Spatial Matter(s) manifesting care with making.
Inhabitation : Ceramics work/relate by becoming readings of archaeological research.
Soul Cages/Architectural Bodies.
My art 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.
3 Compositional Forms.
270mmx230mmx70mm
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Outpost 111225
The Everyday.
ANTONIO He misses not much.
SEBASTIAN No, he doth but mistake the truth totally.
The Tempest.
The Transparency Of The Morning.
One never sees what is always seen.
The immediate, just like the simple, the natural and the ordinary, does not perceive itself.
Substances : Artworks, rituals of purity and impurity.
Demarcations/Systems/Fields of order and contravention.
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Knowing that this clarity which has sprung up will soon dissipate.
Morning coincides with the emergence, giving back a possibility of springing up, of rising before the day has started to spread out.
For Jullien, it is possible to gain access to it only as we gain access to the immediacy of the day from the night. A world in which living is not right away (in which respect metaphysics is correct) it is necessary to cause it to rise. But without again being concealed by whatever has been entrusted with revealing it.
Life, is devoted from the outset to what its 'end' might be (telos) in the full sense of the Greek word.
Telos, at once a conclusion, aim, perfection, abandoning all the preceding 'between of life' to indifference.
The Way- Without demarcation, rather a way of viability by which the continuum of life is renewed.
The Philosophy of Living.
Francois Jullien.
Developing Open Subjectivities/BwO : Visual Art, Winchester. 2006.
https://www.flickr.com/photos/russellmoreton/
Bodies are conditioned by architectural surrounds.
Architectural Body.
Reversible Destiny.
Arakawa and Gins.
The transformative body, creates bodily interiors/relations that can open up to become productive alliances in which using spatial bodies, (other than the ideal types) they can be brought into new affiliations with systems outside of their boundaries.
Creating an affective intensity.
Human Bodies/Spatial Bodies.
Relationscapes/Bodies/Events.
Organism-Person-Environment
Event-Space-Movement, superimposed over one another creates disjunction(Tschumi) and assemblages (Deleuze).
Drawing/Beginning a dialogue with matter/material between human bodies and spatial bodies.
Simple articulations (frottage) with the immensity and immediacy of the everyday.
Abstracted-Diagrammatic-Inhabitations.
Paintings/Drawings/Sculptures/Instalations.
Francis Bacon.
The Logic of Sensation. 1981, 2003.
Deleuze.
Reliquaries/Enclosures of Spatial Silences and of Light/Air.
A type of labyrinth with a momentary impossibility of escape (soul cages) these are minoritarian architectures (Deleuze).
Real Spaces for Fictional Events.
A becoming architecture to provoke potentials to occur.
On the everyday, abjection of the human body.
The Clinic.
Bathrooms are spaces associated with the clean body and simultaneously with the dirty body. They are spaces that allow for hygienic evacuation of our excretions, they order our un-containment.
At the end of the day , the curtain is hung and there is a certain visceral repulsion to the damp curtain hanging in the window. To the drying of our bodily excretions and their gradual visual indiscernibility with the fabric. So no one knows what the fabric has absorbed.
All that remains is us, inhaling ourselves as air passes through the curtain and into our lungs. A re-absorption of our expulsions.
Zuzana Kovar.
The work of Deleuze and Guattari as a whole provides a way of approaching all bodies void of a dualistic framework. In particular for Kovar, Deleuze's work specifically touches on abject(ion) through his notion of an open and transformative or spasmodic body, which he discusses in the work of Francis Bacon.
Figure at a Washbasin. 1976
Francis Bacon.
Event-spaces in the paintings of Francis Bacon.
The Body-Figure/Figural-Event.
From the start, the figure has been a body and the body has a place within the enclosure of the painting from which the figure expels itself, gymnastically on the fields of colour. Is this the event of a body escaping itself into a figure, of the body in Deleuzean terms of trying to escape any notion of identity/form of repression?
For Bacon, the body-figure exerts an intense motionless effort upon itself in order to escape down the blackness of the drain. This plexus (the body as plexus) its effort or waiting for a spasm, becomes for Bacon a painterly approximation of horror or abjection.
