Confessional Spaces~Spatial-Situationist Apparatuses : A Line of Flight, Vessel, Sculpture or Fiction.

Clay-Ceramic/Thinking Architectures/Interior Places.

2024. Ceramic. 260mmL x 350mmH x 160mmW.

Making Spatial Research Creation.

Interior Social Places : Perforated Inner Spaces

Pigeon Houses/Dovecotes for Philosophers.

This item resembles a handmade rustic bee hotel, often used in gardens as a wildlife habitat.

It features pre-drilled holes designed specifically to provide nesting spots for solitary bees.

The structure is typically constructed from wood, sometimes featuring recycled or scrap materials. 

A "line of flight" (ligne de fuite) is a core concept developed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus. It represents an act of escape, a sudden rupture, or a creative vector that allows a rigid system to break down and transform into something completely new.

What do I know?

Michel de Montaigne.

A house for confessing animals.

Michel Foucault.

What does Deleuze mean by plane of immanence?

Plane of immanence (French: plan d'immanence ) is a founding concept in the metaphysics or ontology of French philosopher Gilles Deleuze. Immanence, meaning residing or becoming within, generally offers a relative opposition to transcendence, that which extends beyond or outside.

Pink Cosmos : Research Collage~Diffractive Inclusions and Annotations

Google Lens

Panopticon~Peter Gabriel

The image shows an open book, "The Activist Drawing: Retracing Situationist Architectures from Constant's New Babylon to Beyond," edited by Catherine de Zegher and Mark Wigley. The book features a diagram of Jeremy Bentham's Panopticon prison design. The Panopticon is a circular building design intended to allow a single observer to monitor all inmates without them knowing if they are being watched, which induces a sense of permanent visibility and self-regulation of behavior. 

Google Lens Artwork Details. Artist: Russell Moreton, a UK-based contemporary artist specializing in experimental drawing, alternative photography, and ceramic art. Concept: This piece forms part of his exploration into “Spatial Poetics” and the concept of “Fragile Architectures of Hapticity and Time,” which draws heavily from Gaston Bachelard’s philosophical readings regarding memory, refuge, and spatial daydreaming (reverie). Material & Structure: The artwork consists of slab-built earthenware or terracotta clay. It takes the minimalist silhouette of a house or primitive shelter, punctuated by precisely drilled circular apertures and incised linear markings that imply schematic cross-sections, architectural measurements, or coordinates. Surface Finish: The surface displays a heavily textured, matte, earth-toned finish achieved through slips, iron oxides, or specialized atmospheric firing techniques to simulate weathered stone, rusted metal, or aged brick. The philosophical concepts (like Bachelard’s The Poetics of Space) that inspire this work. The firing techniques used to achieve these specific earthy surface textures. Other pieces in this specific ceramic series.

Brian Clarke : Properties of Matter and Imagination (Working Text)

Brian Clarke

The Art of Light/Paul Greenhalgh, 2018.

Sainsbury Centre for Visual Arts

Architecture and Material Practice, Katie Lloyd Thomas.

Water and Dreams; An Essay on the Imagination of Matter, Gaston Bachelard.

Properties of Matter and Imagination

FUSION OF PHYSICAL/METAPHYSICAL

Working Title : An Inquiry with a Material Practice

The poetics of glass as a super-cooled liquid.

Molten Fluidity.

An organic flux frozen for an instant.

Chaos and order, flow and turbulence, pooling and shifting translucence.

Chemistry becomes alchemy, the banality of the raw materials - sand, metal and minerals – turn into a magical universe of the imagination. Perhaps this is the key to Brian Clarke's stained glass; it embodies the fusion of two things that normally don't mingle; the physical and metaphysical.

Botanical

Cosmological

Biographical

The screens are an intense site of innovation and artistic consolidation. Some of the screens are principally about the organic flow of forms derived from nature; some of them deal with ideas that push into universal concepts and have a symbolist, otherworldly ambiance; and some yet their driving force incidents, memories and emotions that shaped the artist's life.

The Modern World (the artist's attitudes to)

Life

Violence

Mortality

Many of the screens are highly specific to an incident or influence, the titles give us a clue to the complex symbology at work and the intertwining of the artist's personal response with wider perceptions about place.

Contrapuntal/Counterpoint music introduces multiple melodies that are equally important.

Polyphony describes the use of overlapping melodies.

For Clarke the concept of a screen as a vehicle of artistic expression is not a new concept, rather it clearly resonates back through his life, becoming part of his artistic consciousness virtually from the start of his work in glass.

