Sunday, 6 April 2025

Scaffolds/Tentative Architectures : Drawing Architectural Surrounds

Outpost 291024

Space And Subjectivity.

Collage with glass and documentation from Francesca Woodman.

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







Making/Building made indeterminate through a retention/questioning of a framework and the insertion of an event that introduces a slippage/deviation of that of a framed outcome.

Bernard Tschumi. (equation as a provisional framework)























Tentative/Processual Architectures. 

Arakawa and Gins.

Lucy Orta.


Shortcomings of Phenomenological Thought.


One places oneself at the centre, designates oneself, measures oneself and uses oneself as a measure. One is in short a 'subject' and space is a projection of oneself or its counterpart, that it is defined therefore not in its own right, but in relation to the subject. Space, my space is not the context of which I constitute the 'textuality' instead it is first of all my body and then it is my body's counterpart or other, its mirror-image or shadow. It is the shifting intersection between that which touches, penetrates, threatens or benefits my body on the one hand and all other bodies on the other. This maintains the boundaries between body and space, subject and object.

Henri Lefebvre.


Phenomenology always stops at boundaries, at the boundary of the body, which is precisely where abject(ion) continues beyond. It is because phenomenology concerns the lived body rather than bodies in a plural and more general sense that it is a discussion of wholes rather than transitions and exchanges unable to accommodate volatile processes.



Inhabitations : Cultures Of Melting Snow.

The In-Between.


There is no room for the in-between, no way to describe exchanges between entities and the effect of those exchanges. All is static and no cannot as Francois Jullien wrote of Plato, think of the snow in the process of melting. One can only think of either snow or water, but never the process of change.




Abject(ion) Architectures of Process, with brings to the fore interrelated areas of Relational Architecture and Emergent Phenomena.








Architecture in Abjective(Abject (ion) States of Subjectivity.

Frameworks/Scaffolding.

Affective Matter/Mattering.



Kovar turns to Abjection a concept developed by Julia Kristeva, abjection-abject(ion) is both process and product, and can hold a discussion of the transgression of borders. It concerns anything that crosses the symbolic, anything that is expelled literally or figuratively, and that is necessary to keep at bay in order for subjectivity to prevail, issuing from abject(ion) is therefore a threat to our subjectivity, a threat to the boundary between Subject-Object/Body-Space.



Expanding on the processual and material nature of abject(ion), such an undertaking begins with Event and is rounded off with discussions of Affect and Matter.

Zuzana Kovar.



A Disclaimer.


Following Deleuze this book is interested in what 'Abject(ion)' does, rather than what it is.


Drawing (at times) on aspects of the same theory, Kristeva is interested in the disruption of psychological boundaries and Deleuze who deals with both psychological and physical boundaries. Through Deleuze we are able to engage with abject(ion) more holistically.


This book is not concerned with making 'abject' architecture, that is making buildings with abject matter. But is rather concerned with developing ways of thinking about bodies, spaces, and the relations within and between these through the lens of abject(ion).


Architecture in abject(ion) promotes an interest revealed by a sensibility that favours theory and textual practice over images and objects, and goes towards explaining why illustrations of examples referred to throughtout are withheld.


Project 3.1

Body aject(ion) space: A collection of contracts.


The Contracts is the collective name given to a series of projects that explore the notion of abject(ion) as event. Critically, The Contracts are not only explorations (as accommodated by Tschumi), bur also spatial events (as accommodated by Deleuze), and hence the architecture that is defined by the interplay of these events. Given the centrality to this book of the simultaneous abject(ion) of human bodies and spatial bodies, and the indiscernibility in which this results, The  Contracts have come to span a period of three years, hence establishing themselves as the most developed body of work included here.


Architecture in Abjection.

Bodies-Spaces-and Their Relations.

Zuzana Kovar.























A Species of Spaces.


Reclaimations, between a desk and a skip.

Russell Coates.


Archive Mappings/Concerns : Lines/Linkages/Nodes/Points/Intersections.



Architectural Constructs/Events into Material/Making.


Abject (ion) : Affective Resonances/Matter : Clay+Ceramic.

Vessels/Voids/Making from folded spaces.


The simple issues of attending to the material.