Paintings that create spasms that re-order the human organism, in order to escape it, by growing bodily organs as prostheses, or by allowing the enclosure of painterly space and contour to become an apparatus, an extension of the body-figure-figuration.
The body waits to escape itself in a very precise manner, to escape itself via a spasm, the movement of the figure towards the material structure, towards the field of colour.
For Deleuze, the body repeatedly attempts to escape the organism, the particular organisation of organs that may be understood as constituting the subject the 'I', for Deleuze the body attempts to escape the 'I'. It is not 'I' who attempt to escape from my body, it is the body that attempts to escape from itself by means of, a spasm. But the body is not simply waiting for something from the structure (its place is an enclosure), it is waiting for something inside itself. It exerts an effort upon itself in order to become a figure now it is inside the body that something is happening, the body is the source of movement.
Athleticism, The Logic of Sensation. Deleuze.
Elliptical Circulations
Studio Wall Spaces/Artist's Books.
Between 'Devices'
Documentation/Research/Reading/Places/Images
Interpolation/Interpolation/Interstitial.
Sculpting In Time.
Tarkovsky.
The Poetics of Space.
Gaston Bachelard.
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Drawing, depicting something found through the process of making visible.
The Luminescence Of Space.
An Archaeological Inquiry Into Drawing.
Correspondences/Reclaiming the drawings.
The Affect and Memory of Drawing.
To interrogate ways of seeing/looking, John Berger.
The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all 'present' at the inception of the work.
Colin Renfrew.
The Myth of Butades.
Figure/Ground Relationships.
Theoretical Thought : Diagram and map.
Neo-Sumerian temple plan on clay tablet from c. 2100BC.
The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.
Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.
Drawing/Substance/Memory/Display.
The artist's creative act, is of a self amongst others.
Material/Thinking Matter.
Drawings mediated by the distance of memory.
Art Works, subtle embodiments, visual markers both spatial and sociological.
Life/Drawing/Figuring It Out.
The Luminescent Dematerialization Of The Subject.
Expressions Of Both Figuration And Abstraction.
Phenomenological approaches to Drawing/Looking/Others.
Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.
Walking/Movement is quiet literally what made us human.
The walk is a 'mark' laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.
Richard Long/Colin Renfrew.
Charles Mausson.
Walking Man, No. 3. 1990.
Oil, crayon, 203.0 x 137.0 cm.
Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.
Robert Combas. 1993.
The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet.
Sophie Dupont. 1995.
The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.
The legibility of the photographic image was denied by the process of blurring the image.
Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.
William Jeffett. 1995.
Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.
Figural Expressions.
Figural dissolution of a nude descending a staircase, Marcel Duchamp.
Stop-motion photography of the human body in motion, Etienne Marey.
Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.
Notations.
Contemporary Drawing as Idea and Process.
Fred Sandback.
The Drawing Room.
The Secret Theory of Drawing.
Jim Dine.
Figure Drawings, 1975-79.
The Drawings of Richard Diebenkorn.
John Eldenfield.
Manuel Neri.
Drawings/Relief Sculptures.
Naked To Nude.
Life Drawing in the Twentieth Century.
Georg Eisler.
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Studio Works/Architectural Surround.
Art practice explores relations between organism-person-environment.
Architecture In Abjection.
Bodies, Spaces and their Relations.
Zuzana Kovar. 2018
This book marks a turning point in architectural theory by using philosophy to examine the field anew. Breaking from the traditional dualism (space-body) within architecture – which presents the body as subject and space as object – it examines how such rigid boundaries can be softened. Zuzana Kovar thus engages with complementary and complex ideas from architecture, philosophy, feminist theory and other subjects, demonstrating how both bodies and bodily functions relate deeply to architecture.
Architecture: A dualistic paradigm.
On the breath of approaches to subjectivity.
Eisenman,Tschumi, Derrida.