Literal and Phenomenal Transparency

Layering of Planes/Layering of Spaces

Rowe and Slutzky 1982

What exactly is a screen and what does it mean in the context of modernity?

A screen is simultaneously a physical object and a complex conceptual metaphor. We use screens to divide and to mask things off from each other, and as boundaries/barriers to hide behind. At the same time, the screen provides ways of looking at things/displaying; we screen films and we screen people. We look through them, and they can act as a catalyst that changes our vision of whatever is on the other side. In its usage in art, a screen is automatically a series of images – a diptych, triptych or polyptych – a sequence of free standing panels that allows the artist to develop a narrative and aesthetic theme.

Screens divide up space and make it function differently.

Alabaster windows before glass. (contemporary windows by both Soulages/Sigmar Polke/Iglesias

The Glass House

The screen as emblematic of modernity.

Conceptually, the sensibility at work in many early Modern buildings was one of space divided by screen walls and windows. In this sense, the giant windows at either end of Norman Foster's seminal Sainsbury Centre building for example are light-screens.

The nature of Brian Clarke's architectural practice, in which his core practice is painting.

It is through painting that I understand how to view architecture. It is through painting that I can appreciate the rhythm of the poem. It is through painting that I can appreciate and draw pleasure from the structure of a well-composed sentence. And it is through painting that the complexity of music makes itself understood to me. It is through painting, in fact, that I am.

Brian Clarke, 1989.

I do not identify mostly with painting, but I identify mostly with all other things because of painting.

Brian Clarke, 2018.

Clarke is gripped by the technology and engineering of how a building is made, but also by the psychological function and its emotional impact, he refers to himself as an architectural artist.

The medium of glass in its modern form will only be seen when people have been sufficiently exposed to it.

During the 20^th century – the age of specialisation – theorists and historians were obsessed with separating out the arts disciplines, positioning them in specific groups or classes, and then subjecting them to philosophical discourse as to why they belonged there. In short, the Anglo-Saxon world in particular artificially created the categories of art, design and craft, and then intellectually policed them. Stained glass was inevitably positioned as a craft, with all the confused cultural and economic consequences of this class allocation.

Clarke with the complexity of his practice and interests has led to embrace the concept of gesamtkunstwerk (total works of art). A concept first championed by Richard Wagner, who perceived opera as a means of combining all of the arts, including music, and literature, in order to completely surround the spectator. In the visual arts, it is essentially about generating a complete art environment, in which all elements are orchestrated into an aesthetic whole.

Charles Rennie Mackintosh, Frank Lloyd Wright, designers of the De Stijl movement.

Contemporary Opera/Ballet/Dance : Choreography Wayne McGregor

I first consciously noticed in 1977 that a 'duality' or 'contradiction' existed in my work. During that year I made the pictures entitled Dangerous Visions. These ten paintings were in large part born out of the Punk Rock movement and carried a nihilistic attack upon the orthodoxies of the day. They are in part an attempt to undermine conventional ideas about art and beauty, whilst also attempting to convey primary emotion. In the same period I designed a number of stained glass windows and free standing pieces, some of which are abstracted Arcadian landscapes in celebration of an as yet undefined optimism.

Brian Clarke, 2018.

The Orthogonal Grid Interrupted by Organic Material
Neo Baroque, Postmodern rendered/computer generated surfaces.
New Forms of Media Aesthetics, Peter Greenaway

Much of his oeuvre, and his deliberate disturbance of rhythms, of interruption as a tool in art, and about the reconciliation of contrary forces. We encounter this visual dialectic, of interjection and then reconciliation, frequently across the range of his imagery. The artist often creates a grid-like, geometric pattern across the picture frame, and then he interjects lines and marks, often as a more flowing, organic nature, to break this regularity.

The Interrupted Grid/Motifs

Interjection of Lines and Marks/Anomalies

The Fusion of Organic and Artificial Phenomena

Incidents in his life are fundamental to the mood of the work.

The screen confronts us with the timeless ubiquity of death and presents the silent anonymity that follows the chattering individuality of life.

Chill Out, a giant collection of skulls referenced from a catacomb, Subiaco, near Rome.

Grisaille

Pointillism

Divisionism

Dot Matrix, (The Swimmer, Clarke) see also Johan Thorn Prikker/Sigmar Polke (Girlfriends)

The concept of juxtaposing dots and marks of pure colour.
Mesh Topologies 

Despite his deep interest in first generation abstraction and, most notably, Constructivism and De Stijl, Clarke has never accepted pure abstraction as a given. He has always been a symbolist.

