Ceramics and Architecture : Architecting and its ecologies/matters of concern.

Outpost 100223

Human Bodies/Spatial Bodies

Architecting and its ecologies/matters of concern.

Circulating Objects : Lines/Holloways.

Making Journeys.

russellmoreton.com

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

Apparatuses and their ecologies for learning.

The choreographic object/agent.

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

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

Oren Lieberman. 2013.

The Production of The Unexpected.

The Joy of Speculative Play.

Perception/Thought/Action

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

Projective Speculations.

Ecologies/Locations.

Questioning/Research.

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

Landscapes Of Actions.

Modalities Of Intravention

Constitutive Qualities Of Dance.

Ephemerality

Corporeality

Precariousness

Scoring

Performativity

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

Lepecki. 1996.

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

The Archive.

Matters of Concern.

Terms of Engagement.

Interrogate with descriptors and new issues of practice.

Bringing Things to Life.

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

Place-Refreshed.

New-Agencies

The Interconnectedness of Places.

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

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

Landscape Constructions/Observatory/Garden.

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

Ceramics and  Architecture

Marking The Line.

In response to Sir John Soane.

Joanna Bird. 2013

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

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

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

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

Clare Twomey is an advocate for craft as commensurable to the wider visual arts. Her practice can be understood as 'post studio ceramics' as her work engages with clay yet often at a critical distance.

Twomey's work negotiates the realms of performance, serial production, and transience, and often involves site-specific installations. She is especially concerned with the affective relations that bind people with things, and how objects can enable a dialogue with a viewer.

Joanna Bird Pottery

Director of the Joanna Bird Foundation.

London.

Ceramic Forms and Paintings.

Materials/Substances on a drawn and constructed surface.

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

Water : A Phenomenal Lens.

The transformative properties of the substance.

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

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

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

 

Refraction/Reflection/Spatial Reversal Phenomena.

Time : Duration and Perception.

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

Henri Bergson.

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

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

Saint Augustin.

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

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

Steven Holl.

Hungate, Norwich. 

Anglian Potters

Undercroft, Norwich. 2023

Helgate Proposal

Exploratory Ceramic Practice.

Clay Making. 

Plaster Work.

Commissioning of Gas Kiln for large scale works.

Glass Tech Kiln.

Moments/Marks/Gestures differ because of their fecundity.

Outpost 010724

The Rehabilitation Of The Imagination.

Correspondences between humankind and the world.

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

russellmoreton.com

In the heart of matter there grows an obscure vegetation; in the night of matter black flowers blossom. They already have their velvet and the formula of their scent.

Gaston Bachelard 

Imagination must infuse a second life into familiar images, it must create 'metaphors of metaphors'.

Reverie, reconciles the world and the subject, present and past, solitude and communication.

Gaston Bachelard.

Moments differ because of their fecundity.

The Intuition Of The Instant.

The imagination is not a state, it is the human existence itself.

William Blake. 

For Bachelard, Blake's poetics, presents a complex around the dialectics of rock and cloud. A dynamic imagination, he is a poet of absolute imagination for whom the unreal directs the real.

The Reverberation of Images.

In a word, the phenomenological approach is a description of the immediate relationship of phenomena with a particular consciousness. It allows Bachelard to renew his warnings against the temptation to study images as things. Images are lived, experienced, re-imagined in an act of consciousness which restores at once their timelessness and their newness.

Therefore a poetic image does not duplicate present reality.

From phenomenology Bachelard retains above all the admonition to return to 'phenomena themselves' this requires putting aside naïve belief in the reality of things and approaching phenomena through consciousness which is always intentional, always consciousness of something.

I realized then we were thinking the same thing. As we looked into each other's eyes, I felt, once again, the anxiety that had taken root in our hearts a long time ago. The light reflecting from the spray of the fountain lit R's face.

The boy was fiddling with a nondescript stone as though it were a toy with some elaborate hidden mechanism. His plain light blue gloves had obviously been knit by hand. They were connected to each other with a strand of yarn, to keep them from becoming separated. I remembered wearing the same kind, long ago, and, in this basement so full of anxiety, they seemed like the lone sign of innocence and peace.

