Sunday, 24 August 2025

Living Places : The Intensity of Inhabitation/Grey Tones Chromatic or Achromatic.

Outpost 181024

https://axisweb.org/artist/russellmoreton

Philosophical Solitudes~Sensual Objects

Here the full meaning of the philosopher's solitude becomes apparent. For he cannot integrate into any milieu; he is not suited to any of them. Doubtless it is in democratic and liberal milieus that he finds the best living conditions, or rather the best conditions for survival.

Gilles Deleuze.

Life Of Spinoza.


Ann Cline.

A Hut of One's Own/Life outside the circle of Architecture.

How to cook a wolf.

Essay as Cookbook.





The pleasure of Sue's little house and her inspired oblivion to the ugliness of poverty, appeals not because of its strangeness, but because of its calm. The pleasure of her little house as with the 'bagatelles' around Paris lay in the intensity of its inhabitation.

At first when you entered it, the house seemed almost empty, but soon you realised that it was stuffed with a thousand relics. You ate by one candle, everything from one large Spode soup plate. I have never eaten such strange things as there in her dark smelly room, with the waves roaring at the foot of the cliff. The salads and stews she made from these little shy weeds (gathered from the cliffs and nearby field) were indeed peculiar, but she blended and cooked them so skilfully that they never lost their fresh salt crispness. She put them together with thought and gratitude, and never seemed to realize that her cuisine was one of intense romantic strangeness, to everyone but herself, moreover it was good.

M. F. K. Fisher.


Inherent Light.

The light that seems to glow from within a colour.


To attend to colour, then is in part, to attend to the limits of language. It is to try to imagine, often through the medium of language, what a world without language might be like.

David Batchelor.


Retinal Studies

Colour, David Hornung. 2005


Knowing Obscures Seeing.

Vision is influenced by our preconceptions about reality. In viewing a scene, we establish unconscious hierarchies that reflect our functional relationship to objects and our momentary priorities.

The camera, like the human eye, sees only shapes and colours. It documents the world impartially through a lens that is similar to the eye. The functional relationship we have with objects creates visual expectations that interfere with our ability to see 'like a camera.'

In retinal painting, one concentrates upon colour and shape while resisting the urge to name individual objects. When vision is directed in this manner, one actually experiences a different way of seeing. The result is a picture in which the subjects seem to be constructed purely out of colour shapes.

The Impressionists developed a way of painting that, at its most extreme, sought to replace drawing as the basis of pictorial composition with the objective transcription of colour shapes as observed in reality. Claude Monet (1840-1926) in particular attempted to build his pictures strictly out of his response to visual sensations. He proposed that the painter should record only the patterns and colours that  fall on the retina and ignore the 'identity' of the subject. This constituted a new kind of realism that reflected the physical nature of vision.


Bridge Tones.

Tones, tints, or shades that combine qualities of two distinctly different colours and act to soften those differences when placed near them in a composition.

Chromatic Darks.

Very dark chromatic greys that have discernible temperature.

Chromatic Greys.

Subtle colours that result from considerably lowering the saturation level of prismatic colours. Chromatic greys weakly exhibit the distinguishing quality of the hue family to which they belong. 


Median Transparency.

An illusion of transparency where the value of the colour at the overlap is halfway between that of the two parent colours. The hue of the overlapping area blends the hues of the two overlying colours equally.


Luminosity.

The amount of light reflected from the surface of a colour. Value is a measure of luminosity.


High Key.

What an image is said to be when the colours in it are predominantly light in value.


Middle Key.

What an image is said to be when the colours in it are predominantly medium in value.


Achromatic Greys.

Greys that are created by mixing black and white. Achromatic greys have no evident coloration when seen against a white background. Black and white are also achromatic.










Greyscale.

A graduated representation of the value continuum broken down into a finite number of steps, usually ten, eleven, or twelve achromatic greys.

Non proportional Colour Inventory.

A graphic rendering of specific colours observed in an object.

Proportional Colour Inventory.

A graphic representation of the exact colours and their proportions in a observed object.


Retinal Painting.

A term coined by Harriet Schorr in reference to painting from observation in a manner emphasizing the faithful transcription of coloured shapes as they appear on the retina of the eye. An outgrowth of Impressionism, this method favours accurate colour rendering over drawing to describe form. 


Shade.

The result of mixing a colour with black.


Tint.

The result of mixing a colour with white.

Tone.

Made by mixing grey (either chromatic or achromatic) with a colour. Tone can also have a more general meaning. The term is sometimes applied to all colours achieved by admixture including tints and shades.


Colour Unity.


The Altered Palette.

Unifying Strategies for Colour Mixing.


Any primary triad will have inherent limitations, but these are what give a palette its character.


