The power of the home, comes from its being the one piece of the world around us which still speaks directly of our bodies as the centre and the measure of that world.

Buildings can encourage a choreography of dynamic relationships among the persons moving within their domains. 

Emily had been playing house in a nook right in the bow of a boat and tiring of it, she was walking rather aimlessly aft – when it suddenly flashed into her mind, that she was SHE.

Gaston Bachelard.

Poetics of Space.

Emily was neither particularly conscious of, nor looking at, the centre from which she was departing – nor the centre towards which she as walking. But she was able to detect her identity in the bodily act of moving from one centre to another, she recognized that SHE had been withdrawn and was now emerging.

How can the personal world of the body provide an alternative to excessive and disorienting events in the environment?

To diminish the importance of the body's internal values is to diminish our opportunity to make responses that remind us of our personal identity.

Memories at the Centre.

Body, Memory, and Architecture.

Bloomer/Moore.

John Latham.

Drawing/Unbounded Sensations of Time.

The Stage Of Drawing.

Gesture and Act.

Conversation : Avis Newman/Catherine de Zegher.

CdZ: What happens in the space between the gesture moving away from the body, towards everything that is outside of the self, and its landing as a trace on the page?

AN: I was thinking on the way the transmission of thought can depend on the hand and eye, and how this relates to the psychic space in which the mark exists as a potentiality. The effort of the mental and physical act of projection out from the body, away from the body, firstly into the air  -  an act that pitches the hand across the space of the page to site a mark where one intends – is quite a precise act : the most thoughtful and deliberate of acts, which I would speculate harbors a necessary thoughtlessness, in the sense that the certainty of coordinated actions is always in some way provisional and as such relies on the vigilant cooperation between eye and hand.

CdZ: Drawing may also be a recovery of the gesture that allows a discovery for the eye.

AN: To retrieve the gesture in a drawing is to translate the mark back into the action of the hand. It is very pleasurable to recover the gesture in that way and in so doing to follow the action of making. I think that experience in a drawing is very precise.

CdZ: Because the eye manages to discern what has become a trace on paper from a gesture in the air?

AN: Yes, the mind's eye. Perception becomes an act of reconstruction that moves unobtrusively between interior and exterior. I would make an analogy here between how we experience unconscious emotions in the repetition and accumulation of marks (irrespective of what is being drawn) and the intonation, hesitations, and inflections of speech, all of which hold a complexity of messages and can be at odds with what appears to be said, but which nonetheless determine meaning. It seems to me that this occurs independent of sight, as that which is generated by the mind and mediated by perception.

CdZ: In drawing, the space is open-ended and unframed, while the marks are articulated over time and in time.

AN: My concern in making images relates more closely to the conceptual space of drawing, which is less circumscribed  than painting. In particular, the manner in which the boundary or edge comes to define the work is of a completely different order in drawing. In fact, the idea of inside  and outside does not occur in the same way. The marks define a position across the surface and are not registered in relation to limits. As a result the often ambiguous nature of borders can leave a vague uncertainty as to the stability of the image.

CdZ: Can you elaborate on this different notion of boundary?

AN: The natural inclination of mark-making is a relational organisation of individual inscriptive acts, which is not an expression of a unitary world. The frame as the window on the world, which traditionally internalizes the picture. This view creates an illusion  of the unique experience of looking, in the sense that there is coherence to the image. There is not that illusory consistency in drawing, as the space and image are essentially open-ended and speculative. The unframed interferes with any anticipation we might have of ordered limits or completion, and suggests the possibility that something is missing and will always elude our attention, because it cannot be framed. It is the uncertainty of the edge and how it meets the real that I find fascinating.

CdZ: Drawing is thus not to do with perceptual illusionism, but with infinite space as mental possibility. Is the drawing itself, the ground, a space of transience?