Re-Casting Matter, not 'materials'.

Becoming mindful of 'materials' and their 'hylomorphic tendencies'.


Clay retains transitions and exchanges, collects up discrete entities/symbols/inscriptions, places them into volatile spaces/processes of change .



Questioning Subjectivity : Fluidity of matter/material out of place.


The Cinema of Catherine Breillat.


The Process of Abject(ion).

In critical theory, abjection is the state of being cast off and separated from norms and rules, especially on the scale of society and morality. The term has been explored in post-structuralism as that which inherently disturbs conventional identity and cultural concepts. Julia Kristeva explored an influential and formative overview of the concept in her 1980 work Powers of Horror: An Essay on Abjection, where she describes subjective horror (abjection) as the feeling when an individual experiences or is confronted by the sheer experience of what Kristeva calls one's typically repressed "corporeal reality", or an intrusion of the Real in the Symbolic Order.


The process of a body excreting from within itself. A transition between inside and outside, a disruption of physical and psychological boundaries of the still prevalent understanding of body as subject and space as object.


A moment of indiscernibility, the result of which is the product of repulsion, the abject and where body, space and abject become an ambiguity, ranging in intensity from subtle gestures to confronting actions immersed in the viscosity of our leaky bodies.

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Saturday, 5 April 2025

Between Science and Poetry/Bachelard.

 

Between the abstract and the figural.

Cyanotype Process/Drawing Boundaries/Bodyscapes.

https://visualartpractices.wordpress.com/

https://russellmoreton.tumblr.com/




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Objects and Traces/Map Reading : Visual Archaeology/Anthropology in Social Space

The map fosters interpretation and exploration

Inseparable Attendant : Place and Process

Assemblage and blueprint : Site drawing/Leper Graves

Drawing figure/ground, documentation of work in progress.

Life "drawing" trace on paper with water and field chalk. Work submitted to Interfaith Group Show at the Link Gallery, Winchester 2010.

"This particular event invokes for me the notion of simple material relations and collaborative gestures that underpin human agency. Art space/practice can promote these working intimations."       Artist's Statement (archive)  07.12.2009.

Anthropological Landscape : Morn Hill, Winchester

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















180621

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Tuesday, 1 April 2025

Objectional Spaces : Spatial Scaffoldings/Notes On Architecture

Strange Messengers.

Notes On Architecture.


Bodies In Space.

Sensations In Space and Time.

The Experience/entanglement of phenomena and idea.

Gildengate Documents/Collage/Pottery Works Farnham.
















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Saturday, 29 March 2025

CLAY/Propositions/Correspondences : Letting the material speak for itself/Technicity/Generative AI.

Claywork/Correspondences : Situated interactions between bodies and habitats.





"Claywork/Correspondences" explores how clay, as a material, and the resulting artforms, can reveal situated interactions between bodies and habitats, emphasizing the material and relational aspects of human-environment connections. 

Here's a deeper dive into the concept:

Clay as a Material of Connection:

Clay, being a natural material found in the earth, becomes a tangible link between humans and their environment. The act of working with clay, from gathering the raw material to shaping and firing it, involves a direct engagement with the earth and its processes. 

Correspondences and Situated Interactions:

The term "correspondences" suggests a relationship or connection between different things, in this case, the human body and the habitat. By examining claywork, we can understand how humans interact with their environment, how their bodies are shaped by their surroundings, and how these interactions are reflected in the art they create. 

Examples in Art and Culture:

Ceramics and Pottery: The creation of pottery and other ceramic objects demonstrates a deep connection to the earth and its resources. The process of shaping and firing clay involves a careful manipulation of the material, reflecting a knowledge of its properties and behavior. 

Figurines and Sculptures: Clay figurines and sculptures can offer insights into the beliefs, practices, and social structures of past cultures. The forms and materials used in these objects can reveal how people perceived themselves and their relationship with the natural world. 

Glazing and Decoration: The application of glazes and decorations on clay objects can further enhance the connection between the material and the artist's vision. Glazes, with their diverse colors and textures, can transform the raw material into a vibrant and expressive medium. 

