New Assemblages/Materialisms.
Spinoza/Lived Durations.
The Silent Transformations.
Spatial Bodies : Constellations/Spatial Composition.
Thursday, 19 June 2025
Monday, 16 June 2025
Spatial Bodies/Visual Art Practices : Material Assemblages/Drawing : Cultivation Fields/Thinking Diffractively
Matter(s) of Inquiry : Abject(ion) Gathering Affective Energy.
Affective Formulation : Processual/Durational Material Flows/Mattering Matter(s).
Transitional Compositions and Events/Anti-Objects.
‘We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects.
What that form is called-Architecture, Gardens, Technology- is not important.’
Kengo Kuma.
On Anti-Object : An extended essay that is not so much history or theory as a volume of self-assessment that gives an opportunity for the author to contextualise his own body of work through considered self-reflection.
‘A monument is a form that preserves time through the compression of space, a form in which visual perception is the parameter. A monument is a compression of time and space’ (Kuma,2008:92) Anti Object.
‘My purpose in writing this book is to criticise architecture that is self-centred and coercive.’ Kengo Kuma.
‘Like McTiernan or the theorist Paul Virilio, Kuma sees new digital and information technologies as leading us to an aesthetics of disappearance, rather than image or form.(Steele,2008:3)
‘My ultimate aim is to erase architecture’(Kuma,2008:3)
How then, can architecture be made to disappear?
An asperity of thoughts/Vibrant Matter : Braking Down/Diffracting/ The Apparatus of Reading/Research
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Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.
Research as a discursive activity gathering new forms of expression. Duration, Steven Holl
Building/Uncertainties into the explorations of making. Rem Koolhaas.
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REVIEW into INTERIORS MA UCA 2013-15 Research into new forms of translation/transmission
MAKING vibrant gaps/assemblages between the texts/images/objects and everyday things LANDSCAPES OF AFFECTIVE AESTHETIC ATTRACTION
MATERIALS THEMSELVES become the TOOLS of PERCEPTION
Enchantment from the potential of things.
The Fabric of thoughts
The invisible within the visible (energy,magic,causality)
RELATEDNESS, connected to the Place and Function of Things within a Field.
Texts, form their own contexts/reflexivity, breaking down phenomena into meaning, conclusions and critique, they render phenomena and its psychic information redundant.
We think we know how we should feel sociologically, yet in doing so we deny ourselves the direct affectiveness of people and objects that can provide different perceptual relationships.
EMBODIED KNOWLEDGE=ECOLOGY Lygia Clark : A Space open to time. Cornelia H. Butler
The World is a Collage
Collage and montage are quintessential techniques in modem and contemporary art and filmmaking. Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble.
Juhani Pallasmaa
Hapticity and Time
Notes on a fragile Architecture
The Perception of the Environment Essay in Livelihood, dwelling and skill Tim Ingold
See Yourself Sensing Redefining Human Perception Madeline Schwartzman
STILLNESS IN A MOBILE WORLD Bissell, Fuller
ECOLOGICAL approaches/affordances to aesthetic perception ART and AESTHETIC PATTERNS : into an ecology of mind.
Going beyond what it may represent into the important psychic information that it contains. Camouflage is addressed, perhaps, less to architecture itself than to the subjective processes by which
human beings experience architecture. Illustrated by the photographic practice of Francesca Woodman, we see her seemingly absorbed by her environment in way that shows a desire to both identify with, and become part of her surroundings.
A desire/transgression met and mediated through a certain sensitivity and openness to the environment, fostering a sense of connectivity between human beings and their environment.
Neil Leach
EXISTENCE, SPACE and ARCHITECTURE Christian Norberg-Schulz
A child 'concretizes' its existential space.
Developing the idea that architectural space may be understood as a concretization of environmental schemata or images, which form a necessary part of man's general orientation or 'being in the world.'
SUBSTANCES guide the kinds of practical actions that the organism senses from elements of the environment, creating affordances/utilities for the human body.
SURFACES separate substances from medium, the wall and roof of my house afford comfort by separating me from water and too much air.
AFFORDANCES as aesthetic sensations determined both by the environment and qualities we impose through observation, sensation and perception.
Without arousal of perception, no aesthetic experience is possible. The rational organization of society has its own Aesthetic Attraction
Symmetrical Patteming/redundancy : provides for the observing mind a maximum of insight with a minimum of intellectual effort.
Colour Light Time
Quintessentially relational phenomena in which location, background, density will provide for different perceptual relations.
Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.
WORKING TEXT: 16/May/2020 The R Value in Academia
Reading/Reflexivity/Research with precision and indeterminacy
Research Material : Studio/Archive 2004-2020
The Language of Specitivity/Places of Inquiry Extradisciplinary Investigations
Social Utilities/Contemporary Art Practices imported from Political Philosophy
The return of limited and ancillary projects where the human being is the fulcrum and the fire of research in replacement of the medium and the instrument.
A whole range of materials and topics that do not fit, that can create an eclectic synthesis of knowledge fields.
Arte Povera, an aesthetic-philosophical movement, artists that chose to live with direct experience and feel the necessity of leaving intact the value of the existence of things. An 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.
Germano Celant 1940-2020
Developing discursive reading
WORKING DOCUMENT/LANDSCAPE LANDSCAPES/Thinking Spaces
Concepts of space-time/Ecologies, embodiments through identity, individuality and environments. Our universe is evolving in time as our views are evolving
RIVERS/Eddies and husbandry
(in/with the phenomena of water, thinking with the fish in mind)
Research as a discursive activity gathering new forms of expression. Duration, Steven Holl
Time is only understood in relation to a process or a phenomenon.
The duration of human beings alive in one time and place is a relational notion.
The time of one's being is provisional; it is a circumstance with an adopted aim for the time being. SPACE-and ARCHITECTURE-exceeds the provisional
Architecture/Built Environments Ecology/Political Philosophy
Spatial Practice, Culture, Creativity and Environment
Diffractive erotics of the body in her speculative post studio practice
Asperities of flesh, dirt and the built environment
Neil Leach, Camouflage, F Woodman
The Enchantment of Modem Life.
Attachments, Crossing and Ethics
The performativity of social representations
When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.
Jane Bennett
Be not inhospitable to strangers lest they be angels in disguise
Jackie Leven, The Dent In The Fender And The Wheel Of Fate David Childers, Heart In My Soul
Spatial Practice Interior Design
Building a precision/working praxis that is both aesthetic and technical that can give an intimate understanding of the material and its situation.
Subjectivities interwoven through light and media Asperities of fabric and texture : White Collaged Postcards
CREATING AN ANTHROPOLOGY TOR BEING IN THE LANDSCAPE DEVELOPING MATTER AND DESIRE IN ART BASED ACTIVITIES
WORKING NOTES, 24 October 2018
SETTING UP THE CRITICAL DISTANCE / DISCURSIVE FIELDS OF ANALYSIS MEASURING AFFECT
PERFORMATIVITY ITS EXPERIENTIAL QUALITIES/PSYCHIC IMPACT RESEARCH IN LANDSCAPE AND ENVIRONMENTAL DESIGN Visiting the Archive : Exploratory Workshop
September 1, 2018. W&BA Harleston
CREATING THE FEEDBACK LOOP
BLURRING THE BOUNDARIES BETWEEN PARTICAPANTS AND ARTISTS RADICAL INTERVENTIONS INTO THE EVERYDAY
Walking and Making with Clay, Brockwood, Speculative Learning Program
' the clay itself seemed to absorb them into a wandering relation with the landscape' A Field Guide To Getting Lost, Rebecca Solnit.
In this investigation into loss, losing and being lost, Rebecca Solnit explores the challenges of living with uncertainty.
Tracks Across The Landscape
Setting up a critical spatial practice within the walking landscape of the everyday. Edward Thomas, Paths
John Piper, Covehithe, South Bank Show, painting/drawing both on site and in the studio.
Watts Gallery, analysis and audit of activities from which to develop visitor programs and the experiential circulation of those who visit.
Melancholy and The Landscape, Jacky Bowring.
Locating Sadness, Memory and Reflection in the Landscape. Investigation into the creative membership and activities of W&BA.
Sculpture Trail, Curatorial Strategies/Market/Audiences
From newsletter to art themed walks, Historic Culture/Landscape and Tourism Plotting points of social interactions, asking Why Here, Why Not There?
What directs events, governs outcomes? Success and failures?
Management and event led, members as audience? MA Arts Management
New Cultural Diversities
10 Days at the Laundry, Winchester 2009.
Group of creatives based in and around Winchester School of Art, use of fallow site in which to respond and to create for 10 days a contemporary arts festival. This original event 'fused' new creative partnerships that went on to produce other groups and exhibitions. The follow-up event 10 Days in the City, was funded, had more prestigious venues, but lacked the cohesion and community of the first site.