AN: There is no pressure from the outside inwards; in drawing, it bis all pressure from the inside outwards. And the idea of boundary then becomes problematic, our boundary as we project it onto the work. The physical structure of a drawing is always conditional, and when one looks, for example, at the drawing by John Latham, One-Second Drawing (17'' 2002) (Time Signature 5: 1) the work itself defies any possibility of framing because the action is embedded in the pure sensation of time. We are left with only the effect. So the idea of framing as a way of 'confirming' the space – this is not part of  drawing's language. The condition of boundaries is that they are dissolvable.

Body, Memory, and Architecture.

Sense/Sensing/Feeling/Memory.

Hapticity and The Body of Memory/Experience.

Haptic drawings are composed of piece by piece responses to the situation at hand, rather than being based on any kind of visual or conceptual grand design.

The stone and wood of a house itself are embodied in these memorable centreplace's and even they belong to the body of memory, something that maybe regarded as possessing uniquely haptic properties.

The heat  from a fire, the rushing water in the fountain, and the smooth tactile objects on the mantle deliver feelings of touch and even permanence. Here in this interior space the lifetime memories of the person collaborate with the timelessness of the world outside.

Exercises on the Haptic Experience of Space.

Drawing Choreographies : Hapticity/Mark-making/The Body.

All architecture functions as a potential stimulus for movement, real or imagined. A building is an incitement to action, a stage for movement and interaction as such it is one partner in a dialogue with the body. 

Egon Schiele/Jenny Saville, drawings rendering an insistent corporeality.

Drawing marks that can be possessed, felt, touched and known, haptic drawings are memories of human experience, seeing, feeling, experiencing and exploring corporeality.

Drawing : Mind/Hand/Media all in the thick of material existence.

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The Body of Drawing/Butades.

Thinking Matter : Cosmologies/Constellations/Assemblages/Apparatuses. 

Matter (as interlacing interplay that is dynamic and mutually defining) has its own nature.

In the thick of material existence.

Merleau-Ponty.

On The Hospitality/Intertwining of Lines

Making/Moving Matter/Theoretical Objects for Spatial Practises.

In and Out of Material/Matter/Matters of Concern/Sculpture

Tony Cragg.

Situated Practices/Architectures of Care/Concern.

Oren Lieberman.

The searching line proposes/launches visual observations/haptic responses, and conversely what is seen determines how the next line is to continue in a perpetual and recursive interaction that unfolds in ongoing time. 

Relationscapes of/with/for Drawing.

What is drawing?

What is the nature of the drawn line?

Un-Learning Drawing.

The drawn line is raw, on permanent view of its emergence into the world, an open zone that operates in real time. Corrections to the line, challenge perceptions and build intimate relationscapes with the mind, body, media and surface.

'In drawing' we are perceiving the evolving process of thought and perception.

Avis Newman.

Praesentia, being present, a presence that is close at hand to the present moment or time.

The phenomena and its nowness/nearness in the light of day. 

Drawing is driven from the outside.

The agent/agency of drawing admits that the process leads, the mind follows.

First the material signifier, marks on paper, then afterwards the signified, the depicted scene and its nominal referent. For Cozens the random application of splashes and patches of ink would at first appear a chaos, yet with a little skill, out of that chaos forms could be encouraged to appear. Blots might become clouds or the silhouette of hills. For Bryson, Cozens 'anti method' clarifies what the official ideology of drawing-as-transparency habitually mystifies. That the relation between subject matter and line is not at all a question of before or after.

Though far from being a work of philosophy Cozen's method/manual anticipates the broad outlines of Merleau-Ponty's description of the intending consciousness as always already in the world, in the thick of material existence.

Drawing the line involves an interlacing of outside and inside, a permanent cross-over between interior (the artist's mind, sensations,sensibilities) and exterior (paper, pigment,stylus).

A Walk For Walk's Sake.

Norman Bryson.

Studio Silences of  Space-Time Phenomena/Phenomenology.

Existential becomings in the thick of our material existence.

The Poetics of Space.

Gaston Bachelard.

The Primal Scene of Drawing/The Trace of Butades.

