Visual Poetics/Bricolage/Red is not a colour : The Studio/Space of Real Situations

Spatial Collage : Research/Discourse/Apparatus

Farnham University of the Creative Arts

rhythmanalysis : Space, Time and Everyday Life.

Lefebvre

Jannis Kounellis

Carlo Scarpa

Translates the painterly relationship of figure and ground into the space of real situations

The Visual Poetics of Jannis Kounellis, Suzanne Cotter and Andrew Nairne.

Modern Art Oxford, 2004-2005.

Timothy Morton : Realist Magic

The elasticity of sensation, affective and wonderous

Red is not a Colour. Bernard Tschumi.

bricolaged notes  from STUDIO UNBOUND : Lane Relyea

Institutional Critique : Studio/Post Studio Activity

SPATIAL AGENCY : Spaces of Fluid Interchange Between Objects, Activities, People.

Today studio and museum are superseded by more temporal, transient events.

The Function of the Studio

Daniel Buren

The Studio is no longer as seen as belonging to a system.

No longer a retreat but it now INTEGRATES

It is all exterior.

Material Flows 2007/2017 Towards Disentanglement

Social behaviour is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.

Franco "bifo" Berardi

The Network places the artist as a 'like item' within an integrative inventory or database.

Networks are both integrative and decentralizing in that they privilege casual or weak ties over formal commitments.

Being part of a network that privileges itinerancy and circulation over fixity, that diminishes hierarchies and boundaries in favour of mobility and flexibility across a more open extensive environment. 

'The Studio made into a showroom display'

Antagonism and Relational Aesthetics. 2004

Claire Bishop

The Individual and The Social

A place where meanings, properties and behaviors fluctuate radically.

Bennett Simpson. Can you work as fast as you like to think. 2003

The hosting/re-created artist's workspaces, like a threshold between private and public actuality and potentiality.

The Notion of the Evolutionary Exhibition.

Placing greater emphasis on INFORMATION, DISCUSSION and GATHERINGS

Establishing NETWORKS, fluctuating between highly specialized work by scientists, artists, dancers and writers

Obrist/Vanderlinden, Laboratorium, Antwerp. 1999

MODULATION, Deleuze

Immaterial Social Acquaintances/Information

Along with the rise of Networks comes a new Ideology, one that Advertises Agency, Practice and Everyday Life.

The Dividual (The New Mobile Creator) Deleuze

Someone who is 'UNDULATORY In ORBIT, in a CONTINUOUS NETWORK

Colour Nexus : Promiscuous Mobility

OBSCURED MATERIAL

OUTPOST STUDIO 3.16

Notes from sketchbooks

Apokatastasis : Jim Jarmusch, Jozef Van Wissem

Spatial Asperity/Mesh, Membrane and Gauze

Drawing and its attempts to map out/make visible contingent things

Contingency, is what remains, as it comes up against causality/constantly passing through

Objects/Things conceptualized by the exploration of drawing (intervals of blindness)

Linking Surface to the Aesthetic Experience of Space.

Experiences incorporating interests with environmental textures into Art.

Points of Contact/Confluence of Circumstances

Materials bound by contact/canvas

Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,

A philosophy of Reading

Solitude/Libraries : Cell/Court/Domain

Clay, Waxed Surface, Liquid Rust, Calico,

Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things

Social Architectures/Anthropologies/Imaginary Projects

Sally Mann : Matter Lent/Collodion wetplate negatives

Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,

Sensual Objects/Temporal Skin : Intersubjective Spaces/Aesthetics

Blue Aesthetic : Vicarious Causation/Exploring/Thinking with Causality

Realist Magic
Objects, Ontology,
Causality

Timothy Morton

On Vicarious Causation
Graham Harman

http://www.faculty.virginia.edu/theorygroup/docs/harman=vicarious-causation.pdf

Form Giving Improvisations : Creative Entanglements in a world of materials.

 Outpost 060123

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

Haecceity, a certain gathering together of the threads of life.

Deleuze and Guattari, A thousand plateaus. 2004.

Intermediaries : Inducing place between things and the process of practice.

