Drawing is a philosophical trigger/Roni Horn : Creating modalities with their own experiential qualities

Brian Massumi refers to all arts as 'occurrent' because any and every perception, artefactual or natural is just an experiential event.

It is an event both in the sense that it is happening, and in the sense that when it happens something new transpires

Semblance and Event, Activist Philosophy and the Occurrent Arts.

Brian Massumi 2011.

Drawing is a philosophical trigger.

Roni Horn.

Creating modalities with their own experiential qualities.

Outpost Studio 14/03/2022

Occurrent Assemblages : Knowledge Objects

Choreographing

Events and Demolition

Trace and Encounter

Data Captured/Visualizations

Studio Workings : Outpost/Drawing/Architectural Body~Bioscleave

Outpost 041024

Sensing Peripheries/Gestures and Acts. 

Trace Drawing

Body Outline/Material Flows.

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

A sudden quantum like jump between a thing and its parts, between its different scales, its ontological gap. In a way a whole is really another specific, not a generalization about a specific thing, this means that there is a 'weird gap' between the whole and the parts, an ontological gap.

Timothy Morton.

Architecture in the Space of Flows, 2012.

Andrew Ballantyne, Chris Smith explain that everything can be understood as functioning in terms of flows – flow of various kinds and scales make up architecture and connect it with the world. Here, a volatile mode of thought begins to proliferate architecture as a whole, rather than developing the thought in relation to the body or space in isolation.

The Extracorporeal Space.

Architecture in Abjection.

A visceral assault, an affect that passes through the subject. 

An architecture that gets distilled down to experience and the chemical exchanges between body and space that begins to function within a similar realm to abject(ion).

The basic unit of study is body coupled with architectural surround. 

Arakawa and Gins.

You shouldn't force the memories. Just try to untangle them slowly.

I would suddenly have the feeling that a story was coming back to me and I would reach out instinctively to seize it. But there was nothing for me to hold. When I could no longer stand to stare at the blank page, I would type a, i, u, e, o, and then, imagining that I would now be able to write something, I would erase them again. But of course nothing came to me, and I would return to a, i, u, e, o. And the process would repeat itself. In the end, all that was left was a torn page, from the many times I'd erased what I'd written.

The Burning Library.

It may take a long time for every word to disappear, we held our breath as though fearful of disturbing this beautiful scene. 

The Memory Police.

Yoko Ogawa.

Ceramic Objects/Monumental vessels that explore contemporary society's relationship to death and ritual.

Abstractive figurative forms invite the viewer to meditate on the intimate relationship between the clay vessel and the human body.

Stair's exhibition explores humanity's reliance on art as a means to transcend the unknown.

Themes of Containment/Embodiment.

Julian Stair : Art, Death and the Afterlife.

Sainsbury Centre, 2023.

Developing explorations in which material culture and artistic practice can engender 'a new , expressive language to both mediate loss and celebrate life, Julian Stair'.

Francesca Woodman.

Gagosian, 2024.

Putri Tan: In those pictures the objects bisect the space and also consume it. Counter to that , as you said, is the body. I'm never wholly convinced of the idea that she is part of the architecture when she's holding on to a column or contorting her body to fit into the environment or to disappear into it.

Corey Keller: There's both a brutality and a monumentality about the bodies she depicts, you don't quite know whether they're trapped or liberated. I think what's interesting about the work is it's never quiet only about the space and it's never quite only about the body, but it's about the psychological spark (tension) that ignites when those things intersect.

Architectural Body

Arakawa and Gins.

The architectural body is a body that can and cannot be found. Boundaries for an architectural body can only be suggested, never determined.

A bioscleave is an event-fabric within which all exists only tentatively, within which all is perpetually shifting, and within which architectural bodies form and collapse, here distinctions between body and space, subject and object are diluted. This results in a certain indeterminacy of boundaries, as body and surround are collapsed into one, and as they are constantly shifting in relation to one another.

I found it terribly difficult to come to terms with the old man's death. I had lost many people who were important to me in the past, but somehow my parting with them had been different from what I experienced now.

But the laws of the island are not softened by death. Memories do not change the law. No matter how precious the person I may be losing, the disappearances that surround me will remain unchanged.. But this time I had the impression that something was different. In addition to the sadness, I was overcome by a mysterious and menacing anxiety, as though the old man's death had suddenly transformed the very ground under my feet into a soft, unreliable mass.

The materials of the world that surrounded R and me were simply too different-as though I were trying to glue a pebble I'd found in the garden to an origami figure. And the old man, who always reassured me at such moments, who promised we could find a different type of glue, was no longer here.

The Memory Police.

Yoko Ogawa.

Outpost Studio~Theoretical Spaces : Undone Gatherings of Experience.

Lost Inquiry : Dispersed Spaces~Relations of Space, Time, and Social Bodies.

Outpost 200125

Expanding The Files.

Undone

A theorist is one who has been undone by theory.

Rather than the accumulation of theoretical tools and materials, models of analysis, perspectives and positions, the work of theory is to unravel the very ground on which it stands. To introduce questions and uncertainties in those places where formerly there was some seeming consensus about what one did and how one went about it.

Irit Rogoff : What is a Theorist? 2006

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Clay+Ceramics : Correspondences and soundings on deep surfaces.

Nomadic Structures~Compositions : 

Drawing Resonances~Surfaced Sounds

Works in action that are paused at specific sites of speculation.