Is all about preserving loss/the blankness of paper and a hand that is about to make its first trace on the surface. Drawing enacts the very moments of trepidation when a new image is about to enter the world. 

Drawing is an art of presence and transparency of phenomena unfolding, a fusion between the artist's mind, the artist's hand, and the beholder's gaze.

On Drawing.

The work of observation is necessarily shaped by the line it leaves behind.

The drawn line conditions or models the selections from the field of observation. It launches observation along a particular direction or path.

Sunlight enters into architecture and sensations of bodily presence/perception.

Vessels unfolding through durations of light and dark.

Flesh/Sensation/Paint/Francis Bacon.

An Unconditional Body from Social Objectivity to the Extremes of Subjectivity.

Acts of both presence and transparency.

Mapping Subjectivity/Gathering Matter.

Organism-Person-Environment.

Architectural Body.

Art works and artists, all manifests themselves at the social interaction and reading/rendering of subjectivity.

The Stage of Drawing.

Gesture and Acts.

Like the drawings themselves, the exhibitions loyalty is to the immediate experience of the individual image rather than to the totalizing logic of art history complete with its grand narratives of social and cultural change. The exhibition reveals the convergence of real time operations (realities) the artist's visual idea in the time of its coming into the world, and the always ongoing work of viewing.

Pathways of difference, of the brush and pencil as they move through their respective spaces.

For The Brush.

Before it can touch the surface of the canvas, the bush has to orient itself according to the four sides of the frame, and then according to the total sum of the marks that have already appeared on the surface of the picture. It has to hover, to hesitate, to sense as though by dowsing where a channel in space may now open up, a groove in the total surface that the brush may now enter.

For The Pencil.

In drawing the presence of the 'reserve' frees the pencil from this complex calculus of the totality, reducing the scope to an area that can be taken in at once. A local area, that lies where the hand is now in praesentia. For Bryson this introduces the possibility that the drawn line, maybe closer to the immediacy of the artist's thought and perception than the line made on canvas. 

Brian Clarke, Collages/Drawing/Paper cuts and lead lines.

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The adoration of the art object is in some way contrary to the nature of art, which does not seek fame or reward for its existence.

It is the nature of the artist that should be treasured, not the objects that he makes.

Dangerous Visions 1977.

Those paintings represented something really significant to me, and that was that there was something much greater than aesthetics and skill beyond making a work of art. 

Collages  2022-2023.

Sometimes there are as many as ten layers of paper. Some of them are absurdly dense and rather difficult to maintain because, before they're ready for framing they have to be disassembled and glued down with permanent glue.

The literal nature of them, the kind of objective, analytical nature of them is no longer a matter of concern to me. The world is such a rich place and whether they're literal or abstracted or positive or negative, seems to me a matter of profound insignificance.

Humility 2023.

Love.

Meekness.

Optimism.

Renewal.

No matter how beautiful, all objects ultimately perish, but the artistic spirit from which they are born does not. The artist will die, but he will be replaced by another who will create things of beauty too, that will ultimately decay. I don't propose a revolution that seeks to devalue beauty or art objects, but only to ask that we remember the virtuous nature of natural creation and quietly move our thoughts away from objects that perish to the spirit of creation that does not.

Brian Clarke.

Drawing.

The pencil for Isozaki, remains the ultimate tool for expressing early ideas about architecture.

Lead Lines/Paper Cuts.

I was painting and drawing figuratively, but I abandoned that because I was more interested in how much nervous energy a line could carry when it wasn't attempting to describe something objective. 

Acts of Inscription : Drawing into Affirmations from a Primal Site.

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Drawing/Poetry/Images.

Sensing/Drawing Energy.

Water/Clay/Fire.

The mental energy of engagement in drawing and how 'markers' of an action translate the murmurings of the mind.

Empirical evidence carries emotional connections, through a synthesis/reciprocity of reverberations of matter and its mental movement.