Beyond the Object:

The study of claywork can extend beyond the object itself to encompass the broader context of human-environment interactions. By analyzing the materials, techniques, and cultural meanings associated with clay, we can gain a deeper understanding of how humans have shaped and been shaped by their environments. 

Mind and material engagement | Phenomenology and the Cognitive ...

1 Dec 2018 — The preferred analytical convention is to break the line's cognitive life into pieces: first by separating ourselves fro...


Springer

Clays and the Origin of Life: The Experiments - PMC

In our view, the most promising theory to explain the origin of life is centered around the interaction of active sites on clay mi...

PubMed Central

Cherokee Unaker, British Ceramics, and Productions of Whiteness ...

But there is a key difference: in contrast to the map, Indigenous human life on land is omitted. However, three small figures can ...


British Art Studies

Generative AI is experimental.



Clay/Fire/Space-Situatedness.

The Becoming of Continuity/Relations.

In/Out of Material, Tony Cragg.

An Exploratory Ceramic Based Inquiry.

The Ways/Movements of Practice.

Ceramics In The Environment.








Clay, is always a working idea, a matter/material process between things, a form of thinking in process.

The Durational Time of Play/A Lure For Feeling.


You don't need a choreographer to dance, what you need is a choreographic proposition. Propositions are ontogenetic, they emerge as the germ of the occasion and persist on the nexus of experience to take hold once more through new occasions of experience. For Manning what else is an associated milieu but a cornfield for crafting of the as yet unthought, where the microperceptual meet to create new movements in the making.

William Forsythe, Erin Manning, Always More Than One, Individuation's Dance. 2013.










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


Crucible Bowls. 2020.

Slab Facades. 2021.

Rutile/Yellow Ochre/Red Iron Oxide/White Raku Slip/Transparent Raw Glaze.


The Moon Tower, Nina Hole. 2000.

The Watchdog, Michel Kuipers. 1990.


Intertwinining Thinking and Making.

Painting in Form of a Bowl.

Quietus, Cinerary Jars.

The Vessel/The Human Body.

Volumes/Voids


Clare Twomey.

Tony Cragg.

Eduardo Chillida.

Paul Soldner.

Julian Stair.

Bryan Newman.

Gordon Baldwin.

Hans Coper.

Lygia Clark.

Richard Hirsch.

Edmund de Waal.

Juhani Pallasmaa.

Steven Holl.



Ceramic vessels and surfaces  for a reflective solitude, an architecture of light,silence and innerness.

Spaces between Objects/Things/Making, Giorgio Morandi.



The House is all about the poetry of shelter and siege from the elements and cosmos.

Gaston Bachelard.


Volume And Space.


Alberto Giacometti's sculpture, 'Man Pointing,' is an important statement in Western art for many reasons, not the least of which is what it says about volume and space. The elongated and spindly form gestures vaguely in the vastness of the space surrounding it. The gesture seems more about the space opened up by it and around it than it does about the physical. There is power in space more palpable than substance. This also is the conceptual heart of the Japanese garden.

Scott Meyer.


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


With Fire.

Richard Hirsch.

A Life Between Chance And Design.

Scott Meyer.


The Psychoanalysis Of Fire.

Gaston Bachelard.


Gaston Bachelard was intrigued by the process of imagination, the way in which the pensive mind brings to any given reality a multiple perspective. About many substances such as earth, air, water, and fire, he contended, we harbour subconscious convictions which modern science may disprove in fact but cannot seem to eradicate from artistic reverie.

Northrop Frye. 1964.





Against Hylomorphism.

Gilbert Simondon. 1964-89-2005.


Individuation, the generation of things, should be understood as a process of ontogenesis in which form is ever emergent, rather than given in advance.


The Clay can take to the mould and mould the clay.

Simondon, took the essence of matter or the material to lie in form-taking-activity.

Brian Massumi. 2009.


Concepts rendered into material relations.

Making new aesthetic utilities, materialities for thinking about the world.


Making is central to our legacy as a society, materially, economically, ecologically and socially.

A modern version of hylomorphism is enacted by a culture that furnishes the forms and nature the material. In the superimposition of one upon the other, human beings create the material culture with which, to an ever increasing extent, they surround themselves.

Tim Ingold. 