Supplementary content, resources, dossier outlining the inquiry of which the work is a part. MOVING THE CULTURE
DISCURSIVE FIELDS FOR NEW TYPOLOGIES/OPERATIONS AND TACTICS CONCRETE POETRIES
LOWER GREEN, NORWICH
' At the surface, the gorgeous materiality of Okon's work is seductive but her intention to breach superficial readings is much more serious. This conjugation of material is also a conjuration, an earnest attempt to attempt to imagine and materialise new possible realities.'
Matter and Desire, An Erotic Ecology, Andreas Weber.
SITE SPECIFIC EMBODIMENT, working, making, discovering. Post Studio Practices, Daniel Buren. Deep Arts Ecology Investment and Nurturing, 'it always begins with the art, Hans Ulrich Obrist.
The heavy, awkward investment of actually getting people to 'place' to participate is difficult. New technologies could offer solutions that could in turn promote innovative creative ecologies.
NEW TOPOLOGIES FOR BEING IN THE LANDSCAPE NETWORKS, MESHES, NODES, CONNECTIONS
Becoming embodied within the making of the work, within an intimate dwelling place. Strange Tools, Art and Human Nature, Alva Noe.
Crafted Scenography,
Exhibition,
Visual Art, Tacita Dean
Shadowcatchers
OUTPOST
STUDIO as a discursive site for un-doing and re-making relations/aesthetics between objects/the social/the everyday.
STUDIO ANALYSIS 2018-2020 21 September 2018-19 August 2020
Art School Spaces Outpost Studio Spaces Urban Fallow Institutional Buildings
Open Plan Office Spaces
Studio 3.16, Central Norwich, nearby parking, Floor area/footprint 5.0mx5.0m, wall spaces 2x2.4mx5.0m, well lit, open plan, large making table 1.2mx2.4m. Electricity, small heater, lighting, running water WC, access 24/7.
Projects/Contexts bought into the studio space
Drawings/Southampton roof rubbing, drawings/art works as sociological shelters/habitats Immaterial Paintings/Cyanotype, layered papers
Raveningham sculpture elements from intervention Cley, sketch books and paintings
Re-presentation of drawings/collages with new research material/contexts
Paintings displayed with large analogue phonographic images and collages Architectural concerns, coloured glass, aesthetic surfaces, paintings with raw materials Installation of research bookcases as diffractive elements/spatial practice within the studio White paintings, used layers of paper texts, meshes and cloth
Ceramic objects on field paintings/grounds
Research material, folders, wrapped ceramics with fabric, yellow ochre on paper
Canvas painting, inclusions, shells/stones, cyanotype/yellow ochre, gesso/white paint, pierced
STUDIO WORKS
Paper/canvas paintings 1.5mx2.4m Canvas re Raveningham Shelter, 2.4mx2.4m
Spray paint, large floor works left undisturbed during making Future proposals Cley 2021, Artpocket activities, Project Space,
WORKING NOTES
OUTPOST 12/09/2019
A Philosophy of Solitude
Hand Bookbinding
Lead/Waxed Paper
Art puts US on Display
Strange Tools
Art and Human Nature
The Politics of Things
The properties of Light
Fred Sandback/Luis Barragin
On Pictures and the Words that Fail Them Melancholy and the Landscape Process-Relational Philosophy
Jannis Kounellis
Christopher Wilmarth
The Ground of The Image
Sally Mann, The Flesh and The Spirit
The Eyes Of the Skin
Kengo Kuma, anti object, hut, poetics of shelter in the immediate environment.
Thinkers and Vessel
Makers.
Weaving the body into architecture
Kengo Kuma
Weaving the body into architecture
Kengo Kuma
Poetics as an evolving
and discursive system of dialogues that acknowledges environmental
changes, of other spatial narratives and histories, and things that
are not just about place and space.
‘The phenomenology
of space – the matter of how we experience it.’
Raveningham Sculpture Trail : Spatial Garden/Dwelling with the Landscape.
Hungate Exhibition. 2023.
Making felt through intervals/editing from within.
The Scriptorium
Performative Canvas as Shelter ( prearticulation for an installation, not used)
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Gaston Bachelard,
Poetics of Space (space and reverie), The Psychoanalysis of Fire.
‘Architecture that
forces us to confront our own spatial intelligence by moving us so
much that we recall the eidetic origination of our own mental space.’
