Robin Welch Potter Raku Fireing 1970ish

Art and Architecture : Situated interactions between bodies and habitats.

Jane Rendell

Art and Architecture. 2006

If a site is a location that can be defined in physical and material terms, a situation can be both spatial and temporal, the location of something in space and a set of circumstances bounded in time – the conditions of a particular instant, a moment, an event. The associated verb to situate describes the action of positioning something in a particular place, while the adjective situated defines something’s site or situation. Situatedness, then, is a way of engaging with the qualities of these processes of situating or being situated.

 ‘Critical spatial practice’ came to my mind back in 2003 as a helpful way of describe projects located between art and architecture, that both critiqued the sites into which they intervened as well as the disciplinary procedures through which they operated. In Art and Architecture (2006), I argued that such projects operated at a triple crossroads: between theory and practice, between public and private, and between art and architecture, and I was keen to stress three particular qualities of those works: the critical, the spatial and the interdisciplinary. 

Other practitioners and theorists have since worked with the term, evolving it in different directions. For example, there was the reading group and blogspot initiated by Nicholas Brown in the early 2000s, which came out of discussions around Brown’s own artistic walking practice. In 2011, Nikolaus Hirsch and Marcus Miessen started a book series with Sternberg Press called Critical Spatial Practice which focused on architectural discourse and practice, and in the first publication they asked the question: ‘What is Critical Spatial Practice?’.

But as this website shows a whole multitude of practitioners and theorists have been developing work in an ‘expanded field’ such as this, quite different perhaps from the one Rosalind Krauss identified in 1979. This is work that overlaps, diverges, converges, runs in parallel, and in circles, and in many cases came before and goes beyond; from transparadiso’s ‘direct urbanism’ to Steve Loo’s ‘sites of perdurance’, these practices incorporate ‘event scores’, ‘insertions’ even ‘banalities’ and pay close attention to relation, position, performance and situation, as well duration.

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

Making/Matter/Material : Situated interactions between bodies and habitats.

Claywork/Correspondences : Situated interactions between bodies and habitats.

Drawing Participation : Situated interactions between bodies and habitats.

Indexical Awareness : Situated interactions between bodies and habitats.

Mechanisms of Mutuality : Situated interactions between bodies and habitats.

Viewing Assemblage : Situated interactions between bodies and habitats.

A Process of Consciousness : Situated interactions between bodies and habitats.

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

Spatial Interventions/Problems/Praxis of Method : Novalis/Bachelard/Arte Povera.

Outpost 131223

Body Movement.

Robert J. Yudell.

The interplay between the world of our bodies and the world of our dwelling places is always in flux. We make places that are an expression of our haptic experiences even as those experiences are generated by the places we have already created. Whether we are conscious or innocent of this process, our bodies and our movements are in constant dialogue with our buildings.

Problems of Method.

Novalis/Bachelard.

No vision invites him to do so, it is the very substance he has touched with his hands and lips which summons him. It summons him materially by virtue of what seems to be a magical participation. The dreamer undresses and enters the pool, only at this moment do the images appear. They emerge from matter, they arise as if from a seed out of a primitive sensual reality. A rapture which cannot yet project itself on the feminine substantiality of water. Water becomes woman against his breast.

Gaston Bachelard would like to develop a philosophy that has no point of departure, and a philosophy that is not a point of departure. Bachelard in his books, attempts to systematize formal material and dynamic imagination.

Space contains compressed time.

On Poetic Imagination and Reverie.

The Autobiography of Lost Possibilities.

Gaston Bachelard.

A dispersed philosophy that must constantly operate on its very edge, at the very limit where its systematizing impulse is challenged by the actual creations in other domains of human activity. Bachelard becomes a 'hinge' between totalizing metaphysical systems and polyphilosophy.

Bachelard does not develop a fully fledged philosophy of values, rather his books offer lessons for working, reading, breathing and dreaming well, all of which constitute an art of living poetically. Throughout his work he developed the paradox, that the primitiveness of poetic consciousness is not immediately given, it can only be a conquest. Images reveal nothing to the lazy dreamer.