The drama/performativity of encountering place.

Setting things in motion. 

Reading diffractive phenomena.

Bringing things to life, creative entanglements in a world of materials.

Life is all about relations that hold a being in place.

Tim Ingold, The environment without objects (EWO).

Graham Harman, Object-oriented ontology (OOO), a new theory of everything.

Steven Holl, Parallax.

Carlo Rovelli, Helgoland.

Penelope Curtis, Elective affinities.

Mark Burry, Jane Burry, Prototyping for architects.

Lynne Elizabeth, Cassandra Adams, Alternative Construction, contemporary natural building methods.

Bridget Riley, The minds eye.

The Interval/Gap/Spacing of a poetic instant.

The Poetic Instant.

The search for the interval inherent to the Japanese culture of Ma (spacing, interval, gap)

It suggests a consciousness of time that encompasses the intermediary and the in-between, composing the present, a present in the process of becoming.

Mono-Ha, the idea of the artwork as a phenomenon of natural order with no other meaning. The artist can simply organise what already exists, and only he who dedicates himself to it – and concentrates on it – manages to maintain a privileged relationship with the world.

Outpost 040724

Beyond the formal attraction and cultural interest of the objects, the collections also translate the consistency, the tenacity even, of ending the dispersion of the fragments of the world to reach an (illusory) form of totality. Through the careful work done, the artist becomes a conservator, in the museum sense of the term: he gathers the pieces, cleans them, counts, tidies, names and exhibits them. The same applied attention is brought to collected pieces as to created ones. Of his monastic wisdom, he nurtures the kare-sensui of his art and his life, repeating identical gestures that deepen the sense of a relationship with the world.

We cannot create

what we can do is remove the dust

that has formed on the surface of things

thus rendering visible the world contained underneath.

Sekine Nobuo, 1969

Tsukuranai to iu kota (Do not create)

Roger Ackling.

The Invisible Appears. 2020

Lydia Rekow-Fond.

Translated by Derek Byrne. 

Wrapped Body : Tacit Auguries/Sacred/Secular Spaces

Speculative art objects/intermediaries on the inwardness of things.

Norwich, Sacred Spaces, 
Body Fragments/Tacit Auguries : Care and Constraint 2019
Ceramic/Textile/Wire and Wax on Gesso.

Exploratory Forms. Bandages/Rust : Tacit Collage, Drawing 2019

"All religions, nearly all philosophies, and even a part of science testify to the unwearying heroic effort of mankind desperately denying its contingency."

Jacques Monod,

The Human/Straw Dogs, John Gray.

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

EXPLORATORY CLAY/CERAMIC BASED INQUIRY : Ceramics and Architecture.

 

EXPLORATORY CLAY/CERAMIC BASED INQUIRY  2023 Russell Moreton.

Working Title/Creative entanglements in a world of materials.

Ceramics for a reflective solitude, an architecture of silence. 

My intention is to develop further ceramic processes and forms that can be further articulated into specific site based objects. I am very interested in the spatial relationships and aesthetics of ceramics and their place in architectural settings. I wish to further develop my practical working knowledge, and a creative sensibility towards the haptic qualities of  making with clay and the unifying element of fire.

Studio program.

Clay bodies, making facilities, ceramic tests, development of simple forms on which to present ceramic experimentation. Analysis of findings, further developments from exploratory findings into new processes and ways of making. Sketchbooks, drawings and photography, text and collage.

Thrown Vessels, innerness, Edmund de Waal. 

Spaces between Ceramic Objects, Giorgio Morandi. 

The Ceramic Surface, Richard Hirsch.

Supporting Notes. Current Interests.

Areas Of Presentation and Participation.

Historic and Social Sites, Art venues and Exhibitions. Making Theoretical Objects, Installation, Workshops.

Reading/research alongside residency. Intertwining Thinking and Making.

The Eyes Of The Skin. Clare Twomey

Tony Cragg

 Julian Stair 

Bryan Newman

Gordon Baldwin

Richard Hirsch 

Edmund de Waal 

Juhani Pallasmaa 

Steven Holl

Objects for a Landscape.