(Schaik,2008:80)
‘Speculations about
the first shelters, the relationship between our home and the
universe, about spaces that we first use as surrogate houses as we
form our spatial histories and our mental space. It is about the
contemplative effects of the miniature, about the paradoxical way in
which the scale of many of our most cherished monuments can switch in
our minds from large to minute- the quality of intimate immensity. It
is also about propositions around the complex relationships between
inside and outside and the surface between, about the phenomenology
of roundness’ (Schaik,2008:86-87)
‘We are composed of
matter and live in the midst of matter. Our objective should not be
to renounce matter, but to search for a form of matter other than
objects. What that form is called-Architecture, Gardens, Technology-
is not important.’
Kengo Kuma.
On Anti-Object : An
extended essay that is not so much history or theory as a volume of
self-assessment that gives an opportunity for the author to
contextualise his own body of work through considered
self-reflection.
‘A monument is a form
that preserves time through the compression of space, a form in which
visual perception is the parameter. A monument is a compression of
time and space’ (Kuma,2008:92) Anti Object.
‘My purpose in
writing this book is to criticise architecture that is self-centred
and coercive.’ Kengo Kuma.
‘Like McTiernan or
the theorist Paul Virilio, Kuma sees new digital and information
technologies as leading us to an aesthetics of disappearance, rather
than image or form.(Steele,2008:3)
‘My ultimate aim is
to erase architecture’(Kuma,2008:3)
How then, can
architecture be made to disappear?
‘To be precise, an
object is a form of material existence distinct from its immediate
environment. I do not deny that all buildings, as points of
singularity created by humankind in the environment, are to some
extent objects. However, buildings that are deliberately made
distinct from their environment are very different from those that
attempt to mitigate this isolation, and the difference is perceptible
to everyone who experiences them.’ (Kuma,2008:Preface)
Art and The Humanities in reference to Waverley Abbey
Contemporary Art Practices, Installations and Interiors
Art and The Humanities in reference to Waverley Abbey
Contemporary Art Practices, Installations and Interiors
This research and its
design proposal are centred on the arts and the humanities and their
ongoing function in our contemporary society. The emphasis of this
inquiry is located by the spatial practices of architecture, fine art
and performance. My project is a field event and symposium that would
be able to host intellectual dialogues, lectures (TED) workshops,
performative events and exhibitions. I am particularly interested the
relational production of social spaces and the aesthetics of
builtspaces, both historical and ephemeral. The proposed use of
Waverley Abbey near Farnham as a possible site and retreat for this
venture is valid as it links a possible interdisciplinary territory
of anthropology, archaeology, art and architecture. Tim Ingold
(Making) Colin Renfrew (Figuring it Out) and others have for many
years been researching and mapping this new spatiality.
What remains of
Waverley Abbey and its sense of place are critical to the holistic
and contemporary underpinning of this experiential event. Founded in
1128 it was the first Cistercian Abbey to be built in England. It is
recorded that Cistercian life was initially based on manual labour
and self-sufficiency, this was further supplemented by other
activities like agriculture and brewing that enabled the abbey to
support itself. Later over the centuries education and academia began
to dominate the concerns of the abbey. The abbey was suppressed with
its dissolution in 1536, although records show its activities were
already at this time substantially diminished. The ruins and their
site then enter into the imaginary realm through classic literature
in the novel Waverley by Scott. Further on a pictorial reference from
an engraving shows the ruins now incorporated as a fashionable
landscape feature within the newly built Waverley Abbey House.
On a contemporary note
Waverley Abbey has featured in a number of films ranging in genres
from period costume dramas through to fantasy, together with post
apocalyptic visions of dystopia. A recent film shoot required the
construction of a sixty-foot tower made from internal scaffolding
with a skin that recreated the adjacent ruinous fabric of this
historic site.
Encountering the site
is currently only manageable by foot; this short walk in the
surrounding landscape sets up the sense of place and prepares our own
subjectivities to its reception. It is in this expectation, this
thinking in the landscape that the pastoral and educational aspects
of the site become apparent. Currently access is only available
through one directed pathway; a multiplicity of other access points
and even other structures (bridges, earthworks and thickets) could
begin to open up the spatial palimpsest already located at Waverley.
What remains of the architectural fabric with its diminished
interiors still grants a hospitality and refuge for both the body and
the imagination. This activity opens up the experiential space of
encountering ourselves through the enjoyment/entanglements of layered
social space.
Waverley Abbey is a
public monument in the custodian care of English Heritage. It can
only be accessed by walking about a quarter of a mile from the
limited parking spaces.