Calligraphic drawings on sheet lead.

An idiom of sheet lead, with stained glass, relief drawing, attachments and sgraffito-style mark making.

The artist has through the leaded works revealed how the physical becomes the metaphysical, by turning lead – a pragmatic material in the stained glass process, a necessary physical component of the discipline – into poetic expression, into imagery saturated with universal and personal iconography.

All art is phenomenological, every aspect of the celebration that is art comes out of this encounter between two physical actualities, the material of art and the body of the spectator. Everything else – the poetry, ideas, emotions – emerges from this basic fact. The touchable physical stuff, the glass and lead that impacts our senses, our bodies.

Night Orchids

Embodying the idea of metamorphosis , the process whereby the human and the natural fuse together.

The orchid also has a twilight feeling of hanging between life and death, between beauty and decay, and as such it reflects a central theme in much of Clarke's recent work; mortality.

The orchid itself has been dissected and disassembled, but it is still has the unsettling, heady ability to simulate human sexuality.

There is another kind of fragility to many of these images, or should I say to many of these flower. They appear to have been wounded, bruised. Indeed, they would seem to be bruises blossoming before one's eyes – Fleurs du mal of an intensely physical kind.

Robert Storr.

Francis Bacon

The Logic of Sensation

Gilles Deleuze

Memento Mori

The inevitability of things.

The banality to evil, and of beauty in destiny.

Not to constantly remind oneself of mortality is to reduce the intensity and urgency of the living moment. It is essential part of the human condition.

Brian Clarke, 2018.

Memory as a tool in the processes of the imagination. One can look at Clarke's work and be moved by it without knowing the stories buried in it, but the narratives are a vital cerebral tool for the artist; they drive him along and affect his formal decision -making, contributing to the atmosphere of finished pieces. His use of memory, in fact, directly connects him back to the intellectual formation of modern art.

The use of memory as a conceptual tool.

'Every instant has a thousand memories'. Henri Bergson.

Bergson is implying that we constantly carry our past experience around with us, that it impacts every aspect of our normative experience, everything we look at, touch, hear or taste. Our memories interpenetrate the fabric of our consciousness in support of this notion, Marc Auge has recently suggested that 'the past is never wholly occluded either on the individual or the collective level'.

Memory is a means by which the artist's subjective consciousness can be harnessed and used to impact, inflect and transform the objective formal processes of artistic creation. It is a principal tool with which the artist can explore the nature of the human.

Bergson pointed out that one could take a million photographs of a room, from every conceivable angle and level of detail, but these photographs could never capture the experience one has of entering the room. In other words, there are aspects of human experience we cannot capture photographically; we must find other means of describing the world.

Objective and subjective visions of life - and death – come together in this fusion of history and memory. Ultimately, it is up to us to make connections and develop themes.

Metaphysical Poets, John Donne, 1572-1631.

A Valediction of Weeping.

Christopher Walmarth, Sculpture, using metal and glass through the minimalist idiom with poetical content.

Liminality

Numinous

Spiritual

Transendental

A poem about the absolutely human trait of finding a way to move through tragedy towards hope and the ongoing nature of love; a determination not to forget the euphoria of life in the midst of suffering and desperation.

Explorations on temporality, loss and mourning.

Objects and words come to stand for many things and the personal becomes the universal.

The simultaneity of meaning , that easy shift that carries us from the personal, everyday life to spiritual values of universal themes.

I don't want to do anything that isn't at least an attempt to explore what it is to be a human being.

Brian Clarke, 2018.

UEA Brian Clarke in conversation with Paul Greenhalgh, 2018.

Dangerous Visions, slashed canvas Clarke acknowledges the work of Fontana.

Visual and visionary poet interested in images of deadly beauty, conception and death.

The Faures, colour and grids/grissaille as a membranous veil, a spiritual body.

Erotics of the screened body, dominatrix, ways of sensing the body.

Lilies for Linda stained glass envisioned as a portal/an in-between, an existentialism from the living to the dead.

Trans-Illumination, glass as a kinetic material activated by the movement of light and that of the viewer.

Alchemy and the urban fabric of the medieval mind. ( the leaded skulls beyond the tradition of the medium)

Beginning with a visual idea, a collage of feeling affect, and the honest collision of experiences.