The Memory Police.

Yoko Ogawa.

The Immaterial Body.

Proposals through transparency and trans-illumination.

Sensate Inscriptions. 

The Mechanized Image.

Thresholds and projections of creative perception.

Drawing into the visual field.

Paint, pigments, lines, bought to light. 

Gestures, lines from sensations and its seeing.

Life Drawing/Corporeal Social Bodies.

Drawing/Sensations into the memory and anxieties of physical things.

Drawing attention to the relations of the body.

Social and sexual politics.

The Modernist Offence.

Schiele And The Naked Female Body.

Gemma Blackshaw.

Feminist art historians have developed new ways of thinking about the relationship between sex and spectatorship.

As Abigail Soloman-Godeau has claimed in her exploration of photography and female subjectivity in the Second French Empire, the barriers between what is deeped licit and illicit, acceptably seductive or wantonly salacious, aesthetic or prurient, are never solid because contingent, never steadfast because they traffic with each other – are indeed dependant upon each other.

How might such an engagement with difference, with the binary system, shift not only our understanding but also our appreciation of Schiele's representation of the naked female body, of what continues to be described and displayed as 'the nude'? 

Egon Schiele.

The Radical Nude.

Making :

 

Visual Art Archive : Russell Moreton

russellmoreton.com

Making : Anthropological Objects~Fabrications on Humaning.

Tim Ingold.

Ceramics~Fired Clay.

Russell Moreton Saatchi Artist.

Waiting Room Installation 2007 : Visual Art Winchester School of  Art.

Outpost Studios, Gildengate House. Weather world correspondences, stained glass, plastic tape.

Textual Readings~Documents in Movement~Thought.

Changefulness : Clay inscriptions carried through to fired clay. 

The Sympathy of Painted Light (detail). 2025, Ceramic, 170mmW and 270mmW x 260mmH x 80mmD.

Fired Clay Books~Folded and fabricated interiors. 

https://axisweb.org/artist/russellmoreton

Hans Coper : Pots that are 'Worlding' that situate a certain fidelity, a willingness to survive and endure.

Hans Coper : Potter, "the experience of existence" 

CRAFTS STUDY CENTRE.
FARNHAM, SURREY. UK
RUSSELL MORETON

russellmoreton.com

“I become part of the process, I am learning to operate a sensitive instrument which may be resonant to my experience of existence now.”

Hans Coper, Artist Statement 1969.