Friday, 13 June 2025
Cyanotype Drawings : Landscapes/Maps and Performative Drawings
Mapping Relationships : Contexts and Locations #2
Collage and drawing with cyanotypes, photographs, negatives and painted surfaces.
Mesh/Material/Light, Cyanotype Process
Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.
The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]
From Wikipedia, the free encyclopedia
The Cathedral : Place Studies
Pastoral Space: Material, Inquiry and Craft.#5
Blueprint : Kengo Kuma, Sensing Spaces.
Panspermia : Cyanotype Drawing
Drawing on paper,150x240 cms
Full size human form drawn through "performance" on paper with cyanotype and black ink. Astronomical data and traces of seed heads together with reference material/notes (directed panspermia) in pencil.
Anthropomorphic and Botanical Cyanotype Drawing (Detail)
Botanical traces with leper graves
We live our lives sunk in vast forgetting. Milan Kundera, IGNORANCE.
Human mapping of social groups from the occupancy of the Winchester Cathedral "Space for Peace" 2011.
Mono Print : Cyanotype process on paper, 52x42cm.
Collage and drawing with cyanotypes, photographs, negatives and painted surfaces.
Mesh/Material/Light, Cyanotype Process
Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.
The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]
From Wikipedia, the free encyclopedia
The Cathedral : Place Studies
Pastoral Space: Material, Inquiry and Craft.#5
Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency
"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.
Template and Form 2010.The Yard, Winchester.
Omslagsfoto :
Landscapes from the Metropolis of Death. Otto Dov Kulka.
Mapping Relationships : Contexts and Locations #3
Collage and drawing with cyanotypes, photographs, negatives and painted surfaces.
Blueprint : Kengo Kuma, Sensing Spaces.
Panspermia : Cyanotype Drawing
Drawing on paper,150x240 cms
Full size human form drawn through "performance" on paper with cyanotype and black ink. Astronomical data and traces of seed heads together with reference material/notes (directed panspermia) in pencil.
Anthropomorphic and Botanical Cyanotype Drawing (Detail)
Botanical traces with leper graves
We live our lives sunk in vast forgetting. Milan Kundera, IGNORANCE.
Human mapping of social groups from the occupancy of the Winchester Cathedral "Space for Peace" 2011.
Mono Print : Cyanotype process on paper, 52x42cm.
Drawing as Diffractive Research : Mind/Hand/Media/Wayfaring, all in the thick of material existence.
Diffractive Research.
Tim Ingold's concept of "diffractive research" emphasizes a dynamic and iterative approach to inquiry, where researchers move between different lenses and perspectives, exploring the interplay between diverse elements. This method, rather than seeking a definitive conclusion, aims to enrich understanding by embracing the "emergent difference" and "variation in commoning" found within the research object.
Elaboration:
"Diffractive" as a Metaphor:
Ingold's use of "diffraction" draws an analogy to the physical process of light being bent and spread when it encounters an obstacle. This process reveals the nature of the obstacle and the light itself, highlighting the complexity of their interaction.
Iterative and Relational:
Diffractive research is not a one-time process but a continuous engagement with the research subject, moving between different perspectives and interpretations. This iterative approach emphasizes the relational nature of knowledge, recognizing that understanding emerges from the interplay between the researcher and the object of study.
Embracing "Emergent Difference" and "Variation in Commoning":
Instead of seeking to define or reduce difference, diffractive research celebrates the "emergent difference" that arises from the interactions between diverse elements. It also emphasizes "variation in commoning," recognizing that individuals and things can contribute to a shared understanding even when they have nothing in common.
"Wayfaring" as a Method:
Ingold's concept of "wayfaring" (a way of traversing the world, constantly engaging with its details) is closely linked to diffractive research. Wayfaring involves actively engaging with the world, paying attention to the details and nuances that emerge along the way.
Examples in Practice:
This approach can be seen in research that explores:
Materiality and Agency: How materials shape human action and how humans, in turn, reshape materials.
Knowledge and Memory: How knowledge is not simply transmitted but actively generated and shaped through experience and interaction.
Social and Cultural Practices: How social and cultural practices are constantly being re-interpreted and re-created through interaction.
Beyond Objectivity:
Diffractive research challenges traditional notions of objectivity by embracing the inherent subjectivity of research. It recognizes that knowledge is always produced within specific contexts and through particular relations.
In essence, Tim Ingold's concept of diffractive research offers a powerful framework for understanding how knowledge is generated and how we can engage with the world in a more dynamic and nuanced way.