Urban Spaces, palimpsest, impressions, traces, ecologies, redundancies.


Frames, Handles and Landscapes.

Georg Simmel and the Aesthetic Ecology of Things. 2016

Eduardo de la Fuente.


The tool/the thinking hand, has grown to be a part of the hand, using a tool is both a practical and aesthetic action involving the artful manipulation of material by hand.

Juhani Pallasmaa.


Affordances of Things.


Affordances provide strong clues to the operation of things. A psychology of causality is at work as we use everyday things.

Donald Norman. 2002.


Ecological Approaches to Aesthetics.

Aesthetic Patterning/Matters in Everyday Life.


Organism-Person-Environment

Ecological, interested in the organism-environment relationship.


An aesthetic ecology, each thing is a mere transitional point for continuously flowing energies and materials, comprehensible only from what has preceded it, significant only as an element of the entire natural process.

Theory/Culture/Society, Simmel 1994.



Matter and materials are lively and require attention. 

Materials continue to thwart us in unpredictable ways.

Jane Bennett.


Aleatory, by chance, lots of the 'acts' of nonhuman agents are aleatory exactly because they are not directed by any intension.


In And Out Of Material. 2007.

Tony Cragg.


All our senses scan the space in front of us; the future, in both a literal and metaphorical sense, lies before us.

Tony Cragg, 1998.


Cutting Things Up.

Material In Space.

Scale.

Impulses through Drawing.

Working Things.


A diffractive methodology is a knowledge making process, understood by the physical phenomenon of an energy or force as it flows across an obstacle. Diffraction is the process of ongoing differences, and ass such it can be used as a tool for analysis, as it attunes us to the differences generated by our knowledge.

Karen Barad.


Areas Of Presentation and Participation.

Historic and Social Sites, Art Venues and Exhibitions.

Making Theoretical Objects, Installations and Interventions.


Generation/Generative/Material.

I think mass and energy need to be generated, any effective change has to be generated. It's to do with a positive directed  initiative to change things.


“Generative” for me, in terms of my work, is the fact that within my own work, within any given period the work generates itself and there is a self-generating characteristic. The work I'm making today is only possible because of the previous work of three or four months ago and that was only possible because of the work of nine or twelve months ago.


Even if it's not a linear thing, things are generating. There is a sort of self-propagating, self-generative energy that is inherent in the material, I think. And even in the  term “generative”, from “genus”, is the idea of making a family group of things, whether making an associative group of things or creating a population, a species of things which “relativise” generation.

Tony Cragg.


The material is just part of the vocabulary of meaning.

Cragg wanted  to give the materials 'more meaning, mythology and poetry' He used the skills available to him at the EKWC residency to create ambiguities and tensions, to suggest past and present, to complicate rather than to describe.

European Ceramic Work Centre, Netherlands. 1990, 1992.


With the return of Cragg to studio based work in the early 1990s, when he was experimenting with clay; ideas around humanness, archaeology, and ritual were being explored within different areas of the fine arts. In addition, studio ceramics were frequently using the vessel as an initiating point to develop new forms and sculptural ideas.


Laibe, with its rich possibilities of interpretation that incorporates the past in the present and the universal aspects of human survival within the ceramic vessel form, lies at the heart of these complex and overlapping areas of practice.

Imogen Racz. 2009.  



The Ceramics Reader. 2017.

Andrew Livingstone.

Kevin Petrie.


Ceramics : Materiality and Metaphor.


Why are Ceramics Important?

The Existential Base, Philip Rawson.

Containers of Life: Pottery and Social Relations, Silvia Forni.


Ceramics and Metaphor.

Analogy and Metaphor in Ceramic Art, Philip Rawson.

Sculptural Vessels, Tony Cragg's  Laibe and the Metaphors of Clay, Imogen Racz.


Ceramics in Contexts.

Historical Precedents.

Studio Ceramics.

Sculptural Ceramics.

Ceramics and Installation.

Theoretical Perspectives.


Conceptual and Post Studio Practice.

Contemporary Clay, Clare Twomey. 

Extending Vocabularies: Distorting the Ceramic Familiar

Clay and the Performative 'Other', Andrew Livingstone.


Gender, Sexuality and Ceramics.