Deconstructivism challenged the notion of wholes, order, rationality and stability of space/object. Hence it questioned much of modernism, which was seen as purist, and attempted to map out an in-between. In the late 1980s, Eisenman wrote that 'traditional oppositions between structure and decoration, abstraction and figuration, figure and ground, form and function could be dissolved.
Architecture could begin an exploration of the 'between' within these categories. Explorations of the in-between can be seen in play in Eisenman's Wexner Centre (1989) in Columbus, a building split in two by a 'scaffold structure', which is not temporary but permanent. As such, the centre apparently 'falls somewhere between process and product, past and present, shelter and non-shelter, structure and form, structure and ornament, building and non-building, exterior and interior. In an almost identical sense, Tschumi has written much the same in his Manhatten Transcripts (1994).
What emerged from Derrida and his deconstructive form of criticism was a particular way of thinking about and practising architecture beyond dualism. Yet, despite this apparent shift from a dualist mode of thought to one that engaged with the in-between, and despite the complexity and promise of thought revealed in the respective theories of Eisenman and Tschumi, if one interrogates the built works, what is revealed is that the subject remains very much intact, and so too does the dualism of subject-object.
Deconstructive architectural theory and its built works have been funnelled into a formalism, which is preoccupied with deconstructing platonic solids and the notion of the object/space as a whole and discrete entity.
For Kovar, what is necessary, is to reconfigure the dualism of subject-object/body-space, to deconstruct the hierarchy and distinction between the two and to map out an in-between between these, rather than within space itself. It is the distinction between body and space that forms the crux of dualistic thought within the architectural discipline, which unless probed, will allow this mode of thought to prevail.
Tschumi's theory of 'event' introduces a relational conception of the body within architectural discipline. In so doing he mobilises the subject and further shifts the focus from a body to the movements of that body. For Kovar, this setting of the body in motion (although again we are dealing with just one side of the equation) is a lot more productive in the context of questioning dualistic paradigms than formally deconstructing space. Thinking in terms of event allows for not only a volatile conception of the body, but a volatile conception of architecture, given that for Tschumi architecture is constituted by spaces and events.
Developing architectural thought beyond relations to a body or space in isolation.
Event/Assemblages/Bodies/Space-Flows.
Using the philosophy of Deleuze and Guattati and the notions of event, movements, defined in terms of vectors and field relations, time (or the idea that all things change) and scale (an awareness and importance of the similarities in relations across any number of scales)
Architectural Body.
Architectural Surround
Bioscleave.
Arakawa and Gins map out a relational understanding of bodies and spaces, and hence a relational understanding of architecture.
Thinkers, theories conducted in spaces inhabited through experimental projects that illuminate theory at its core.
Sanford Kwinter, Arakawa + Gins, Brian Massumi, Gilles Deleuze.
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Being Ecological.
Part of our growing ecological awareness is a feeling of disgust that we are literally covered in and penetrated by nonhuman beings, not just by accident but in an irreducible way. A way that is crucial to our very existence. Maybe this feeling of disgust will diminish if we become used to our immersion in the biosphere. Just like our neurotic feelings diminish as we become friendlier with our thoughts.
Timothy Morton.
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Studio representations from the Life Class, negotiations around the physical body through drawing.
The difficult question?
What is drawing?
What is the nature of the drawn line?
The first condition that precedes them all, the blankness of a surface, and the motions, now commencing of a point tracing, marking lines across its spaces into further spaces.
Of all the Arts, drawing has the potential to reduce to its smallest the smallest, the gap between meaning and non meaning, between repeatability and singularity.
What exactly is a mark, and how does it, might it distinguish itself from say a trace?
Drawing because of its status as becoming (blot becoming mark-mark becoming line-line becoming contour-contour becoming image-image becoming sign) the direction of this movement being always reversible, posits a continuum of sense, from one sense of 'sense' to the other, yet it seems impossible to observe, or to catch hold of.
The precise moment or experience of that 'flip-over' from pre-sign differentiated, but not yet diacritically caught in an opposition to signification, image, and meaning. It happens in a blink, when the eye is closed insofar as something is given to us that we cannot experience, it is something like death, or a trauma, or a transport from one place to another without our knowing how we got there.