Gaston Bachelard illustrates how images bridge the sensate perceived world and the interior affective life.

Bachelard's seminal philosophical and phenomenological interests are always connected to matter. To what he calls the psychology of the familiar, the rapprochement with real objects, and the friendship of things. 

Matter sparks inner images which in turn imbue matter with memory and values. He creates an ever renewing reciprocity of the reverberations between inner and outer qualities, which obliterates any absolute separation between objective and subjective experience, a perspective recognized by modern physics. Bachelard explodes the potential imprisoned in an image. It is the quality of the 'livingness' of the flame that triggers Bachelard's musings of correspondences.

Joanne H. Stroud.

 

The Flame of a Candle.

Student Work.

Charcoal on paper.

Drawing Course, Michael Grimshaw. 

Winchester School of Art. 2003.

 

Drawing The Line.

Affirmations from a Primal Site.

Corollaries between being and becoming.

The Mirrored Self.

Coded Imprints.

Invented Bodies.

Chronicling Space.

The Moment/Instants of Engagement.

The conditions of making where the image was not a priori to its making.

The Simultaneity of Effects.

A 'Graphism' In A Corporeal Field.

I am concerned with the movement and process of articulation, of marking and sensing of things across the works surface/duration. I would definitely identify drawing with the infinite space of sensation, both the sensations of the body and the sensations of the mind.

So what is it that one actually makes in such circumstances?

For Newman, it seems to me that the thing made becomes like a temporal spatial/sensate matrix, composed of a continuous repetition and elaboration of individual, but similar inscriptions, and that the series of thoughts and judgements connected to those separate acts, are only subsequently reflected on the image. Marking  the image, these marks suggest an endless repetition and while also existing as a series of relations. The marks suggest the thing could fall apart at any moment. 

Acts Of Inscription.

Drawing on Bodily Impulses.

Images from the mind.

The Psychic Gaps In Drawing.

Primary Forces : Marks of no particular visibility.

Drawing on the sensation of seeing and sensing that always seems to register the endless repetition of remaking, as such drawing constitutes the space of anxieties. 

I understand the page to be a mobile space in the physical presence of its weightless surface and as such it is a place of time and movement. The evokes the consciousness of that limitless space that is embodied in the reality of the white page. Which I would say is a place of fragmentation that has since Modernity been an interminable potentiality, symbolically the dreadful place of boundlessness.

In a drawing the page keeps open the gaps between the marks. It refuses closure and is an active participant in conjunction with the mark. It is part of a negotiated reality of void and presence. The limitlessness white space of the page disperses the notion of its body as substance, its body is phantasmic and intangible space/surface.

The notion of the white page as being boundless, also alludes to that space of our inner reality, where the immaterial world of dreams/imagination and the mental impressions that run through us and evaporate into other thoughts. They dissipate in the fragmented world of our senses and defy any totalizing.

Avis Newman 

Mark Making : On the fascination and the fear of the white page.

For Avis Newman, the paper is an undifferentiated space in that it references the primitive undifferentiated space of the infantile body that has to be claimed by the self.

Drawing is a site in which one enacts differentiation, as soon as a mark or sign is made, it changes the non-ness and establishes a place of action, as soon as that act occurs the paper becomes something, it moves towards, moves with its potentiality into language.

Could we state that one aspect of drawing tends to be more linked to the bodily impulse and the other to the mind?

Catherine de Zegher

The image that Antonin Artaud conjures when he says 'There is a mind in the flesh, a mind as quick as lightning,' situates it well for me. I have the impression that the act of inscribing opens a fissure through which some staged psychic event, operations of consciousness, take existence. They are primary forces with no particular visibility.

Avis Newman.

Marks both coded and uncoded originate in an urge from a space of uncertainty to participate in language. The potentiality of even a blank page is in itself the unbounded space of language. Drawing is both a system and a method of a sensing inquiry. To draw is often a paradoxical act in which two extremes of practice can exist in the same space.