Identity and Ceramics.

Image.

Figuration and the Body.

Ceramics in Education.

Ceramics, Industry and New Technologies.


Museum, Site and Display.

Re-defining Ceramics through Exhibitionary Practice (1970-2009), Laura Breen.


Ceramic Houses and Earth Architecture.

How to build your own.

Beginning.

Model Making.


We will begin practising by constructing a room and covering it with a simple dome or a vault.


Once a person has constructed a model, within hours, he or she is encouraged to learn and understand more. The knowledge thus gained will trigger quests in building with earth. It is possible to learn the basics of thousands of years of earth architecture within a day if it is taught in the simplest terms, and  if all our senses are involved in the learning process. 

Nader Khalili.


Re-imagining learning, workshop session, conducted and initiated a walk across a landscape with clay being actively manipulated by a number of participants as they engaged with the material, their bodies and the landscape.


Beach firing at St. Ninian's Scotland, experimental kiln and site built reduction pits excavated from the beach. Pots fired and reduced with found materials, then washed in the Irish Sea.


Hans Coper, essay on professional practice, including his architectural ceramics. 

Crafts Study Centre, Farnham.


Sectional Works.

Slab Constructions.

Plasterwork, Pressmoulding.


Working with materials/substances/drawing and traces of making.


Raku, engobes, slips, oxides, templates, spray diffuser, stencils, fabric inclusions, intermediaries, Indentations, found objects, ferric chloride,  

Reduction materials, woodland branches through shredder.

Clay body additives, molochites, mica, vermiculite. other material,


Clay Tools : Block Strips and Combs.


Sound Vessels.

Capacitors/Insulators.

Passive, encapsulated layers.

Architectural Slab Works.


Ceramic and gesso/whitewashed/waxed/painted/bound/surfaces and structures.


The Chapel Of St.Ignatius.

House, Black Swan Theory.

Steven Holl.


Nail Collector's House, New York.

White plaster walls, hickory floors, and cartridge brass siding nailed in pattern over a wood frame, create a tactile weathering for this structure, a poetic reinterpretation of the industrial history of the site and the pre-Civil War architecture of Essex.


The jewel-like Chapel of St. Ignatius contains the essence of Holl's vision, his interest in the phenomenology of space, his passionate investigations of form and material, and his use of reflected light and colour.


The angst of a concept before spatial definition, interior and exterior are simultaneously explored.


The largest 'tilt-up' slab weighs 80,000 pounds and is filled with reinforcing steel. Its greatest stress is during the lift.


Working from the specific towards the universal.

The Built and The Unbuilt.

A theory of architecture that is mutable and unpredictable.

The body as a theoretical object doing/architecture (architecting its situatedness, Oren Lieberman)


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Friday, 28 March 2025

Cyanotype Drawings : Landscapes/Maps and Performative Drawings

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

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





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

From Wikipedia, the free encyclopedia


The Cathedral : Place Studies

Pastoral Space: Material, Inquiry and Craft.#5

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency
 
"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.
 
Template and Form 2010.The Yard, Winchester.

Omslagsfoto : 

Landscapes from the Metropolis of Death. Otto Dov Kulka.

Mapping Relationships : Contexts and Locations #3
Collage and drawing with cyanotypes, photographs, negatives and painted surfaces.


Blueprint : Kengo Kuma, Sensing Spaces.

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

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


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

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
































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Wednesday, 26 March 2025

Ceramics and Architecture : Making Things, Perception/Thought/Action

 Outpost 100223












Architecting and its ecologies/matters of concern.


The body's participation in explorations, engagements and its care in attending to the values of immediacy, vulnerability, fragility, improvisation, performance, movement, multiplicity and becoming.


Apparatuses and their ecologies for learning.

The choreographic object/agent.

The role of the body is scored through a shifting agency and the power of techniques of things.


Theorial objects of things which do theory without us imposing it, on them.

Oren Lieberman. 2013.


The Production of The Unexpected.

The Joy of Speculative Play.


Perception/Thought/Action

A caring curiosity that wants to know and understand and explore relations.


Projective Speculations.

Ecologies/Locations.

Questioning/Research.