Wayfaring~Making : Bodies Of Experience through Spatiality, Temporality, and Subjectivity.

https://axisweb.org/artist/russellmoreton

Art works in gathering and playing a 'series of exchanges or choreographed economies composed of actions, things, people, events and places' with critical spatial practices.

Jane Rendell.

Tim Ingold.

Ceramic Shelters : Transitional Zones between Thinking and Making.

Russell Moreton : A visual fine artist working with clay is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is Interested in developing speculative making spaces where craft, theory, art and architecture can come together.

Moreton's site-based practices using clay as his principle material  further develops his  inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased. 

His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.

Assemble forms are then divided into several spatial interiors, in which the use of piercings are used  through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.

For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His  finished fired constructions could  become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s). 

Processual Makings of The Everyday : Between Silences on The Sympathy Of Things

Clay~Ceramic~Theoretical~Things~Ties

Archaeologies of making material sensitive.

A processual object that both poses an agencement~question and carries its gathering.

Sociological Bindings~Matter(s) of Concern

Felt Abstractions~Inspirational Radicalism.

Urban Gothic : An Excess Of Changefulness.

Of the creation of concepts, explored through the plane of immanence in which it can be born and the 'conceptual personae' which can activate it.

On Other Forms Of Thought.

What Is Philosophy?

Deleuze and Guattari.

Can perhaps only be posed late in life with the arrival of old age and the time for speaking concretely.

It is a question posed in a moment of quiet restlessness at midnight when there is no longer anything to ask.

Their book is a profound and careful interrogation of what it might mean to be a 'friend of wisdom'. But it is also a devastating attack on the sterility of what has become. When the only events are exhibitions and the only concepts are products which can be sold.

Philosophy they insist is not contemplation, reflection or communication, but the creation of concepts.

Essays : Critical and Clinical.

Deleuze is concerned with the delirium, the process of life that lies behind this invention as well as the loss that occurs. The silence that follows when this delirium becomes a clinical state. 

Material~Felt Abstractions : Delirium and Dissolution.

Spatial Bodies : Between Silences on The Sympathy Of Things.

A Growing Thicket of Thing~Ties

White Odyssey~Archaeologies of making material sensitive.

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

Material/Semiotic Flows/Subjectivity : 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

And : Phenomenology of the End

Signs and Machines : Capitalism and The Production Of Subjectivity
Maurizio Lazzarato

Sketching out an aesthetic genealogy of capitalist globalization. Berardi shows how we have arrived at a point of such complexity in the semiotic flows of capital that we can no longer process its excessive currents of information.

Makings~Silent transformations~translations from the continuous weather-world.

Translations~Places of Inquiry.

Interactions and correspondences wayfaring through the weather-world of clay and texts.

Continuous Readings~Translations : Weathering and the Passage of Air.

14 Weather-world.

'Can man live elsewhere than in air?' ask the philosopher Luce Irigaray.

The Life of Lines

The Life Of Lines.

Tim Ingold.

Russell Moreton : A visual fine artist is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is interested in developing collaborative and speculative making spaces where craft, theory, art and architecture can come together.

A site-based practice that further develops into speculative learning, creative propositions for knowledge production through Spatial Practices.

Moreton's site-based practices using clay as his principle material further develops his inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased.

His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.

Assemble forms are then divided into several spatial interiors, in which the use of piercings are used through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.

For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His finished fired constructions could become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s).

Interior Design MA, UCA Farnham. Spatial Practices MA, Canterbury School of Architecture. Visual Art BA Hons, Winchester School of Art. Ceramics HSND, Epsom School of Art and Design.

https://www.curatorspace.com/artists/russellmoreton

Affective Aesthetics~Vibrant Matter~Politics of Difference.

Foraging~Making : The Continuous Weather World.

Phronesis : Concerning entanglements of matter(s) of being, knowing and doing.

Making : Anthropology~Archaeology~Art~Architecture. Tim Ingold.

Industrial ceramics, kiln components and structural interiorities.

https://www.curatorspace.com/artists/russellmoreton

Tim Ingold.

https://www.taylorfrancis.com/books/mono/10.4324/9780203559055/making-tim-ingold

Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making, and all are dedicated to exploring the conditions and potentials of human life. In this exciting book, Tim Ingold ties the four disciplines together in a way that has never been attempted before. In a radical departure from conventional studies that treat art and architecture as compendia of objects for analysis, Ingold proposes an anthropology and archaeology not of but with art and architecture. He advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or ‘correspond’, with one another in the generation of form.

Making offers a series of profound reflections on what it means to create things, on materials and form, the meaning of design, landscape perception, animate life, personal knowledge and the work of the hand. It draws on examples and experiments ranging from prehistoric stone tool-making to the building of medieval cathedrals, from round mounds to monuments, from flying kites to winding string, from drawing to writing. The book will appeal to students and practitioners alike, with interests in social and cultural anthropology, archaeology, architecture, art and design, visual studies and material culture.

Wayfaring Places : Studio Compositions~Immersive Cells of Inquiry.

Undisciplined small spaces, places of refuge and solitude. A physical space, where an atmosphere quietly echoes spatial metaphors of enclosure, interiority and the sited and situated condition of making.

Studio Environments : Reconstructions and Fictions. Studio spaces for speculative making.

Wayfaring Landscapes~Affective Aesthetics of Difference.

https://www.curatorspace.com/artists/russellmoreton