What would be the distinctive mode or modes of the manifestation of drawing.
The problem is to 'slow' the consideration of the mark, so that it does not move too quickly towards line-contour-figure or image. To allow it to hesitate on the edge, to show what it hides.
The blind-spot marks that point in the field of vision that we cannot see. If to look at something means to impose a distance and to objectify it, the blind-spot would be the 'place' in the visible from which we cannot detach ourselves and which we cannot objectify, it marks our attachment or our adhesion to the world.
Drawing, shows what it hides.
Jackie Pigeaud argues that the sense and the practice of the contour is doubled.
The contour is the joining of the traits to make the line and the contour is doubled by being finished by a second contour that does away with the imperfections of the first. In this sense of the creative act, the artist shows what he hides and furthermore he hides the transitions and joints that make this showing possible, a collapse of the distinction between mark and line as they become contour, image, representations.
Michael Newman.
The Marks, Traces and Gestures of Drawing.
The Stage of Drawing, Gesture and Acts.
Thinking Through Drawing.
Lines of Enquiry. 2006
Drawing as thinking as opposed to drawing as aesthetics.
It is the seemingly paradoxical nature underlying all drawing, simultaneously a form of recording and invention, situated between unconstrained gestures and the reiteration of a point of view, perspective or analysis. Each drawing is first of all a 'working sketch', the individual work forms part of a much wider and longer project and is an instance within that exploration.
Drawing/Project.
Both words drawing and project are both spatially and temporally orientated, project implies a throwing forward, a casting into the future towards some yet to be realised destination, drawing variously as an extruding, a gathering and a pulling closer.
Drawing allows you to both evolve, describe, communicate all at the same time, it holds together many disparate factors, potentials, all of which may influence an outcome.
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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Spatial Practice/UCA Canterbury 2009/10
Researching Proactive Apparatuses : A laboratory for speculative social evolution.
SENSORIUM AND STILLNESS, MOVEMENT AND MIRROR
A MIRROR ON WHAT IT IS TO BE HUMAN
Spatial involvements as a surface of contingent enactments giving “us” a sense of our temporality, exactitude and anonymity that becomes “preserved” by Place/Studies (Rendell).
Drawing a relationality through others in site.
VISITORS : A film by Godfrey Reggio
We have art so that we may not perish by the truth. Friedrich Nietzsche
MEANING IN THE FORM OF THE FILM
THE RECIPROCAL GAZE :
The screen is gazing at us; we are framed by our own looking. A direct relationship (what the image tells me); a singularity held by the vivacity of the image, through the activity of perception and introspection.
THE SPECTATOR MAKES THE JOURNEY into the PREMORDIAL IMAGINATION OF THE CAMERA.
CONCRETE PHOTOGRAPHY, PHOTOGRAMS, IMPRESSIONS, TRACES
THE SENSATE AND THE CONCEPTUAL
PAINTING, Robert Mangold.
TRANSFORMATION AND PROPHECY
BEUYS-KLEIN-ROTHKO
ARCHITECTURAL LEXICON OF STRUCTURES AND SYMBOLS
GESALT,
GRISAILLE,
LEITMOTIF,
MATRIX,
FORMAL PATTERN,
SURFACE
John Wood, The Virtual Embodied, (London: Routledge, 1998)
The Virtual Embodied, “ explores the ideas of embodiment, knowledge and space to address fundamental questions about technology and human presence,” these parameters are being investigated and researched in my creative practice.
Embodied knowledge and virtual space.
Physical, Psychological and Virtual Realities, Max Velmans.
List of “typical beliefs about physical, psychological and virtual realities”. PHYSICAL REALITY
Extended in space-in the world
Exists independently of the observer
Has tangible properties, e.g. Mass and solidity
Descartes s proposed our classical view of the mind/body split into res extensa ( material that extends in space) and res cogitans (thinking material). We commonly associate the physical world as having both extension and location in space.