Processual learning occurs in movements, gestures, postures, expressions and exchanges with other bodies and things.


Landscapes Of Actions.

Modalities Of Intravention

Constitutive Qualities Of Dance.


Ephemerality

Corporeality

Precariousness

Scoring

Performativity



If we start by moving, by thinking through moving, and by living through moving. We'll arrive to that disturbing vision : that the predicament of dance is to be an art of erasure. Dance always vanishes in front of our eyes in order to create a new past. The dance exists ultimately as a mnemonic ghost of what had just lived there.

Lepecki. 1996.


Bodily interactions highlight the entanglement of material through a process/processual understanding and situated analysis.



The Archive.

Matters of Concern.

Terms of Engagement.

Interrogate with descriptors and new issues of practice.


Bringing Things to Life.

Starting conditions for responsible and curiosity driven engagements with the world.


Place-Refreshed.

New-Agencies


The Interconnectedness of Places.

For Ingold, congealed places become relationships/connections for lines of occupation.


Curriculum making/experience as the enactment of dwelling in places.

Landscape Constructions/Observatory/Garden.

Raveningham, drawing,mapping, landmarking paths, wayfinding, territories.



Ceramics and  Architecture

Marking The Line.

In response to Sir John Soane.

Joanna Bird. 2013



Arranging the physical space/circulation to receive forms/intraventions.


Christie Brown, her practice engages with mythology and narrative and the parellels between psychoanalysis and archaeology through figurative work, which references archaic collections and the significance of inanimate objects in human lives.


Carina Ciscato, relocated to London in 1999, where she worked in the studio of Julian Stair and Edmund de Waal. The move, the contrast in culture and in attitudes to ceramics, has seen her work grow in confidence and move in exciting new architectural directions.


Nicholas Rena, his art is concerned with reconciling the domestic and the sacred, through the medium of the vessel, a form that reveals in a single look an exterior, the figure- and an interior – the inner life. Rena's strong , expressionist forms make explicit this duality, this communion and tension between our inner and outer life. His intensity and feeling for interior space imbues his work with immense presence and stillness.


Clare Twomey is an advocate for craft as commensurable to the wider visual arts. Her practice can be understood as 'post studio ceramics' as her work engages with clay yet often at a critical distance. Twomey's work negotiates the realms of performance, serial production, and transience, and often involves site-specific installations. She is especially concerned with the affective relations that bind people with things, and how objects can enable a dialogue with a viewer.


Joanna Bird Pottery

Director of the Joanna Bird Foundation.

London.


Ceramic Forms and Paintings.

Materials/Substances on a drawn and constructed surface.

Drawings, wax and yellow ochre on layered canvas and paper.


Water : A Phenomenal Lens.

The transformative properties of the substance.


The 'void space' water gardens and the interior ceilings of the adjacent apartments are connected by reflected light from the ponds. These 'void spaces', three inches of water over black smooth stones from Ise, are analogous to a sacred space within the every day world of domestic urban life.


An attention to phenomenal properties of the transformation of light through material can present poetic tools for making spaces of exhilarating perceptions.


Imaginative metaphysics shows that man becomes all things by not understanding them- for when he does not understand he- becomes them by transformation himself into/with them.

 

Refraction/Reflection/Spatial Reversal Phenomena.


Time : Duration and Perception.


Duration as a multiplicity of secession, fusion, and organisation.

Henri Bergson.


One's perception modifies consciousness, attention is broadened, time is distended, just as in the density of language.


Thus when I measure time, I measure impressions, modifications of consciousness.

Saint Augustin.


Time conceived as the analog between architecture and cinema, passing time was measured and observed in a precise strip of sunlight which slowly formed different reflections as it passed across the glossy lack floor.


The physical and perceptual experience of architecture is not a scattering or dispersion, but a concentration of energy. This physically experienced 'lived time' is measured in the memory and the soul in contrast to the dismemberment of fragmented messages of media..

Steven Holl.





Hungate, Norwich. 



Anglian Potters

Undercroft, Norwich. 2023


Helgate Proposal

Exploratory Ceramic Practice.



Clay Making. 

Plaster Work.

Commissioning of Gas Kiln for large scale works.

Glass Tech Kiln.


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