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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Sunday, 9 February 2025
A Body Of Relations : Knowledge Production/Creative-Embodied-Practices
GILDENGATE HOUSE
*STUDIOS UPDATE*
Due to redevelopment of the area, OUTPOST Studios will be closing in February 2025. Founded in 2010, we are thankful for 15 years in this fantastic space! Home to 90+ artists at any one time, hundreds of artists have benefited from studio space over this timeframe.
OUTPOST STUDIO 181121
Organism-Person-Environment/Architectural Body, Arakawa and Gins.
Haptic slippages between subject and object, between what is alive and what is animate.
Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.
https://axisweb.org/artist/russellmoreton
https://www.anglianpotters.org.uk/members/russell-moreton/
Glass/Skin/Permeable/Translucent, Diaphanous and Wondrous.
The Sensation of Flesh/Skin, Surface and Subjectivity.
Material Thinking and the Agency of Matter.
Barbara Bolt. 2007.
Things and Bodies/Shifting Signs
The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.
Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.
Time is persistently liminal, a suspended, extended present.
Mattering/Mutability, Accident, Flux
Experience/Existence/Presence
Life Drawing/Staging Oneself/Others
Body in Space/Resilience, Endures
An ecological view of cognition, knowledge of the world comes from engagement with things.
Rather than studying the world as an object, we correspond with it in its own movement of growth or becoming. This correspondence sets up a relation with the world which opens up our perception to what is going on so that we can respond to it.
Tim Ingold. 2013.
Making as a process of thinking.
Making involves the socialised, skilled artist body labouring with materials, responding constantly to tactile, visual and emotional feedback from the emerging form.
I am exploring emergent objects as landscapes, inhabiting them and of making sense through them.
Barbara Bolt. 2007.
Creative 'practice' and the embodiment of the 'social'.
The Life Class/The Artist's Studio.
Knowledge is emergent as the artist engages with the environments and processes of practice.
Adopting a conception of cognition as ecological assumes thinking and perceiving occur as an organism moves through its environment.
The artwork and the work of art produce a knowledge that is performed in the moving interactions of body, material, and social actors in space and time of which the artwork is a trace.
Tim Ingold. 2000.
Event Spaces, as an experience of distributed artistic subjectivity and shared art-of-inquiry.
A Body Of Relations
Reconfiguring The Life Class
Yuen Fong Ling. 2016.
Intermediaries and happenings between my body and other bodies and their technologies, where their performativity is revealed offering new perspectives on the roles within the life class.
In my fixed physical position as the life model, the notion of the 'pose' reflects a union of the conscious and unconscious, instilled by the act of being looked at, and the ways to record this through optical devices and machines.
Modelling Subjectivities
Life Drawing, Popular Culture and Contemporary Art Education.
Margaret Mayhew. 2010.
Drawing is important because it delineates between elements in the physical, visual, psychological and cultural field, it also delineates between bodies and spaces, art and fashion, and present uncertainty verses timeless tradition.
The act of drawing itself involves considerable self control on behalf of the drawers, not only in mastering hand-eye coordination, but in concentrating on the present moment, the present action and in the immense discipline of looking at a naked body, culturally marked as sexually available, and not displaying sexual interest.
Margaret Mayhew. 2010.
The body is never isolated in its activity but always already engaged with the world.
Merleau Ponty. 1999.
Through the configuration of the body as potentially transparent, against which the human being can only push with her hands at the limits physical and psychic geographies that are between inside and outside.
Photography and the permeability of time evoking a physical experience of observing and examining other worlds.
Aesthetics of intimacy, photography and bodies of desire, the gaze of the passionate camera.
The intimacy and equivalences created through the photographic experience.
Her inert body both inside and outside the vitrine.
Potentially something dangerous about the experiments with her body, with and into its layering and embodiment within speculative spacetime dimensions.
Here the viewer has the sensation of seeing through a double protective layer of glass and skin.
Art Practice/Building Distant Realities/Wonder
Like glass and within the glass, with the skin that separates the body from outer/other space as well as inner geographies and selves.
Written on the body, maps and navigations of interior spaces. Winterson/Woodman.
Her poetic image of a space that presses psychically on her from the outside.
The earthbound, partial female body, transgressions of the everyday limitations on the body.
The psychic geography manifested within frames of spatiality that becomes an inner space that flips outwards and defies limits.
Through and beyond the drawn/sculpted and painted body.
Site for psychic inner explorations, a corporeality for others rooted in the body's present moment of experience.
Diffracting Drawing and Painting.
Mattering as a reconfiguration of its own making, understanding and encountering.
Atmospheres : Architectural Environments, Surrounding Objects.
Peter Zumthor. 2010.
Manuel Neri, Studio, Benicia, 1980
Francesca Woodman, Untitled contact sheet, Providence, Rhode Island, 1976
Thursday, 6 February 2025
Making Processual Paths Of Volatility : Ceramics
Outpost 171225
Intricate Local Behaviours : Conversations/Correspondences between unrelated entities.
Lines. (Making/Thinking/Matter/Material)
Tim Ingold
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What Is Art ?
Joseph Beuys.
I find it interesting that you say that this stool or box speaks to you, whereas this floor, as you said, doesn't. A similar thing happens to me, and I ask myself: What is this due to, the fact that it doesn't speak to me, or only a little? It makes me think that these ready-made things, this precision, actually compels me to behave in a particular way, not just these things here, but also a certain window, or a specific type of architecture that is very fixed very straight, that derives from something very thought out; this compels me to live or behave in a similar way,
Volker Harlan.
Beuys: Yes, right, exactly; in other words, this lives (points to the box) while the other (points to the floor) is dead. The first doesn't force itself on you, the other continually forces itself on you.
Thinking Processual.
Resistance/Viability : Mapping/Living
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
Wednesday, 5 February 2025
Material Matters : When your mind starts moving.
Making : The Processual Character of Form.
Dwelling.
Rethinking the animate, re-animating thought.
Tim Ingold.
Ingold insists on a flat, continuous and processual ontology of dwelling and becoming.
A Practice of Transformational Modalities.
Making/Curriculum/Dwelling/Landscape/Place.
The Processual Character of Form.
Organic life, as I envisage it, is active rather than reactive, the creative unfolding of an entire field of relations within which beings emerge and take on the forms they do, each in relation to the others. Life is the very process wherein forms are generated and held in place.
For Ingold, there is no environment without the folding and enmeshment that is the process of life. Organisms are not folded in on themselves and surrounded by an 'environment'. Instead organisms are points of growth of environment, and whose relations are rhizoidal; and the environment is better understood as a domain of entanglement.
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