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). 

A Body Of Relations : Knowledge Production/Creative-Embodied-Practices

GILDENGATE HOUSE

*STUDIOS UPDATE*

Due to redevelopment of the area, OUTPOST Studios will be closing in February 2025. Founded in 2010, we are thankful for 15 years in this fantastic space! Home to 90+ artists at any one time, hundreds of artists have benefited from studio space over this timeframe.

OUTPOST STUDIO 181121

Organism-Person-Environment/Architectural Body, Arakawa and Gins.

Haptic slippages between subject and object, between what is alive and what is animate.

Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.

https://axisweb.org/artist/russellmoreton

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

Glass/Skin/Permeable/Translucent, Diaphanous and Wondrous.

The Sensation of Flesh/Skin, Surface and Subjectivity.

Material Thinking and the Agency of Matter.

Barbara Bolt. 2007.

Things and Bodies/Shifting Signs

The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.

Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.

Time is persistently liminal, a suspended, extended present.

Mattering/Mutability, Accident, Flux

Experience/Existence/Presence 

Life Drawing/Staging Oneself/Others

Body in Space/Resilience, Endures

An ecological view of cognition, knowledge of the world comes from engagement with things.

Rather than studying the world as an object, we  correspond with it in its own movement of growth or becoming. This correspondence sets up a relation with the world which opens up our perception to what is going on so that we can respond to it.

Tim Ingold. 2013.

Making as a process of thinking.

Making involves the socialised, skilled artist body labouring with materials, responding constantly to tactile, visual and emotional feedback from the emerging form. 

I am exploring emergent objects as landscapes, inhabiting them and of making sense through them.

Barbara Bolt. 2007.

Creative 'practice' and the embodiment of the 'social'.

The Life Class/The Artist's Studio.

Knowledge is emergent as the artist engages with the environments and processes of practice.

Adopting a conception of cognition as ecological assumes thinking and perceiving occur as an organism moves through its environment.

The artwork and the work of art produce a knowledge that is performed in the moving interactions of body, material, and social actors in space and time of which the artwork is a trace.

Tim Ingold. 2000.

Event Spaces, as an experience of distributed artistic subjectivity and shared art-of-inquiry. 

A Body Of Relations

Reconfiguring The Life Class

Yuen Fong Ling. 2016.

Intermediaries and happenings between my body and other bodies and their technologies, where their performativity is revealed offering new perspectives on the roles within the life class.

In my fixed physical position as the life model, the notion of the 'pose' reflects a union of the conscious and unconscious, instilled by the act of being looked at, and the ways to record this through optical devices and machines.

Modelling Subjectivities

Life Drawing, Popular Culture and Contemporary Art Education.

Margaret Mayhew. 2010.

Drawing is important because it delineates between elements in the physical, visual, psychological and cultural field, it also delineates between bodies and spaces, art and fashion, and present uncertainty verses timeless tradition.

The act of drawing itself involves considerable self control on behalf of the drawers, not only in mastering hand-eye coordination, but in concentrating on the present moment, the present action and in the immense discipline of looking at a naked body, culturally marked as sexually available, and not displaying sexual interest.

Margaret Mayhew. 2010.

The body is never isolated in its activity but always already engaged with the world. 

Merleau Ponty. 1999.

Through the configuration of the body as potentially transparent, against which the human being can only push with her hands at the limits physical and psychic geographies that are between inside and outside. 

Photography and the permeability of time evoking a physical experience of observing and examining other worlds.

Aesthetics of intimacy, photography and bodies of desire, the gaze of the passionate camera.

The intimacy and equivalences created through the photographic experience.

Her inert body both inside and outside the vitrine.

Potentially something dangerous about the  experiments with her body, with and into its layering and embodiment within speculative spacetime dimensions.

Here the viewer has the sensation of seeing through a double protective layer of glass and skin.

Art Practice/Building Distant Realities/Wonder

Like glass and within the glass, with the skin that separates the body from outer/other space as well as inner geographies and selves.

Written on the body, maps and navigations of interior spaces. Winterson/Woodman.

Her poetic image of a space that presses psychically on her from the outside.

The earthbound, partial female body, transgressions of the everyday limitations on the body.

The psychic geography manifested within frames of spatiality that becomes an inner space that flips outwards and defies limits.

Through and beyond the drawn/sculpted and painted body.

Site for psychic inner explorations, a corporeality for others rooted in the body's present moment of experience.

Diffracting Drawing and Painting.

Mattering as a reconfiguration of its own making, understanding and encountering.

Atmospheres : Architectural Environments, Surrounding Objects. 

Peter Zumthor. 2010.