When we come to look at another's markings in the world. We see an extraordinary event. We see attempts at articulating the unbounded space that momentarily binds that aspect of us that is eternally fragmented. Essentially in the very act of drawing we have a wish to externalize thought and communicate existence.

Avis Newman.

From Life : Extending The Speculative Drawing Process.

Bodily Boundaries : Transactions between body-intimate and the social body image.

Organism-Person-Environment.

Body-Fragmented-Memory-Architecture.

Propulsions/Propositions into and through the visual.

In drawing some marks escape their visibility, because there is no dynamism to underpin the possibility of internal cohesion. There is no pressure from the outside inwards;  in drawing, it is all pressure from the inside outwards.

Conduits of perpetual potentiality.

The articulation of marking thoughts, which by definition are open-ended, in a state of flux in which things can pass through and are suggestive of a perpetual potentiality.

Some marks are seeing, some are feeling, some are for thinking, some are from memory, others from a blindness when seeing.

Gestures and Acts.

Conversation/Correspondences.

Drawing is thus not to do with perceptual illusionism, but with the infinite space as mental possibility. Is the drawing itself, the ground, a space of transience?

In drawing, the space is open-ended and unframed, while the marks are articulated over time and in time. Can you elaborate on this different notion of boundary?

Catherine de Zegher.

The physical structure of a drawing is always conditional to the boundary we project onto the work. When one looks for example at the drawing by John Latham, One-Second Drawing (17' ' 2002) (Time Signature 5: 1) the work itself defies any possibility of framing because the action is embedded in the pure sensation of time. We are left with only the effect. So the idea of framing as a way of 'confirming' the space, this is not part of drawing's language. The condition of boundaries is that they are dissolvable.

Avis Newman.

In Drawing : One is not so much looking at the thing itself, as at its suggestion, at the possibility of a formation that has yet to occur. In that sense, drawing is both fugitive and embodies a lack, it is implying qualities of incompleteness and that which conjures to be only a trace of a thing.

Drawing/Corresponding to a mobile field of properties that only during the process of marking is a cohesion found, a somewhat precarious frame constructed, almost as a byproduct of the articulation of marking thoughts.

Drawings are beyond the conceptual anxiety found in connection to the frame of painting.

In drawing the surface maintains its separate existence. There is an ambivalence of status between the mark and its support, consequently the lack of integration has always been more complex, corresponding as it does to a mobile field of properties. 

Drawing as a site, a meditation of a self regarding consciousness. Where consciousness is understood/expressed as a process that 'figures/thinks' a state of existence. Drawing and the drawn become a site of inquiry, response and invention, and in that sensing space it becomes a philosophical activity.

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. The fractured, open-ended, and incomplete that are inherent characteristics of drawing practice seem very pertinent as materializations of our present experience of the world.

It is that space of anxiety and fragmentation in contemporary practice that offers a potential of infinite diversity. Drawing is a record of the working of thought, that we see embedded in the drawn.

Conversation, Avis Newman. Catherine de Zegher.

The Stage Of Drawing : Gesture And Act.

Other Worlds : Insistent moments of mark making/subjectivity

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CYANOTYPE SUN MAPPINGS/DRAWINGS

Jonathan Crary, Techniques of the Observer.

Adam Nicolson, Sea Room.

Rebecca Solnit, Wanderlust. A history of Walking.

Site/Regional Specificity/Local Memory. 

SKIN, SURFACE, SUBJECTIVITY.

Insistent moments of alienated encounter.

Harriet Katherine Riches.

MATTER AND MUTABILITY

PRERSENCE AND AFFECT

Jane Grant.

AFFECTIVE ABSTRACTIONS

INTERMEDIARIES

CONSTITUENT PARTS

SPILL

IMMINENT REVELATION

EXPOSURE

NAMING THE LIGHTS

AFTERWORD

Garry Fabien Miller, Ian Warrell, Richard Ingleby.

The solitary artist literally at the edge of his environment and in a state of profound meditation about our place in the wider cosmos.