AI Overview/Google
Outpost 180424
The Body of Drawing/Butades.
Thinking Matter : Cosmologies/Constellations/Assemblages/Apparatuses.
Matter (as interlacing interplay that is dynamic and mutually defining) has its own nature.
In the thick of material existence.
Merleau-Ponty.
On The Hospitality/Intertwining of Lines
Making/Moving Matter/Theoretical Objects for Spatial Practises.
In and Out of Material/Matter/Matters of Concern/Sculpture
Tony Cragg.
Situated Practices/Architectures of Care/Concern.
Oren Lieberman.
The searching line proposes/launches visual observations/haptic responses, and conversely what is seen determines how the next line is to continue in a perpetual and recursive interaction that unfolds in ongoing time.
Relationscapes of/with/for Drawing.
What is drawing?
What is the nature of the drawn line?
Un-Learning Drawing.
The drawn line is raw, on permanent view of its emergence into the world, an open zone that operates in real time. Corrections to the line, challenge perceptions and build intimate relationscapes with the mind, body, media and surface.
'In drawing' we are perceiving the evolving process of thought and perception.
Avis Newman.
Praesentia, being present, a presence that is close at hand to the present moment or time.
The phenomena and its nowness/nearness in the light of day.
Drawing is driven from the outside.
The agent/agency of drawing admits that the process leads, the mind follows.
First the material signifier, marks on paper, then afterwards the signified, the depicted scene and its nominal referent. For Cozens the random application of splashes and patches of ink would at first appear a chaos, yet with a little skill, out of that chaos forms could be encouraged to appear. Blots might become clouds or the silhouette of hills. For Bryson, Cozens 'anti method' clarifies what the official ideology of drawing-as-transparency habitually mystifies. That the relation between subject matter and line is not at all a question of before or after.
Though far from being a work of philosophy Cozen's method/manual anticipates the broad outlines of Merleau-Ponty's description of the intending consciousness as always already in the world, in the thick of material existence.
Drawing the line involves an interlacing of outside and inside, a permanent cross-over between interior (the artist's mind, sensations,sensibilities) and exterior (paper, pigment,stylus).
A Walk For Walk's Sake.
Norman Bryson.
Studio Silences of Space-Time Phenomena/Phenomenology.
Existential becomings in the thick of our material existence.
The Poetics of Space.
Gaston Bachelard.
The Primal Scene of Drawing/The Trace of Butades.
Is all about preserving loss/the blankness of paper and a hand that is about to make its first trace on the surface. Drawing enacts the very moments of trepidation when a new image is about to enter the world.
Drawing is an art of presence and transparency of phenomena unfolding, a fusion between the artist's mind, the artist's hand, and the beholder's gaze.
On Drawing.
The work of observation is necessarily shaped by the line it leaves behind.
The drawn line conditions or models the selections from the field of observation. It launches observation along a particular direction or path.
Sunlight enters into architecture and sensations of bodily presence/perception.
Vessels unfolding through durations of light and dark.
Flesh/Sensation/Paint/Francis Bacon.
An Unconditional Body from Social Objectivity to the Extremes of Subjectivity.
Acts of both presence and transparency.
Mapping Subjectivity/Gathering Matter.
Organism-Person-Environment.
Architectural Body.
Art works and artists, all manifests themselves at the social interaction and reading/rendering of subjectivity.
The Stage of Drawing.
Gesture and Acts.
Like the drawings themselves, the exhibitions loyalty is to the immediate experience of the individual image rather than to the totalizing logic of art history complete with its grand narratives of social and cultural change. The exhibition reveals the convergence of real time operations (realities) the artist's visual idea in the time of its coming into the world, and the always ongoing work of viewing.
Pathways of difference, of the brush and pencil as they move through their respective spaces.
For The Brush.
Before it can touch the surface of the canvas, the bush has to orient itself according to the four sides of the frame, and then according to the total sum of the marks that have already appeared on the surface of the picture. It has to hover, to hesitate, to sense as though by dowsing where a channel in space may now open up, a groove in the total surface that the brush may now enter.
For The Pencil.
In drawing the presence of the 'reserve' frees the pencil from this complex calculus of the totality, reducing the scope to an area that can be taken in at once. A local area, that lies where the hand is now in praesentia. For Bryson this introduces the possibility that the drawn line, maybe closer to the immediacy of the artist's thought and perception than the line made on canvas.
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