Colette Gaudin. 

Guiseppe Penone.

Souffle 6. 1978.

A large earthenware jar on which the artist has stamped the imprint of his own body. This process shows a sensorial conception of art, a concentration on the organic and the original, reasserting the permanent nature of myths and an animist conception. A vitality of matter, material and object.

The National Museum of Modern Art.

Georges Pompidou Centre.

Arte Povera as an artistic praxis, highly critical and anti-cultural. An art that explores a 'strange area' that is interested in elemental human situations. It was the art critic Germano Celano who in reference to the research done by the polish theatre director Jerzy Grotowski, outlined in his book 'Towards a Poor Theatre' proposed the notion of Arte Povera in 1967.

Epicurean Asceticism.

The Phenomenological Approach.

Problems of Method.

Reading as a dimension of consciousness.

For Anna Teresa Tymieniecka, the essence of life is not a feeling of being, of existence, but a feeling of participation in a flowing onward necessarily expressed in terms of time, and secondarily expressed in terms of space.

Poetry as a synthesis of human existence.

Bachelard's auditive metaphor 'reverberation' for the poetic image brings together through sound, both time and space. In its reverberation, the poetic image will have made a sonority, a situatedness of being.

Science and Poetry.

Concepts and images develop along two divergent lines of spiritual life. The image cannot give matter to the concept, the concept by giving stability to the image would stifle its existence.

Nascent Material/Media.

Drawings rendering an insistent corporeality.

Drawings loosing their haptic senses of mark-feeling and becoming increasingly camouflaged into an image based on representation of an objectified art form/context. 

Life Drawings subdued by visual representation.

Is the initial situation/situatedness/awkwardness of drawing process becoming overwritten.

Drawings feeling the body marking its presence in the space /stage of drawing.

Jannis Kounellis: Gray is the Color of Our Time

MATERIAL MATTERS/Human Bodies/Spatial Bodies : STRANGE TOOLS AND THE CONDITION OF POSTMODERNITY

STRANGE TOOLS
ART and HUMAN NATURE
ALVA  NOE

THE CONDITION OF POSTMODERNITY

DAVID HARVEY

As David Harvey argues in his seminal Condition of Postmodernity, architecture becomes one of the aestheticised products by which global capitalism and political regimes express themselves. It is with this realisation that we must reverse the equation. Not space and time in architecture, but architecture in space and time, in an  concepts of the former acceptance of Harvey’s conclusion that ‘neither time or space can be assigned objective meanings independent of material processes, and that it is only through investigations of the latter that we can properly ground ourselves’.

ARCHITECTURE IN SPACE AND TIME

Jeremy Till | Collected Writings | Architecture in Space, Time 1996

There is a feeling of intimidation for the architect faced with a broad cultural landscape, and so an understandable reaction is to look for stable elements. In this way architecture, fixed and permanent, shrugs off the ephemeral and the present, and enters into dialogue with the deeper structures which may condition culture. The language of traditional anthropology (mythic, ritual, cosmic, symbolic) is used as a vehicle for architectural exploration, with the intent that architectural will engage with enduring and stable cultural factors. The architect here reverses the role of the anthropologist. Where the latter may investigate and describe social practices through their inscription in space and time, the architect describes temporal spaces in which to set those practices. There is an emphasis on architecture as a setting for ritual and as the embodiment of archetypal human situations, all constituted within cultural tradition. At its worst this approach reeks of conservative nostalgia, at its best it is a project of interpretative re-visioning of an active tradition in which to set human action. It is an architecture that is firmly rooted in space and time, but in very particular interpretations of them. The space is one of concrete representation, informed by the search for authentic meaning. The time is one which combines the cyclic movements of cosmology and nature with a backward-looking naturalisation of history, both characterised by the sense of reinterpreted repetition. The implication is that time and space should stand outside the contingent forces of the present, and that production must resist immanent distractions in an attempt to ground architecture in a more profound cultural horizon. It is this detachment that is both the real strength of this approach but also its weakness, because in looking for the truth it bypasses the real.