PSYCHOLOGICAL REALITY
Non-extended in space-in the mind
Existence depends on the observer
Is relatively intangible and insubstantial
Psychological realities do not have spatial dimensions, and their location is only metaphorically “ in the mind”. It is crucial to note that psychological realities are only real for a given observer. Velmans notes” these intuitions are confirmed by the fact that physical realities have tangible, substantial properties such as mass, solidity and weight. Whilst psychological properties are, by comparison, intangible and insubstantial”.
VIRTUAL REALITY
Appears to have extension in space, but has no actual extension Appears to be in the world, but is actually in the mind
Existence depends on the interaction of the observer with VR equipment
Can appear to have tangible properties ( with suitable equipment) but does not have such properties.
Virtual realities via appropriate headsets which give “feedback” from bodily movements and visual displays, conspire to give the appearance of a virtual world extended into our physical space, but they have no actual 3D physical extension. Interestingly such worlds are physical in the fact that they rely on the physical existence and placement of equipment, virtual realities seek to create apparent changes in “self location” which do not correspond with actual changes in location. New developments can now give a physical realm into the virtual by the use of body interfaces that can restrict the movement of the body to correspond to the visual perception of a virtual identity.
Fragment from material resonances project, spatial practice research, CSA.
THE ACTIVITY OF PERCEPTION
Perception is in the “condition” of an interruption.
Rehearsal is the creative part of any performance.
Humanities : Spatial Relations
Interested in the speculative nature of work-sites that contain a narrative intervention via a device that registers and records the documentary and its rehearsal.
Work as revealed into a final sequence of superimposures on a surface created from the collective transparency of the text.
Thresholds that reveal the interspace between the Human and its condition/environment.
Photographic surface of events, a visual entropy resolved as a history of consolidated exactitudes/enactments.
The photographic surface shows that which no longer exists, it concretizes contingences on offer into an image of irreversibility.
Double Occupancy , Dwelling with the critique and its realization of an uncovering event, criticism collides with and into the work. Deleuze, Baroque house (65).
Presenting both a virtual walk through “text” ,using the transparency of “text” both as a literal transparency and its phenomenal “physicality” as applied to surface and structures within the site. Using the body of the visitor to enable
enactments/sensitivities to be derived from the site encounter. Enactments triggered by the singularity of an individuals engagement with walking amongst the working site. The final experience/superimpose remains uniquely a product of the visitor. This site driven explorative experience undertaken by both a passitivity and a curiosity on the part of “the guest” creates a self /space/time/ place relation, a localised intimacy that promotes an encapsulated sense of enchantment/wisdom.
The entirety of the “text” is stored latent in the interlocutor as they investigate the physicality of material relationships and spatial significations. In this respect the interlocutor defines his/her “traits” through a recognition and curiosity with their own body as it weaves a narrative of navigation through the experience of “site”. This theorizing by the body of its encounters, material and spatial, alone or within the proximities of others interests me as a “trace” of the encountering space through the human agent. This working notion and its site begin to posit the idea of an
“interspace” between the human and its environment. This theoretical and abstracted site could be utilized to research interventions and their effects, to attempt to register the spatial relations/traits of contemporary society. How might this material and its spatial census (human/ site temporalities) be gathered, registered and finally presented.
10 days, Observational material from site, They sense this articulating moment, their consolation becomes recursively and inexplicably consolidated with others unfamiliar undistinguishable, they are rendered into the resultant homogeneity of a surface relation bonded by specifics of space and time.
10 Days, Observational/Reflection, Journal notes Their erasure by the transits of change and chance of others over-writing themselves to reveal the transparency of temporalities as registered by the photographic duration of capture.
What remains is an exactitude of “what occurred” in a form/manner unknowable to those present, by dwelling in this visual interface of the photographic surface, things become inexplicably and irreversibly compounded with a time stretched and stilled.
Photography has the unusual attributes to be able to act as a particle accelerator on the human subject, it can present material assessed from numerous durational encounters with time. It can render a seduction and conversely an invisibility.