Hans Coper’s iconic assembled ceramics frame the later part of the twentieth century with an ambivalence of both alienation and reconciliation. His pots reveal differences that have resisted the homogenizing effects of the culture of the time. They embody and are a physical testament to what the potter himself has reflected on his life, “endure your own destiny”1 within the space and time of the human condition.
Born in 1920 into a prosperous middle class background, his childhood years were spent in the small town of Reichenbach in Germany. In 1935 his father Julius, is singled out like many other Jewish businessmen for harassment and ridicule under National Socialist Party. This would result in the Coper family moving frequently to escape the attention of the Nazis. Tragically in 1936 Julius takes his own life in an attempt to safeguard the future of his family. The remaining family, Erna Coper and her two sons return to Dresden. In 1939 Hans at the age of 18 leaves Germany for England, the following year he is arrested in London and interned as an enemy alien. He spends the next three years first in Canada then returns to England by volunteering to enrol in the Pioneer Corps. In 1946 a meeting with William Ohly who ran an art gallery near to Berkeley Square, brought about an opportunity for a job in a small workshop run by Lucie Rie, a refugee potter from Vienna. Hans Coper now began earnestly through his engagement with ceramics to reveal a continental modernity “whose work seemed uncomfortably abrasive to the traditionalists.”2
Hans Coper and Lucie Rie worked together at Albion Mews for 13 years forming a friendship and a working relationship that was mutually reciprocated through practical concerns, innovation and experimentation. There is a creative synergy in place through their mutual sharing of process and experimentation within the practicalities of the studio space. A documented instance of this reciprocal inventiveness is in the appropriation of the technique of “Sgraffito” which Lucie Rie employs after being inspired by some Bronze Age pottery at Avebury Museum bearing incised patterns, which are displayed with some bird bones, which may have been used as tools to incise the pottery. These “dark bowls of Avebury”3 are transposed through the use of manganese engobe and a steel needle into Lucie Rie’s ceramics, Hans Coper although not present appropriates the bird bone for the engineered steel of a pointed needle file and uses the action of an abrasive hand tool to remove layers of the manganese engobe. In this way Coper is enacting onto the surfaces of his ceramics, the very agencies that Modernism was acting out in the realms of architectural space and surface treatment of materials. In 1959 a move to Digwell Arts Trust would bring to a close his working relationship with Lucie Rie. Coper now became involved with a number of architecturally based projects through the Digswell Group of architects and building professionals. Coper’s engagement with the Digwell Group was not without problems and creative frustrations, but seen in retrospect it became an experimental period where Coper was strengthening his ability to bring his pottery into a spatial communion with the modernist architectural sensibilities of the time.  However it was a wartime friend Howard Mason who introduced Coper’s work to Basil Spence, from this introduction Hans Coper was commissioned to design the candlesticks for the new modernist cathedral at Coventry. The Six Coventry Candlesticks completed in 1962 explicitly reveal a sensitive and progressive spatial awareness to the architectonics of built spaces. The candlesticks delicately tapered and waisted are made in sections and assembled on site onto rods set into the architectural interior. These assembled thrown and fired towering forms seem to be more about a presence than their actual physicality. They appear to paradoxically transcend the monumentality of their setting through their very immateriality, their slight of form being perfectly balanced to accommodate a single candle and its temporal flame.
As a maker of pots he was in constant touch with his working process, an analogue process, a creative membrane that surrounded the agency of making and thinking. He was able to pursue his vocation “My concern is with extracting essence rather than with the experiment and exploration”4 His resultant works reflect what might be termed a “machining in” of a creative durability that is both ancient and modern that contains both tensions and fragility, and that above all seems to exist in a state of timelessness.

 His assembled “pots” are constructed from thrown components, “throwing” as a process that he remarks on “I become part of the process, I am learning to operate a sensitive instrument, which may be resonant to my experience of existence now”. It is through the wheel, the body and the interplay between clay and air that the inner space that defines the form is created. Adam Gopnik writing about the art of Edmund de Waal describes what I might be termed a spatial sensibility “the pot-ancient as it is, is the first instance of pure innerness, of something made from the inside out.”5 Hans Coper further adds sensuality to this “innerness” when he encloses it in a skin that appears archaic through a deeply physical surface treatment of engobes, incised grooves and scratching of the raw pot; then when finally once fired the dry vitreous surface is further machined and abraded to give a graphite-like sheen.
Hans Coper’s pots speak in silence of this interior “architectonic” space that is itself reverberated through an almost archaic modernity. He seems to be able to tune the interior, to load its mass, its void.
There is a strong sense of the vessel, the concrete with the emptiness, even an analogy to corporality set in motion by his treatment of the surface and interiors of his pots. The pots themselves belong to ever extended families, to new familiarities created by the subtle interlays between the negative spaces created through the spatial awareness that has been crafted into their very making. The pots through proximity with each other are in a spatial communion, they act to define particular spaces by defining boundaries and creating thresholds between exterior surfaces and space. These pots are themselves are “encounters” they ask us to be attentive to the responsive sensory inner space set up in residence by the permeable world of the ceramic vessel.

1 Birks, Tony. 1983. Hans Coper. London. William Collins Publishers : p75.
2 Birks, Tony. 1983. Hans Coper. London. William Collins Publishers : p22.
3 Birks, Tony. 2009. Lucie Rie. Catrine. Stenlake Publishing ltd: p44.
4 The Essential Potness. Hans Cper and Lucie Rie 2014. Collingwood and Coper Exhibition 1969. Victoria and Albert Museum.
5 Gopnic,Adam. 2013. The Great Glass Case of Beautiful Things : About the Art of Edmund de Waal. New York; Gagosian Gallery : p6-7.

Selected Bibliography.

Birks, T. 1976.Art Of The Modern Potter.London: Country life Books.

Birks, T. 1983. Hans Coper. London: William Collins Publishers.