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

Studio Works/Research Explorations : Praxis between theory and practice. Outpost 2020.

Research Explorations : Creative Humanities

Orange School Graph Books

Harleston 2020-2021

A Species of Spaces

The Social Turn

Museum Site and Display

Political Philosophy

We have all the choice in the world in terms of products, but very little choice in terms of the kind of economy within which those things are made, accessed and used

Whose Economy

Reframing the Debate

After Neoliberalism

Doreen Massey

Other 'material interventions' and the revaluation of making through strategies of repair and maintenance

Making Ecological Politics

A world teeming with impulsive movements, deviations and many other lively (capacious) materialities

Influences that pervade, enable, and disrupt us

All agency is 'distributive' it always depends on the collaboration, cooperation, or interactive interference of many bodies and forces

Vibrant Matter, Jane Bennett

Makers work in a world that does not stand still

Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations

Tim Ingold 2010

Making is central to who we are as individuals, what we make as part of everyday practice forms our identities and place in the world

The mundane experience of making, and thus of labour, is resolutely political, a geographical imperative, and a critical means of operating a meaningful relationship with this material life

The Quarry as Sculpture : The Place of Making

D A Paton 2013

The making of a building does not stop when the building work is (temporarily) finished. But only really begins upon occupation, when the work commences of maintaining the buildings integrity against an onslaught of wilfully destructive elements, insects, rodents, fungal infestations, corrosion, damp, harsh sun, water, wind

Evocative Thoughts on Building, Alvaro Siza

The social life of making

Making good is about maintaining continuity with the past, in the face of efforts to rupture that continuity

The need for repair is a remorseless and necessary process that keeps society ticking over

Making speaks in vivid dialogue with two associated themes, material and skill

Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve

Making becomes a process of iteration, and a maker works with this iteration prolifically

Geographies of Making

ReThinking Materials and Skills for Volatile Futures

The skill to sustain the life of something through repair and reappropriation

Collecting is an example or a pre-emptive activity that people who are skilled with their hands commonly share

Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force

Vibrant Matter, A Political Ecology of Things

Jane Bennett 2010

Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds

Tim Ingold 2010

New Urban Adventures in Collaboration/Conceptual Ceramics

Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay

The transformation of the material is a central concern and semiotic significance unfolds with making

Seeking a symbiotic relationship between idea and object

Materials are substances in becoming

Karen Barad

Towards an Ecology of Materials

Tim Ingold 2012

From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis

Materials-Centered Perspective

Making, almost defies precise definition

The composition and/or manipulation of materials that bring into being new or revised objects

Tim Ingold 2010

Cultures of thrift and scavenging, maintenance and repair

Making encompasses the ingenuity of fluid, locally situated and adapted technologies

Materials carry on overtaking the formal destinations that, at one time or another, have been assigned to them

Sensibilities and dispositions that are centred on a deep and considered relationship with materials

The Craftsman, Richard Sennett 2008

Crafting, often reconnects mind and body in the sites and processes of production, thereby potentially reconstituting labour processes in ways that ascribe agency to workers

Makers finding ways to resist norms of gender and neoliberal entrepreneurial subjectivities, finding ways and spaces for ethical practice to predominate

Contemporary conceptual ceramics operates at the permeable boundary between art and craft, partaking of aspects of both, and ultimately demonstrating (or performing) that permeability

The emergence of the museum as proactive laboratory of social evolution

Extradisciplinary Investigations/Operative Principle

At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice

Microtopias, small contained sites of functioning democracy

Tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline

The New Institutional Practice

Projective Enterprises (should unsettle, activate, and raise questions)

The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary

So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes

Site-Specific Art and Locational Identity

Miwon Kwon 2002

Collaborations and its Discontents

Claire Bishop 2006

The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions

A complex environment, awash in affect and subjectivity

When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour

New curatorial initiatives must unpack the terminologies we use to distinguish one project from another