Comparisons between the compositional study and the finished inventory clarify just how the inherent light in a design or painting is a projection of the palette from which it originates.


The colour overtones associated with specific pigments will limit possible saturation range. These limitations can be thought of as an expression of the character of illumination inherent in a colour. Just as a fluorescent light produces a characteristic quality of light that unifies what it illuminates,  any primary triad exerts a characteristic quality of inherent light through intermixing. 


An almost fool proof way to achieve family resemblance among a group of colours is to generate them from a limited source. Intermixing any primary triad (plus white) can produce a wide range of tones that share a common light quality.


A triadic dot study, teaches a mode of examination that, in a few steps summarizes the tonal range of a selected palette. The follow-up applies the colours of the study to a composition and puts the palette into action.




Earth Tone Primary Triad.

A primary triad of chromatic greys (so called because of their resemblance to pigments found in nature, e.g., ochres and umbers).


Low Key.

What an image is said to be when the colours in it are predominantly dark in value. 


Ceramic Oxides/Body Stains.

Chromatic greys from earth tones producing weak muted colours.

Saturday, 23 August 2025

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

Claywork/Correspondences/Vibrant Matter : Situated interactions between bodies and habitats.

Reading with Deleuze and Spinoza~Radical Intuitions : Interacting with clay.

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







https://www.anglianpotters.org.uk/members/russell-moreton

"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://axisweb.org/artist/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)



EXPLORATORY CLAY/CERAMIC BASED INQUIRY : Ceramics and Architecture.

 
















EXPLORATORY CLAY/CERAMIC BASED INQUIRY  2023 Russell Moreton.


Working Title/Creative entanglements in a world of materials.

Ceramics for a reflective solitude, an architecture of silence. 

My intention is to develop further ceramic processes and forms that can be further articulated into specific site based objects. I am very interested in the spatial relationships and aesthetics of ceramics and their place in architectural settings. I wish to further develop my practical working knowledge, and a creative sensibility towards the haptic qualities of  making with clay and the unifying element of fire.

Studio program.

Clay bodies, making facilities, ceramic tests, development of simple forms on which to present ceramic experimentation. Analysis of findings, further developments from exploratory findings into new processes and ways of making. Sketchbooks, drawings and photography, text and collage.

Thrown Vessels, innerness, Edmund de Waal. 

Spaces between Ceramic Objects, Giorgio Morandi. 

The Ceramic Surface, Richard Hirsch.


Supporting Notes. Current Interests.

Areas Of Presentation and Participation.

Historic and Social Sites, Art venues and Exhibitions. Making Theoretical Objects, Installation, Workshops.

Reading/research alongside residency. Intertwining Thinking and Making.

The Eyes Of The Skin. Clare Twomey

Tony Cragg

Julian Stair 

Bryan Newman

Gordon Baldwin

Richard Hirsch 

Edmund de Waal 

Juhani Pallasmaa 

Steven Holl

Objects for a Landscape.

Marking the Line : Ceramics and Architecture. 

With Fire : A Life Between Chance and Design.

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

Bridge/Boat based conceptual forms.

Urban Spaces, palimpsest,impressions, traces. 

Ceramic Processes 

Additions to clay bodies

Hybrid combinations and making processes

Plasterwork, pressmoulding, sledged forms, templates, slabwork, thrown, handbuilt. 

Firing processes and new possibilities of scale and quantity.

Red Kiln, refurbished, Harleston.

Once fire Raku based clay bodies and engobes/slips/oxides and other surface treatments.

Friday, 22 August 2025

CLAY/WITH FIRE : Thinking Architecture/Exploratory Research/Vocabulary


Spatial Bodies in Architectural and Contemporary Art.


Exploratory Clay/Ceramic Based Inquiry.

The material is just part of the vocabulary of meaning.

Thinking Poetics : Architecture and Ceramics.

Urns : Immersive Cells of Containment~Dissolution.


















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.


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.



With Fire.

Richard Hirsch.

A Life Between Chance And Design.

Scott Meyer.



Friday, 15 August 2025

Slow Philosophy : Diffractive Over Layering/Accretions Of Making.


Diffractive Readings/Visual Material and Resources.

Over Layering/Accretions : Asperity~Inhabitation~Urbanism

Of interiors, constructions and abject deconstructions into and around the ruinous. White (bleached) and soot fumed stains, textures, patinas of process and time, usage and possible shelter. Urban vessels poetically conveying a visual, tactile complexity, that of built and lived in spaces.

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





Orange School Graph Books 

Harleston 2020-2021


A Species of Spaces

The Social Turn

Museum Site and Display

Political Philosophy


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


The social life of making

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 


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


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


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