Birks, T. 2009. Lucie Rie. Catrine : Stenlake Publishing ltd.

Coatts, M. 2008. Lucie Rie and Hans Coper, Potters in Parallel. London:

Graves, A.2005. Hans Coper: Sculpture in Architecture. Interpreting Ceramics Issue

Gopnic, A. 2013. The Great Glass Case of Beautiful Things: About the Art of

Jones, J.2005. Keeping Quiet and Finding a Voice : Ceramics and the Art of Silence. London: Interpreting Ceramics Issue 5.

Edmund de Waal. New York : Gagosian Gallery.

Whiting, D.1996. Coper at Coventry. London: Studio Pottery no 20.

2014.The Essential Potness, Hans Coper and Lucie Rie.

Restless Objects~Fictioning : Sheltering Spaces, Movable and Nomadic : Slab Built Ceramics

Clay+Ceramics.

Folded Readings~Heuristic Spatial Forms from Fired Clay.

Ceramics from clay constructions of indisciplined spaces where experiential markings and imaginative readings between theory and practice develop new material discourses.

Possible Outcomes~Clay Based Ceramic Propositions

Architectures~Making Spaces in Abjection.

Bodies, Spatial Bodies and their Relations.

A place between is spatial. It is a mapping of the topographies between here, there and elsewhere. It is also social, an articulation of the place of dialogue, of the ongoing discussion between one and another. A place between is temporal, it pays attention to time, to the ways in which we locate the then from the now, the now from the yet to come. 

Jane Rendell.

The Experience of Existence.

Fired clay meditations on a materiality, a willingness to survive and endure.

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

 

 

Interdisciplinarity~Spatial Collaboration.

Spaces between Forms for Speculative Creative Outcomes.

Making Spatial Stories : Over time and through space.

Restless Objects~Fictioning : Sheltering Spaces, Movable and Nomadic : Slab Built Ceramics

Marking~Clay : The~Transition~of~Matter : The Lived Duration between Two States.

New Assemblages/Materialisms.

Spinoza/Lived Durations.

The Silent Transformations.

Spatial Bodies : Constellations/Spatial Composition.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Readings of Movement and Attention : Slow Philosophy/Clay/Ecology of Material Thinking

Land Forms/Architectures from marking movement.

Clay, Greenware. Studio Space.

Orange School Graph Books 

Harleston 2020-2021

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

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

Architectural Stratification/Installation : Crafting/Painting Transformative Reconstructions/Relationscapes

Outpost 200623

Of doing and un-doing, of being~becoming un-done by theory. 

Sensing Spaces/Caryatid.

Painting Matter, Lime, Gesso, Charcoal, and Indian Ink on paper.

Water.

Ceramics and Architecture.

 Architectural Stratifications, Carlo Scarpa, Intervening with History. 

The Placing of Pots.

The Hungate.

The Wonder Of Minor Experiences.

A Brief Phenomenology of Enchantment.

A Moment of Pure Presence.

Enchantment entails a state of wonder, and one of the distinctions of this state is the temporary suspension of chronological time and bodily movement. To be enchanted, then, is to participate in a momentarily immobilizing encounter; it is to be transfixed, spellbound.

Jane Bennett

The moment of pure presence within wonder lies in the object's difference and uniqueness being so striking to the mind that it does not remind us of anything and we find ourselves delaying in its presence for a time in which the mind does not move on by association to something else.

Philip Fisher.

Analysing The Observed.

To abstract from the observed means to simplify the complexities of seeing.

Piet Mondrian.

Space and Form are ignored in this type of Abstraction, the Lines and their Vectors of Movement become a Map, Mapping Forces onto the Surface of the Picture.

Thinking with directional, durational markings/feelings/intuitive judgements.

Small Perceptions/Perceptions in Folding.

Small perceptions are as much the passage from one perception to another, as they are components of each perception.

Deleuze, 1993.

Small perceptions are like what Arakawa and Madeline Gins call imaging landing sites.

Relationscapes.

Erin Manning.

'Incoherence' exists, which is why the composition 'Art' exists.