A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives

Unsettling-Complicit

Provocative-Strategic

Interventionist-Collaborative

Perforative Curating/Prescribed Participation

Creating new/more coded patterns of behavior/conventions/role play for visitor's

New Institionalism and the Exhibition As Situation/Social Experiment

Claire Doherty 2006

Participation

In which people constitute the central artistic medium and material

In the manner of theatre and performance

Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it

The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations

The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end

Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries

Artificial Hells (exposing the political and aesthetic limitations in the work)

Participatory Art and the Politics of Spectatorship

Claire Bishop 2011

Site-Specificity/Spatial Practice

The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate

Miwon Kwon 1997

Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames

Participation, creating a bridge between socially engaged practice and the permanent collection

Expressing itself expressing

Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions

Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact

The strategy of making artworks as response

The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement

Making vessels, beyond the examining and intellectually impoverished questions

A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

Like the vessel, the house shapes and nurtures the life contained inside

The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community

In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others

Clare Twomey, Lead artist at Tate Exchange 2017

Post Studio Ceramics

Interfaces between Making-Makers-Museums

Exploring object engagement beyond the known historical models of clay practice

'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital

Clare Twomey

Ceramics In The Environment

An International Review

Janet Mansfield 2005

With Fire, Richard Hirsch

A Life Between Chance and Design (invites the unknown)

Scott Meyer 2012

Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility

Raku as an Ideology

Breath-Energy-Immanence

Raku, A Review of Contemporary Work

Tim Andrews 1994

The Poetry of The Vessel

A calm invitation to thought and imagination

Chris Tyler

Choreographing

Events and Demolition

Trace and Encounter

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 Philisophy and the Occurrent Arts

Brian Massumi 2011

The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world

Making new aesthetic utilities, materialities/modalities for thinking about the world

Frames, Handles and Landscapes

Georg Simmel and the Aesthetic Ecology of Things

Eduardo de la Fuente 2016

Simmel, ecological approaches to aesthetics, shares the insight of ecological thinkers regarding how aesthetic perception is not reducible to either the internal mechanisms of the perceiving subject nor to the properties of the external environment, but rather the complex interplay of both

Materiality in art that attempts to expand notions of time, space, process or participation. Looking at materials that obstruct, disrupt or interfere with social norms, surfacing as impure formations and messy unstable substances.

Materiality that surveys the relationships between materiality and bodies, exploring the vitality of substances and the concepts of intermateriality and transmateriality that have emerged in the hybrid zones of digital experimentation

Materiality, Whitchapel 2015

Arte Povera/Germano Celant, an aesthetic-philosophical movement

An eclectic synthesis of knowledge fields, that emerges into a total space where disparate categories can meet; a art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen

Artisanal, pre-industrial trades, firmly rooted in context, often evocatively sketching out the relations between material and place

Dispositions that open possibilities, experimental alternatives opened up by small scale non capitalist and self provisioning crafting

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

In the small-scale culture of domestic craft enterprise, there is a rapidly expanding, fetishized and globally networked economy, premised on continued consumption of stuff

Idea is, the invisible of this world, which inhabits this world, sustains it, and renders it visible

Merleau Ponty

For Steven Holl, the intertwining of idea and phenomena occurs with the realization of a building as the means for the materialization of the idea force

A methodology of connecting phenomenal properties with a conceptual strategy

Responds to every project by re-evaluating the physical, cultural, historical references of the site-time or program, through which he achieves a 'limited concept' that establishes an order, a field of inquiry, a limited principle for each architectural design process

As the body-subject is perceptually situated into the world by inhabiting space and time, a building is rooted into a specific site and situated by inhabiting, 'the visible and invisible of the site and situation'

By locating the body, 'at the very essence of our being and our spatial perception' Holl redefines architectural space as perceived space with reference to the perceiving-body-subject

Steven Holl uses 'parallax' as an experiential tool as well as a design tool in which architectural space is redefined with reference to the moving body's constantly changing spatial perceptions

Merleau Ponty's main thesis that phenomenology has potential to put the essences back into existence by re-achieving a direct and primitive contact with the world through the realm of perceptual experiences drives Steven Holl to search for vitalizing these essences through the experiences of architectural forms, spaces, materials, light and colour