Marking the Line : Ceramics and Architecture. 

With Fire : A Life Between Chance and Design.

Paintings of nothing series, ceramic,raw material, dry pigment, wax. 

Bridge/Boat based conceptual forms.

Urban Spaces, palimpsest,impressions, traces. 

Ceramic Processes 

Additions to clay bodies

Hybrid combinations and making processes

Plasterwork, pressmoulding, sledged forms, templates, slabwork, thrown, handbuilt. 

Firing processes and new possibilities of scale and quantity.

Red Kiln, refurbished, Harleston.

Once fire Raku based clay bodies and engobes/slips/oxides and other surface treatments.

Mediators : Vessels and Drawings creating Intercessors

Spaces/Aesthetics : 'Spatiality' between Objects,Concepts and Beings

In his discussion of mediators, Gilles Deleuze (1995,121) describes being taken up in the motion of a big wave. He notes that instead of looking for 'points of origin' attention should be directed to mediators that enable a 'putting-into-orbit' that facilitate the movement of concepts, sensations and matter without recourse to origins or destinations.

Katve-Kaisa Kontturi uses the term 'intercessor' instead of  'mediator' as it aligns better with Deleuze's argument, where importance is placed not on mediating between already formulated shapes or beings, but on opening beings up to movement through a third actant.
For Deleuze (1995,125), Intercessors are about entering into or creating a series.

Gilles Deleuze. 1995, Negotioations, 1972-1990.
Translated by Martin Joughin. New York: Columbia University Press.

Notes, Introduction
Ways of Following
Art, Materiality, Collaboration
Katve-Kaisa Kontturi

Open Humanities Press
London 2018



Immaterial Architectures : Raveningham Pavilion #1
DSC_3283 Raku Beakers : Lead Glaze/Yellow Ochre
DSC_4049 Field Aesthetic : Causality/Layered Drawings
DSC_3776 Sacred/Secular : Vessels on Painting
DSC_4097 Field Aesthetic : Causality/Layered Drawings
DSC_8923 Artists Studio : Collage/Photography/Painting

Outpost Studies
Norwich
UK

Joseph Cornell : a fusion of the timeless and the everyday

Collage: Diversions, Contradictions and Anomalies.

Collage's integral methods of discordance and displacement have so insistently reflected turbulent developments in twentieth century art, science and geopolitics that our response might be to categorise the whole genre as iconoclasm or subversive fantasy.

Sally O'Reilly

23/02/2017 

The More She Burns the More Beautifully She Glows

The Social Life of Making : Thoughts with materials, making good, occupation and maintenance

 A Species of Spaces 

The Social Turn 

Museum Site and Display 

Political Philosophy

We have all the choice in the world in terms of products, but very little choice in terms of the kind of economy within which those things are made, accessed and used

Whose Economy Reframing the Debate After Neoliberalism Doreen Massey

Other 'material interventions' and the revaluation of making through strategies of repair and maintenance

Making Ecological Politics

A world teeming with impulsive movements, deviations and many other lively (capacious) materialities Influences that pervade, enable, and disrupt us

Vibrant Matter, Jane Bennett

Makers work in a world that does not stand still

Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations

Tim Ingold 2010

Making is central to who we are as individuals, what we make as part of everyday practice forms our identities and place in the world

The mundane experience of making, and thus of labour, is resolutely political, a geographical imperative, and a critical means of operating a meaningful relationship with this material life The Quarry as Sculpture : The Place of Making

D A Paton 2013

The making of a building does not stop when the building work is (temporarily) finished. But only really begins upon occupation, when the work commences of maintaining the buildings integrity against an onslaught of willfully destructive elements, insects, rodents, fungal infestations, corrosion, damp, harsh sun, water, wind

Evocative Thoughts on Building, Alvaro Siza 

The social life of making

Making good is about maintaining continuity with the past, in the face of efforts to rupture that continuity.

The need for repair is a remorseless and necessary process that keeps society ticking over.

Posted by Russell Moreton on 29 May 2022