Spatial Practice is in effect a laboratory (of the self and worlds) from which I define and register and relate material tested under those conditions. This makes me part of the process and part of the results, part also of the problem of the investigation.
Reflections on the use of “the Negative” expedient use of material creates this inherent property, interesting analogy with human process of vision, in as much as the after-image rendered by the eye is always in the negative. This final image of what was is in effect being erased by the negative/negated. The perspective of the negative reveals more informative relations about the spatial/displacement of the environment in which the “objectivity” is being both immersed and conversely displaced. Like the displacement of a solid form by a liquid of the same displacement, the negative reveals the object displacing/relating in spatial terms. The negative gives proof to our mutual dependency and our forgetting of air as both surface and support.
In Drawing and Mapping it is tensions between the negative and the positive objectivity of things that helps to define a limit, a definition of form that is both simultaneously relational and indexical. The “Trace” also maintains these properties but interestingly it contains a transparency, a dimensionality that makes it both reflective and confrontational, it remains registered to the present but unable to escape its signification of the past.
Public Intimacy, Architecture and the Visual Arts. Giuliana Bruno.
Series of "essays" on the relations between Architecture and The Arts. Bruno notes the critical role in which architecture constitutes and supports a "public intimacy" initiated through both historical references and Contemporary Art. This spatiality of a public constructed space that grants the reception of an intimacy is seen by Bruno as being a "new moving space- a screen of vital cultural memory". She proposes a view that Architecture is mobilized as a screen/vessel in which to define a frame of memory. Architecture in this sense becomes not just "a matter of space but an art of time." Interestingly it is in the work of Rebecca Horn that she notes the combination of both the scientific and the artistic. This combination has a resonance with the architectural model and intended purpose of the anatomical theatre. Rebecca Hom and a growing number of contemporary practitioners are actively engaged in creating "works" which use architectonics and situation to create personal and profound experiences, intimacies evolved from public spaces. This new conceptualization of "body space" and its relationship to the production of space is ultimately being absorbed back into Architectural practice, the work of Nigel Coates "Guide to Ecstacity" and Rem Koolhaas use of materials and interventions that challenge our sensory and cultural aesthetics about architecture illustrate issues around the spatialisation of the body and its intimate consumption in the public realm of the senses.
To Live is to pass from one space to another. Georges Perec.
Bruno Taut, The New Dwelling, Women as Creator, (Leipzig : Klinkhardt und Biermann, 1924).
Taut asserts that it is a woman's way of inhabiting space that creates and modifies architecture, see also Mark Wigley, White walls, Designer dresses: The fashioning of Modern Architecture. (Cambridge: MIT press , 1995)
I would say that my fiction is set in the visionary present. J G Ballard.
Underlining the Hostility of the external world, The Autopsy Room/Theatre.
Victims surrender all that is left of their unique identities, what is left after the basic components are separated, nothing much to claim not even a faint presence of existence. We feel pity and the oblivion patiently waiting for us. J G Ballard on CSI
Frozen frames of a perverse geometry, flickering into a narrative of their own volition. The work is accompanied by a critical voyeurism that has the ability to reveal a prognosis.
Ballard, Every paragraph of this "fiction is frightening obscure and an obtuse puzzle. Surreal geometries, with a pervasive atmosphere of doom and imminent cataclysm that "exposes" the sordidly within us all.
Ballard, Obsessions- Dystopias/Sexuality/Technology and their discontinuities' Ballard, Abstractions-Science/Psychiatry/Mathematics.
Questions the "concrete delinearations of morality, ethics and sanity".
Notion that Aesthetics/Landscapes can harbour relations, The Gaze, male/female.
THE RESEARCH POSTER, a document outlining a field of inquiry, placing ones pitch into the public domain.
Life is Data
Progress is Optional
Understanding is a product of good marketing.
Attempting to keep the moment from being realized. Robert Rauschenberg
On Photography, Rauschenberg.
My photography is supported by a personal conflict between curiosity and shyness. Rauschenberg uses his camera as a social shied, he has "a need to be where it will always never be the same again." He comments that "photography is the most direct communication in non-violent contacts". His concern is to move at a speed within which to act in the "archaeology" of what light or its darkness touches.