Intellectual and Phenomenal

Philosophical Inquiry

Interplays in his thinking on and making of architecture

Utility/Interpretation

Bachelard's Poetics of Space, explores the essence of being as it resides in the perceptual situadedness of the body-subject into the world

Perception fundamentally 'acts' enabling human beings to inhabit space and time

When the body-subject gains access into the world through perception, the world becomes, what we perceive

Architecture

That which begins as an interaction with the formation of an abstract idea, the formation of a concept out of this idea and its transformation into a material, a spatial and formal reality on a physical site

Creating the experiential power of architecture

Intertwining, idea-space-material

Anchoring, physics and metaphysics of site

A path of passage in architecture that leads from the abstract to the concrete, the unformed to the formed. An architectural journey in which the idea-force, phenomenal properties and the site force interact with each other

Frames Handles and Landscapes

Gibson's theory of affordances

Behavioral complexities of affordances, grow exponentially through the production of tools, utensils, weapons. Are our aesthetic sensations therefore determined by the environment or do we impose qualities through observation, sensation and perception.

Affordance points in both directions at the same time

Substances also guide the kind of practical actions that the organism senses from elements of the environment, something flat, vertical, convex, concave, rigid, flexible, determines whether something affords support

Art and Aesthetic Patterns

An Ecology of Mind

We are so accustomed to thinking of aesthetic phenomena as a discursive or representational construct, that we often forget that without arousal of perception, no aesthetic experience is possible.

Going beyond what it may represent into the important psychic information it contains

Bateson credits art with playing the role of confronting the quantitative limit built into consciousnesses

Art assists mind in recognizing that the potentiality of heightened consciousnesses exist and that it resides in you and in me

Fittingness/Ecological Approaches to Aesthetic Perception

Colour, Light, Time: Quintessentially relational phenomena in which location, background, density will provide different perceptual relations

Steven Holl

Symmetry appeals because symmetrical patterning provides for the observing mind a maximum of insight with a minimum of intellectual effort, quintessentially relational phenomena ( colour, light, time) and location, provide a background density that will provide for different perceptual relations

Relatedness, connected to the place and function of things within a field

The rational organization of society has its own aesthetic attraction

Redundancy is a synonym for patterning

A pattern is a method for coping with the redundancies of messages emanating from the environment

Patterning of message material always helps the receiver to differentiate between signal and noise

Bateson 1973

Elaborations (Dynamic aesthetic totalities) of such everyday patternings in Art, Music, Ballet, Poetry

Initiating causal consequences, agency as persons and things

Camouflage takes away the ability to block out the irrelevant things in the environment, thus camouflage (which is designed to subvert communication) achieves its aims by breaking up the patterns and regularities in the signal, or by introducing similar patterns into the noise.

But what unambiguous codes gain in noise reduction, they lose in richness and expressiveness

Somewhere in between is the effective use of redundancy in which the blocking out of redundancies paradoxically heightens our attention to what is important

Frames, Handles and Landscapes

Simmel 1965

A tools beauty springs from the many unintended and absolute causalities, instead of being a materialization of an aesthetic idea

The Thinking Hand

Pallasmaa

Affordances provide strong clues to the operations of things

Gibson

A psychology of causality is at work as we use everyday things

Donald Norman 2002

Perception of Environment/Relational Situations

Tim Ingold

Each thing framed dwells in the world differently

The frame and framing, through its configuration, must never offer a gap or a bridge through which as it were, the world could get in, or from which the picture could get out

The picture frame reminds us that the work of art, while it hangs in our room, does not disturb our day-to-day sentient and perceptual ecologies

It is like an island in the world that waits until one approaches it and which one can as well pass by and overlook

On The Picture Frame, Simmel

Art becomes art by virtue of literal and institutional framing

Aesthetic contemplation blurs reals and emotional space in a way that produces tangible affects in the world

The thinking hand that mediates a haptic bridge in which creating and holding, becoming and grasping are all practical everyday activities extending the thinking body

Objects that stand in two worlds at once and becoming drawn into the movement of practical life through the virtue of being held in the hand

The intermingling of persons and objects in pictorial space and the aesthetics of the intermingling of function and form in everyday things

The pictorial space is one in which persons and images intermingle and passions can be aroused

Gell

Spatial Practices/Forms of Enactments : Speculative Vocational Learning Processes

Archive 2012

Teaching Academy/Brockwood Park School.