As if seeing herself from the desolate distance of a star, Woodman looks back through the alienating photographic lens of displacement and memory, her print the surface upon which she conjures an impossible moment of beautiful fusion.

Those still involved in defining photography as an art are always trying to hold some line. But it is impossible to hold the line: any attempt to restrict photography to certain subjects or certain techniques, however fruitful these have proved to be, is bound to be challenged and to collapse.

For it is in the very nature of photography that it be a promiscuous form of seeing, and in talented hands, an infallible medium of creation.

ON PHOTOGRAPHY.

Susan Sontag.

SPAB.

Building Conservation/Casework Campaigning/Innovative Research/Immersive Training Programmes/Working Parties.

Climate Action/Built Heritage.

Jacqui Donnelly, Spring 2022.

Traditional buildings are defined as those built with solid masonry walls, single-glazed timber or metal framed windows and timber-framed roofs usually clad with slate or tiles.

One of the most effective ways of increasing the resilience of our historical structures and sites is the application of good conservation practices.

Traditional  materials and construction techniques allow for the natural transfer of heat and moisture and relied on the thickness of the walls to cope with atmospheric moisture. It is therefore essential that all materials and finishes, including mortars, renders and plasters, used on traditional walls are vapour-permeable to allow this movement of moisture to continue.

Proactive Maintenance

Repair Programmes 

Upgrading through repair and adaptation.

Mitigation

Courses in traditional rural trades and crafts, Weald and Downland Open Museum.

The SPAB has made sure that the project not only repairs the mill but integrates public access and education into the process.

The scaffold design has allowed public access visits for the local community and students, offering opportunity to view the work while underway.

Douglas fir weatherboards

Vmzinc roof covering

Insulating Render, Cornerstone.

Developing a scheme that endeavours to fit a three-bedroom house into the existing footprint of the mud cottage and adjacent outbuilding,with some overspill into a new circulation space that connects the structures whilst clearly retaining the legibility of the existing modest forms.

INHABITATION, the inter-dependence of mankind within socio economic frameworks. 

Vernacular Concerns/Folklore/Heritage and Fabric of Buildings.

TONALITIES

BUILDING MATERIALS

THE POETICS OF SPACE

Gaston Bachelard.

Italo Calvino, Mr Palomar.

The numbers 1, 2, 3 that mark the titles of the index, whether they are in the first, second, or third position, besides having a purely ordinal value, correspond also to three thematic areas, three kinds of experience and enquiry that, in varying proportions, are present in every part of the book.

Those marked 1 generally correspond to a visual experience, whose object is always some natural form; the text belongs to a descriptive category.

Those marked 2 contain anthropological elements, or cultural in the broad sense; and the experience involves, besides visual data, also language, meaning, symbols. The text tends to take the form of a story.

Those marked 3 involve more speculative experience, concerning the cosmos, time, infinity, the relationship between the self and the world, the dimensions of the mind. From the confines of description and narrative we move into the area of meditation.

Celestial Architecture/Skyspaces/Serenity/Re-Animating Thought.

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Matter and materials that create the potential to act. 

STRUCTURE AS OBJECT

Light supply's the raw material for consciousness and its perception. 

The structural frame as generator of architectural form.

Vitruvius implies that the geometric forms of both the  Colchians and the Phrygians primitive houses are the consequence of direct operation with physical objects, rather than the abstractions that pre-existed in the mind of the builder.

Space/Structure/Light/Performativity/Physical Participation and Play.

Tate St Ives. 2011

Profound but intimate subjective evocations/assemblages of space and time.

Prototypes for Sculpture.

Model for Spheric Theme. 1937

Naum Gabo.

These prototypes give a unique insight into his working process, one in which he employed a playful intuition and childlike, hands-on approach to the development of what were often extraordinarily complex and apparently 'manufactured' forms.

Concetto Spaziale/Spatial Concept 1962

Lucio Fontana.