The object itself is dictating your possibilities.
Validity, cannot exist without standards. How long are standards fresh? Every minute everything is different everywhere. Where is the basis for criticism. Criticism collides into the work ,it attempts to arrest it, it deliberately attempts to affect a stop.
Oren Lieberman, The "Plastic Wallet thing/Spatial Practice interview Canterbury" They promote attention, They are seductive in their surface, they "house" temporalities into a permanent/recognisable system or archive. They are deterministic in the sense of belonging to an instantly recognisable protective and presentational system of storing information. The indexical "holes" themselves promote the notion of a terminology on the material within them, sort of ironic when they contain thoughts and issues about methodologies. Perhaps these useful wallets have just become another material victim of contemporary homogeneities. Corrupt their inherent homogeneity by removal or adaptation of their indexical register (the punched holes) thereby making them unique or of a non purpose, or for a purpose not yet disclosed/realised.
The marked agency and its absence of the artist leaves the site live and open. Oxford MOMA 2006 Jannis Kounallis left his coat hanging by a window adjacent and in the same room as his installation.
RUSSELL MORETON. MA SPATIAL PRACTICES.
Artist Statement used to accompany promotional powerpoint display at UCA Canterbury, 2009.
Spatial Practice provides an interesting set of methodologies in which to explore our own “relationality”1. This is particularly relevant in respect to my understanding and subsequent proposal for the role of the interlocutor within my work. Becoming increasingly interested in the concept of “ open text ”2 to explore the nature of space and its relational properties that create place, or rather a self placed. At present using Photography (large pinhole chambers) embedded in working environments to further explore properties of latency, transparency and the peripheral dwelling of spatial material.
The Practice.
Currently exploring the dynamics and dwellings of spatial relations. The use of a large oil drum as a “pin hole camera” creates a tool that records/witnesses a specific duration (dwelling) in place. This duration of approximately 45 minutes renders visual data that underpins our temporality as we constantly re-form spatial relations with each other and that of the architectural environment. The internal architectonics of the chamber gives a sense of both the proximity of peripheral space and the distance/dislocation of a filmic surface concretized by time. These imaged surfaces render a sense of place, an aura and a psychosis/pathology around images and their representation.
1 Robert Cooper, Peripheral Vision: Relationality ( London: Sage Publishing, 2005)
2 Jane Rendell, Art and Architecture: A Place Between ( London: I. B. Tauris, 2006)
METHODOLOGIES/PROJECT PROPOSAL
TIME
RELATIONALITY
CONTINGENT
SURFACE
CONSOLATIONS
The Trace becoming a material witness to an event/situation
Use of “information” gathered from site being re-invested with another sense of time and ambient light.
Transparent/Translucent materials “surfaced” by contemporary digital technologies, corporate media presentational light boxes, large format 24 square metres.
Use of “interventions” liquids between visual and haptic membranes, utilization of direct drawing within and amongst the “media technologies”.
Direct more of “working practice” into larger scale painting investigations with drawing and photography as inclusions. Suggest notion of temporary space situated in fine art.
Explore relationships of “objects” as the custodian of place. Analysis of the Reception and relations generated by this “first objectivity”.
Relation of “what was ”to what is left being a “spatial involvement” placed back into the continuum of ongoing spatial relations.
Spatial involvements as a surface of contingent enactments giving “us” a sense of our temporality, exactitude and anonymity that becomes “preserved” by Place/Studies (Rendell).
Drawing a relationality through others in site.
Drawn inscriptions that leave traces for others to respond
Documents of a theoretical investigation over the surface from both beneath (the place) and from above (the event).
A performative membrane/drawing/diagram/script that gains its authenticity/performativity from being there and allowing what might occur to be witnessed.
Drawing as a “open text” that allows a perspectival immersion/situatedness, because it is still active, un-resolved needing to be taken further under the authorship of viewer.
These fragments of precise interventions/enactments engender a dynamic of relational possibilities.