Art allows us to think the unthinkable, to posit one paradox after another in the hope of firming up wisps of our lives and feelings by transfiguring them. By giving them a shape, a design, a coherence, even if they remain forever incoherent.

Andre Aciman/Edmund de Waal. 

For nearly fifty years my darkroom and studio have been the focus of my solitude.

Landing Sites.

The Expanding Field of Relations.

Organism/Person/Environment

I need silence to be able to think clearly, and an empty space where my thoughts can accumulate undisturbed.

Duration.

The not yet meets the already gone.

A fluid flowing time which is intertwined with an experience of being, where past, present and future merge into an experiential time of the individual being/becoming.

Steven Holl.

Darkrooms were dangerous places as well as magical ones, they are a painful metaphoric yoking of creation and destruction.

My final print is a golden square enclosing the pinkest dusk sky I had ever seen or imagined.

Filtered Light/Pot Metal Colours/Silver Stain/Filtows/Filters/Shadows.

The Light Gatherers.

Bodleian Libraries.

March 2022-October 2023.

Light Laboratory/Creation as Duration.

Glass vessels, as light filters shining the enlarger light through them and creating photograms. Garry's work oscillates with differential velocities. He works with great deliberation and then he works with abandon. I keep thinking about the tension between deliberation and abandon. You look at a painting by Agnes Martin and experience the temporal aspect of lines repeated slowly over days and weeks. A cell like structure repeats and changes, you repeat so that in return you can find the smallest oscillations of difference. An expanded field where you sense the development of different kinds of time, movements and their durations.

Dark Room, Garry Fabian Miller.

Farewell to an Idea, Wallace Stevens/Edmund de Waal. 

Haecceity, thisness of things, which engenders feelings between ourselves/things/world.

I was grateful to have been able to live with so much pure colour for so long.

Space-Enfolding-Breath

Lake Of The Mind.

Ideas are already abstract.

Abstracted Transcriptions.

Drawing, Vectors and Forces of Subjectification.

Lines, mappings of forces across the surface of the picture.

Drawing on, analysis with, Dominants.

Formed by the dynamic forces derived from the outlines of objects and their surrounding spaces.

Palimpsest Collages

Psychogeographic Mappings

Architectural Models

The Process of Drawing/Building is Left Visible.

Psychogeography, Merlin Coverley.

Crafting Recovery and Regeneration.

Transformative Reconstruction.

SPAB, Summer 2023.

Michal Saniewski.

Falerone, San Francesco Monestry. Italy.

It's the forefront of modernisation, something that we thought the city was. The countryside is still the place where new ideas and experimentation actually take place..

Countryside : The Future.

Guggenheim Museum, 2020.

Heritage Conservation/Preservation

How do we insert new fabric into old and respect layers of history, of which the earthquakes are an inherent part? Perhaps some of the scars and cracks should be preserved to serve as a poignant  reminder of the past, becoming a living memorial? And perhaps there is potential to develop a new language of additive, 'surgical' architecture, where the contemporary timber frames serve a protective function, supporting and bracing the damaged medieval walls,  but at the same time can be inhabited, framing new uses and reprogramming internal spaces.

The reconstruction process should be used as an opportunity to add value beyond what existed before the earthquake. 

Exploring possible new functions and uses of currently empty spaces and damaged buildings, the local community was asked to participate in the act of psychogeographic mapping and thus rediscovering and revaluating the town on different levels.

Key themes of the New European Bauhaus initiative.

Renovation of existing buildings and public spaces in a spirit of circularity and carbon neutrality.

Preservation and transformation of cultural heritage.

Regeneration of urban or rural spaces.

 

Could Falerone become an experimental hotbed, an example of sustainable, community-driven reconstruction of urban fabric and place identity? The new crafts school could be an opportunity to achieve just that, stimulating collaborations not just with other towns and universities, but with regional authorities and even with the EU. 

Studio Cyanotypes.

Tools/Working Drawings and the Semblances of Spatial Agencies.

Keywords.

Visual Substance, Causal Doing, Investigating, Inquiry, Process, Agency, Matter, Material, Discursive, Iterative, Creative Apparatuses, Intra-Activity, Performativity, Bodies That Matter,