Undone-Without-Unfitting-Entangled

Performativity/Practice/Assemblages

Responses perceived as the enactment to make something as yet non existent.

‘The crisis is not in the economic world, nor in the political world. The crisis is in consciousness. I think very few of us realise this.’

—From the book THE NETWORK OF THOUGHT 

Krishnamurti

Speculative Sites of Working : Ways Of Knowledge/Site based explorations, emerging methodologies of making.

Outpost/Gildengate House 300125

Ways of knowledge prompts us to consider what happens when artists step into territories of knowledge production traditionally associated with disciplines like anthropology, science, or history. Opening new possibilities of how knowledge can be understood, represented and disseminated through contemporary art. 

An exhibition that invites consideration of how making research becomes an integral part of practice. Using thematic presentations that explore, give platform to emerging methodologies, art forms, and conceptual investigations.

Rosario Guiraldes (Curator)

Ways Of Knowing. 2025

Walker Art Center.

Making Speculative Learning Spaces.

An extending phenotype consisting of traces left by engaging with material and research as an assemblage that is inhabiting the ecologies of making practice.

Morphogenesis/Emergences/Expulsions

The Inherent Politics In Movement.

Vitamin C

Clay+Ceramic

The Ceramic Reader.

Flooring Texts

Lines : Tim Ingold.

Notations

Contemporary Drawing as Idea and Process.

Drawings that are habitable.

The line is a whole, an identity, for a particular place and time.

Fred Sandback did not create new environments with his yarn works. Instead, he thought of his sculptures, the existing gallery space, and viewers all coexisting and able to occupy essentially the same space.

Visualizing Feeling.

Affect and the feminine avant-garde.

Susan Best.

Surrealism, the feminine and sexuality.

Bodies in the Filmic Medium.

Film.

Tacita Dean.

Senses Of Cinema.

Philippe Grandrieux.

The Belly of an Architect.

Peter Greenaway.

Optics Nihilist/Paintings Body and Mind In The Films Of Gasper Noe.

Pipilotti Rist

Making An Exhibition.

Interior Architecture 'sip my ocean'

Uta Barth

Stefanie Schneider

The Camera Obscura becomes a small portable box.

From Shadowgraphs to Alchemy.

The Photogram.

The Cyanotype.

Heterotopias.

Of Other Spaces.

Michel Foucault.

The Observatory by Robert Morris.

Joseph Cornell And Astronomy.

A Case For The Stars.

Kirsten Hoving.

Field Studies.

A Philosophy of Solitude

John Cowper.

The Poetics of Space

Gaston Bachelard

Space can be poetry.

To receive a new poetic image is to experience a quality of inter-subjectivty.

A felicitous space.

Poetry possesses a felicity of its own, above that of the actual experiences of the poet.

On the origins of a thought.

Not knowing is not a form of ignorance, but a difficult transcendence of knowledge.

The poetic image places us at the origin of the speaking being; after the original reverberation we are able to experience resonances, sentimental repercussions, remainders of our past. But the image has touched the depths before it stirs the surface.

The house, as an entity for a phenomenological study of the intimate values of inside space, its unity and complexity.

Inquiry focused on the house, its interior places and its outdoor context.

The house, from cellar to garret, the significance of the hut.

The soul comes and inaugurates the form, dwells in it, takes pleasure in it.

The page possessing a sonority.

A poet's word, because it strikes true, moves the very depths of our being.

Contemporary painters no longer consider the image as a simple substitute for a perceptible reality. By the swiftness of its actions, the imagination separates us from the past as well as from reality, it faces the future, a function of unreality.

If we cannot imagine, we cannot foresee.

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