Manuel Neri, Studio, Benicia, 1980

Francesca Woodman, Untitled contact sheet, Providence, Rhode Island, 1976

Grisaille Patterning : Drawing into/Dwelling with incipient movements of interference and negotiation.

Divergent Practices/Choreographic Thinking

Exploring and Activating/In and Out of Material.

Painting/Choreography divergent propositions on the verge of things.

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

For Erin Manning, thinking choreography as a technique for bringing to expression the patterning of incipient activity towards the definition of a movement-event, an activist philosophy. 

Grisaille Patterning/Fielding Thinking : Landing Sights/Painting Surfaces/Mapping/Choreutics 

Painting and Mapping/Choreutics 

Chaos, territory, art, Deleuze and the framing of the earth.

Elizabeth Grosz

Spirituality in Contemporary Art, the idea of the Numinous

Jungu Yoon

Peter Zumthor, Atmospheres

Architectural Environments : Surrounding Objects

House : Black Swan Theory

Steven Holl

Architectural painting for glass exploring slowness and repetition.

An Anthropology of Landscape

Christopher Tilley

Kate Cameron-Daum

lightness, luminosity, fluid, hybrid media, material, 

asperity, field, gesso, molochite, yellow ochre

The Sensations The World Calls Forth/Water at Hungate.

Outpost 150723

Hungate Medieval Art and Architecture.

https://www.axisweb.org/p/russellmoreton/

The Sensations The World Calls Forth.

We paint-sculpt-compose and write with sensations.

INSIDE THE VISIBLE

impulse of the possible

an elliptical traverse of 20th century art.

in, of, and from the feminine.

edited by M. Catherine De Zegher. 

front cover:

Anna Maria Maiolino, 

Entrevidas (on the margin of life), Installation, photo: Hanzy Stakl. 1981

The plane of composition through which articulation eventually emerges is populated by the thought of the work, its inner rhythm. Deleuze and Guattari calls this inner rhythm a block of sensation.. Blocks of sensation are forces that compose thought's durational attitude.

Deleuze ,Guattari. 1994.

Rhythm is determined not by the length of the edited pieces, but by the pressure of the time that runs through them.

Sculpting in Time, Tarkovsky.

For Tarkovsky, editing from within seeks to create space-time, not simply reproduce it. To edit from within is to compose with the more-than of language's actual articulation. It is to work with language's pre articulated virtual force, directing enunciation such that its virtual effects are felt within actual expression.

For Amanda Baggs, communication through words remains inadequate to the singular experiences of sensation the world calls forth.

Thought is a proposition for Feeling-In-Motion.

Thought is more than a form taking of words.

Words are an extra component of the experience of articulation, not its final form. Words cannot fully express experience's complexity.

Language must be called forth as a layering-with of the affective tonality of expression.

An inquiry and its translation that transduces the event of language's becoming with sensation.

Language does not replace the sensual exploration of the relational environment, it moves with it, becoming one more technique for composition.

The Relational Cusp : 

Of Becoming-Events-Objects-

Movements Expressing The Force Of  A Relational Environment.

This sensory becoming is a form of thought.

Being/Becoming in a constant conversation with every aspect of my environment, reaching/reacting physically to all parts of my surroundings.

Artworks/Art working to create a relational nexus that can expose the world at the incipience of its sensory becoming.

Relationscapes : Erin Manning.

Mechanisms of Seeing : 10 Days at the Laundry/Axisweb post migrations

MOLECULAR SIEVE, is a performative analysis of “this place” utilising the simple properties of the pinhole camera. This appropriated apparatus makes visible the extrusive nature of time as it is deposited on the photographic surface. 

The extended durations required to register “place” impart a sense of dwelling as recorded by the apparatuses passive gaze. These surfaces record and register a relation constructed by the architecture of the chamber and what is beyond it. Movements when visible appear as simple abbreviated enactments caught like inclusions within this consolidated and timely consolation of place.

https://www.axisweb.org/p/russellmoreton/#projects

Cameras consist of small voids, the ‘camera’, a lens and photographic film. They are camerae obscurae  that collect light and allow it to meet the surface of the film. But in fact the light comes from the larger void outside the camera. The moment the light has registered on the light-sensitive surface of the film, memories are constructed. The memory is literally conceived in this meeting and is added to life as an additional layer of being. The process through which void meets surface is therefore also about love—the love of ancestors and relatives, but also of life and its conception.

Daniel Libeskind’s building will, when finished, offer a path for the visitor, the path of history that crosses the void of commemoration. 

Russell Moreton Axisweb: Contemporary Art UK Network :

Alternative photographic photograms and collages for the CD artwork to promote the ambient music of Kontakte.

Limited edition CD artwork, and booklet.

Russell Moreton,  | Axisweb: Contemporary Art UK Network