Outpost 171225
Thinking Processual.
Meaning that it is not so much a matter of crossing boundaries, but rather a matter of open-endedness. A place where boundaries have become diluted and single figures are already coupled or heterogeneous figures (in the case of Bacon, man-animal).
Kovar/Deleuze.
The Architecture of Abjection.
The Logic of Sensation.
Working From Simple Things/Gestures/Materials.
https://www.flickr.com/photos/russellmoreton/
Theoretical Movements in Clay+Ceramics.
The Circular/Elliptical Matter/Mattering of Things.
Gathering/Pouring/Manifolds : Forms of Thinking.
Events.
Arte Povera.
The Way, without demarcation, rather a way of viability by which the continuum of life is renewed.
The Philosophy of Living.
Francois Jullien.
The Quiet Mind : Silently without resistance
(Sound of barking) Do you listen to that dog? Wait, wait. Silently? Listen to it completely silently, which means without any resistance, without any irritation, just listen to it. When you listen quietly there is no resistance, there is no irritation, you do not identify yourself with the dog and the barking of it, your mind is quiet.
Meditation
The meaning of that word is to measure, basically (for oneself).
Human Bodies/Spatial Bodies.
Kounellis/Opera, interventions, unscripted by workmen, bodies on trolleys.
Penone, wooden frame, human body, empty frame installed in a stream.
Beuys, accumulator, clay balls, wires, simple sturdy wooden table.
Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits.
The Enabling Constraint.
Erin Manning.
Visual Art Practice. 2024
Whether abject(ion) issues forth from a human body, a space or any other entity, it sets the whole world in motion and instigates a chain of exchanges.
In 'becoming' for Deleuze and Guattari we form a multiplicitous assemblage where individual elements are blurred, and together begin to act as a kind of whole. But a whole that is not fixed, as the assemblage also has a side facing a BwO which is continually dismantling the organism.
Through abject(ion) the smells, textures and physical forms of our body space and this excrement leaking out, become fused together. We become part of the space: the space becomes a part of us.
Abject(ion) re-configure the body and space physically through the transference of matter.
Architecture Without Organs (BwO)
The BwO is in fact produced as a whole, but a whole alongside the parts. A whole that does not unify or totalize them. But that is added to them like a new, really distinct part.
Deleuze and Guattari.
BwO plays a role in the notion of an open subjectivity. Kovar asks, are or how are abject(ion) and BwO related, and how might this relation be played out in architecture?
The BwO for Deleuze and Guattari is a concept that uses the virtual dimensions of the body as a set of potentialities that may be activated through becoming, importantly it is a body, understood as process that is continually constructing and deconstructing connections.
To speak of process and the continual construction and deconstruction of connections is to implicate numerous entities between which these connections are made and therefore speak of heterogeneity.
Open Subjectivities.
Unmaking The Human Body/Subject.
Blurring the boundaries between interior and exterior.
Translucent assemblages are all that are left from the transparency/clarity of the morning that will soon dissipate.
Reliquaries of Light and Darkness.
Bodies, spatial and human in transitional movements.
The Sacred and The Medical Body.
The Hospital Room.
The Killing of a Sacred Deer.
Cronos.
Clay/Working/Learning/Making.
Working in Clay and Fire /Mapping Resistance and Viability.
City of Orion, ceramic objects in the landscape.
Raveningham Sculpture Trail. 2024
Ceramic works investigating the relationship of water to the human body and the architectural body of interior spaces.
Water at The Hungate, Norwich. 2023
Exhibitions with Anglian Potters.
Ferini Gallery, Lowestoft. 5
Undercroft, Norwich. 4
All Saints, Cambridge. 2
2019-2024.
Revisited Contemporary Ceramics
Things of Beauty Growing.
The Fitzwilliam Museum. 2018
Anglian Potters. 2018
Teaching Sessions, throwing/handbuilding.
Brockwood Park School. 2012-2015
Speculative Clay Workshop/Walking in the Landscape.
Teaching Academy, Brockwood Park School. 2011
Raku Firings.
St Ninian's Cave.
Scotland. 2013
Bodyscapes, raw clay installations.
Chapel Arts Studios, Andover. 2010
The Yard, Winchester. 2009
Contemporary Craft Ceramics. 2004-2006
Life Drawing/Sculpture, figurative/abstractions in clay. 1996-2002
Dexterity Crafts.
Potter throwing domestic pottery.
Walton on the Hill. 1985
Ceramics, architecturally influenced vessels in slab and thrown processes.
Epsom College of Art and Design. 1981-1984
Industrial Pottery experience.
Grayshott Pottery. 1979-1981
Studio Pottery experience.
The Hop Kiln Pottery. 1978
A Level Ceramics.
Farnham Sixth Form. 1976-1978
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