Buchi Works by Lucio Fontana are characterised by holes or punctures through various surfaces. By opening up these surfaces, Fontana introduces another dimension to his work, one of space, depth and time. In their almost infinite variation and difference, as well as their primal simplicity, they seem to approach something both fundamental and universal. 

Celestial Architecture.

Architecture Without Architects.

Bernard Rudofsky.

Among abstract architecture, some of the most imposing examples stand in Jaipur, India. They are gigantic astronomical instruments built in the eighteenth century to the plans of Maharajah Sawai Jai Singh 11.Their purpose was to achieve greater accuracy of astronomical data than that available from portable brass instruments. Since they never lived up to expectations, they represent that rare instance of pure, or nearly pure, architecture of a functionless kind.

Oxfam, Madeleine Street, Norwich. 

Aesthetics of Installation Art, Juliane Rebentisch.

Situation, Documents of Contemporary Art, Claire Doherty.

Deer Shelter Skyspace, James Turrell.

The layering of traces where the reader can find the intricacy of memory and imagination.

Rethinking The Animate.

Re-Animating Thought.

Tim Ingold. 2006

Contemporary western cultures have created our estrangement to nature, which has been established by the spiritual and religious ascendency of humankind over nature, and by the rational dissociation of the human intellect from the organic world. 

European civilizations neglect of the natural world and its needs has clearly been encouraged by a style of awareness that disparages sensorial reality denigrating the visible and tangible order of things on behalf of some absolute source, assumed to exist entirely beyond, or outside of, the bodily world.

Spell of The Sensuous, David Abram.

Cosmic Serenity/Solitude.

A Mind Attuned to the Intimate Garden.

In a culture exhausted and irreparably fragmented, the walls surrounding Luis Barragan's gardens are, perhaps one of the last defences to preserve centuries of thought and emotion.

On Nomadology.

Gilles Deleuze and Felix Guattari. 1980

Fieldwork.

Deterritorialized Spaces.

The nomad has a territory; he follows customary paths; he goes from one point to another; he is not ignorant of points (water points, dwelling points, assembly points, etc.). But the question is what in nomad life is a principle and what is only a consequence. To begin with, although the points determine paths, they are strictly subordinated to the paths they determine, the reverse of what happens with the sedentary. The water point is reached only in order to be left behind; every point is a relay and exists only as a relay.

A path is always between two points, but the in-between has taken on all the consistency and enjoys  both an autonomy  and a direction of its own. The life of the nomad is the intermezzo. Even the elements of his dwelling are conceived in terms of the trajectory that is forever mobilizing them. 

The nomad is not at all the same as the migrant; for the migrant goes principally from one point to another, even if the second point is uncertain, unforeseen, or not well localized. But the nomad goes from point to point only as a consequence and as a factual necessity; in principle, points for him are relays along a trajectory.

Skyspaces.

James Turrell.

The sky is no longer out there, but is right on the edge of the space you are in. The sense of colour is generated inside you. If you then go outside you will see a different coloured sky. You colour the sky. 

In working with light, what is really important to me is to create an experience of wordless thought. The Deer Shelter is one of only a handful of private and public Skyspaces in Britain, including Cat Cairn, Kielder Forest in Northumberland.

Across the world Turrell has realised around forty temporary and permanent Skyspaces, although the Deer Shelter is one of very few that have been formed from an existing historic structure.

Drawing/Diagram/Script as a gesture of propulsion into the world.

Emotional Sensibility/Selective Intuition.

Making with the Inner Tensions of Each Element.

Timbre/Tone/Colour/Patina.

On Sonority.

Art and Technique.

Marcel Moyse. 

Spatial Distinctions/Piercings and their Movements.

In and Out of Material/Traces and Trails.

Interstices/Voids, Surfaces, Ceramic Forms, Black and White Slip over Terracotta.

Templates,Setting Bocks, Prototypes, Geometry Sets, Monoprints, Boxes.

Use of experimental photographic techniques and new materials through invention and application.