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

Clay+Ceramics.

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.

 

 

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

Clay+Ceramics : Correspondences and soundings on deep surfaces.

Nomadic Structures~Compositions : 

Drawing Resonances~Surfaced Sounds

Works in action that are paused at specific sites of speculation.

Wayfaring~Making : Bodies Of Experience through Spatiality, Temporality, and Subjectivity.

https://axisweb.org/artist/russellmoreton

Art works in gathering and playing a 'series of exchanges or choreographed economies composed of actions, things, people, events and places' with critical spatial practices.

Jane Rendell.

Tim Ingold.

Ceramic Shelters : Transitional Zones between Thinking and Making.

Russell Moreton : A visual fine artist working with clay is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is Interested in developing speculative making spaces where craft, theory, art and architecture can come together.

Moreton's site-based practices using clay as his principle material  further develops his  inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased. 

His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.

Assemble forms are then divided into several spatial interiors, in which the use of piercings are used  through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.

For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His  finished fired constructions could  become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s). 

Silent Interiors : Anthropocene Aesthetics : Ceramics and Environmental Engagement.

Ceramics and  Architecture : Making Things, Perception/Thought/Action

Urbanism : Fossil Futures~Anthropocene

Ceramics Following Resonances : Interiors in fired clay.

Ruins · Jozef van Wissem · Zola Jesus

When Shall This Bright Day Begin

℗ 2016 Jozef van Wissem and Zola Jesus

Released on: 2016-02-05

Mixer: Jozef van Wissem

Producer: Jozef van Wissem

Composer: Jozef van Wissem

Music  Publisher: Wissem Music

Lyricist: Zola Jesus

https://www.youtube.com/watch?v=UR-Kx7ehxCQ&t=21s

Architecting and its ecologies/matters of concern.

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.

Theorial 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.

Outpost 100223

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.

Inside The Visible : Ceramic Environments of Analogy and Contiguity.

 

Ceramics Now

Silent Interiors :  Anthropocene Aesthetics : Ceramics and Environmental Engagements.

Humanise : Building Interior Places.

Ceramic Vessels and Voids : Spatial Bodies~Surfaces~Interiorities.

Clay+Ceramic : Lines~Making~Correspondences.

Material absorbed in its own thoughts : Mattering Interiority : Craft Philosophies.

Studio spaces, analogies and contiguities around interiorities of making places.

Ceramic Shelters : Transitional Zones between thinking and Making.

Slab built forms from clay slabs that have previously been drawn into and brush marked with slips. Assemble forms then divided into several spatial interiors. Piercings through the surface set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering my discursive researches and readings into a performative spatial body.

Urbanism : Fossil Futures~Anthropocene.

Urban Gothic : An Excess Of Changefulness.

The essential auditory experience created by architecture is tranquillity. Architecture presents the drama of construction silenced into matter, space and time. Ultimately architecture is the art of petrified silence. The finished construction becomes a museum for a waiting, patient silence. The silence of architecture is a responsive, remembering silence.

Vessels of Retreat/Dark Pots : The Body and its Entanglements with Things/St Ninian's Cave, Scotland.

A craft philosophy centers on the thoughtful creation of objects by hand, emphasizing skill, materials, purpose, and the human connection between the maker and the object. It values the process of making, leading to deeper human intelligence and wellbeing, and sees the craft as a means to cultivate virtue and live a more meaningful, slower life. Key aspects include pragmatism, appreciating imperfections (like wabi-sabi), and recognizing that a single problem solved in craft often leads to new challenges, fostering continuous learning.

Tarkovsky filming the Instant : Flux and Quality in Nature's Time

Reflective Narratives around The Instant.

Art and Aesthetic Patterns.

The theme of the human body as landscape and the biological link between humanity and nature. 

Filmic Modalities

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

Flux and Quality in Nature's Time

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. 

Art and Agency, Alfred Gell

Nature as “Comfort Zone” in the Films of Andrei Tarkovsky by Donato Totaro 
 

Volume 14, Issue 12 / December 2010  18 minutes (4324 words)

In this essay Totaro analyzes the unique thematic and aesthetic import of Tarkovsky’s use of nature.

Tarkovsky relies on nature and natural phenomena to underscore and often dictate the time-pressure (rhythm) of a shot. The movement of time, its flux and quality, flows from the life-process that is recorded in the shot. Even though the fires, downpours and gusts of wind are staged, re-shot or recreated there still remains the spontaneous element of “nature’s time” within the filmic time. Each of the natural events and elements (water, wind, fire, snow) have their own sustained rhythm. Tarkovsky uses these natural rhythms to express his own, that of his characters and the temporal shape of the film (23-24).

I would like to conclude this analysis of Tarkovsky’s unique use of nature as a ‘comfort zone’ by saying a few things about his two science-fiction films, Solaris and Stalker. Solaris is based on the great same-titled science-fiction novel by Stanislaw Lem. The many philosophical and ethical differences between the novel and film can be summarized by the fact that, whereas the novel begins in space on the Solaris space station orbiting the planet Solaris, the film begins with a 45 minute prologue on earth, which establishes the importance of home, family, and ‘mother’ earth to the psychologist Kris Kelvin (and by extension all humans), who is soon to leave for outer space. The theme of the human body as landscape and the biological link between humanity and nature is established right from the opening, a (second) slow motion close-up shot of plant life swaying under a crystal clear stream that slowly pans right to reveal the hand of a man wearing brown trousers and a dark leather coat standing amidst waist high reeds.

http://offscreen.com/view/nature_as_comfort_zone




Waverley Abbey
Reflected ruins in flooded interior

Photogram formed from a design collage for The Reading Room, Waverley Abbey.

Intuition of the Instant : Gaston Bachelard

Anthropological Concerns~Thing~Ties : The Social Life of Materials and Making

Creative Fictions/The Social Life of Thing~Ties.

Spatialities exploring dynamic inductive reasoning.

Making~Dissolution : Building Documents/Composite Bodies

Urbanism : Making Disorder

Urban Bodies : Disorder~Dwelling~Dissolution

Performing and Crafting Spaces.

Spatial Material : Making Learning Experiences~Holloways.

Vibrant Matter.

Studio Spaces : Undone by theory.

 

On Materiality~Ruination : Ceramics Of Scepticism.

Palimpsest Mapping, Site Occupations and Structures.

Scriptorium : Drawing~Listening~Reading : Spatial Document.

Listening Compositions~Bodies : Creative Matter(s)/Materialisms.

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

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