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

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

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

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

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

"Claywork/Correspondences" explores how clay, as a material, and the resulting artforms, can reveal situated interactions between bodies and habitats, emphasizing the material and relational aspects of human-environment connections. 

Here's a deeper dive into the concept:

Clay as a Material of Connection:

Clay, being a natural material found in the earth, becomes a tangible link between humans and their environment. The act of working with clay, from gathering the raw material to shaping and firing it, involves a direct engagement with the earth and its processes. 

Correspondences and Situated Interactions:

The term "correspondences" suggests a relationship or connection between different things, in this case, the human body and the habitat. By examining claywork, we can understand how humans interact with their environment, how their bodies are shaped by their surroundings, and how these interactions are reflected in the art they create. 

Examples in Art and Culture:

Ceramics and Pottery: The creation of pottery and other ceramic objects demonstrates a deep connection to the earth and its resources. The process of shaping and firing clay involves a careful manipulation of the material, reflecting a knowledge of its properties and behavior. 

Figurines and Sculptures: Clay figurines and sculptures can offer insights into the beliefs, practices, and social structures of past cultures. The forms and materials used in these objects can reveal how people perceived themselves and their relationship with the natural world. 

Glazing and Decoration: The application of glazes and decorations on clay objects can further enhance the connection between the material and the artist's vision. Glazes, with their diverse colors and textures, can transform the raw material into a vibrant and expressive medium. 

Beyond the Object:

The study of claywork can extend beyond the object itself to encompass the broader context of human-environment interactions. By analyzing the materials, techniques, and cultural meanings associated with clay, we can gain a deeper understanding of how humans have shaped and been shaped by their environments. 

Mind and material engagement | Phenomenology and the Cognitive ...

1 Dec 2018 — The preferred analytical convention is to break the line's cognitive life into pieces: first by separating ourselves fro...

Springer

Clays and the Origin of Life: The Experiments - PMC

In our view, the most promising theory to explain the origin of life is centered around the interaction of active sites on clay mi...

PubMed Central

Cherokee Unaker, British Ceramics, and Productions of Whiteness ...

But there is a key difference: in contrast to the map, Indigenous human life on land is omitted. However, three small figures can ...

British Art Studies

Generative AI is experimental.

Clay/Fire/Space-Situatedness.

The Becoming of Continuity/Relations.

In/Out of Material, Tony Cragg.

An Exploratory Ceramic Based Inquiry.

The Ways/Movements of Practice.

Ceramics In The Environment.

Clay, is always a working idea, a matter/material process between things, a form of thinking in process.

The Durational Time of Play/A Lure For Feeling.

You don't need a choreographer to dance, what you need is a choreographic proposition. Propositions are ontogenetic, they emerge as the germ of the occasion and persist on the nexus of experience to take hold once more through new occasions of experience. For Manning what else is an associated milieu but a cornfield for crafting of the as yet unthought, where the microperceptual meet to create new movements in the making.

William Forsythe, Erin Manning, Always More Than One, Individuation's Dance. 2013.

https://axisweb.org/artist/russellmoreton

Crucible Bowls. 2020.

Slab Facades. 2021.

Rutile/Yellow Ochre/Red Iron Oxide/White Raku Slip/Transparent Raw Glaze.

The Moon Tower, Nina Hole. 2000.

The Watchdog, Michel Kuipers. 1990.

Intertwinining Thinking and Making.

Painting in Form of a Bowl.

Quietus, Cinerary Jars.

The Vessel/The Human Body.

Volumes/Voids

Clare Twomey.

Tony Cragg.

Eduardo Chillida.

Paul Soldner.

Julian Stair.

Bryan Newman.

Gordon Baldwin.

Hans Coper.

Lygia Clark.

Richard Hirsch.

Edmund de Waal.

Juhani Pallasmaa.

Steven Holl.

Ceramic vessels and surfaces  for a reflective solitude, an architecture of light,silence and innerness.

Spaces between Objects/Things/Making, Giorgio Morandi.

The House is all about the poetry of shelter and siege from the elements and cosmos.

Gaston Bachelard.

Volume And Space.

Alberto Giacometti's sculpture, 'Man Pointing,' is an important statement in Western art for many reasons, not the least of which is what it says about volume and space. The elongated and spindly form gestures vaguely in the vastness of the space surrounding it. The gesture seems more about the space opened up by it and around it than it does about the physical. There is power in space more palpable than substance. This also is the conceptual heart of the Japanese garden.

Scott Meyer.

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

With Fire.

Richard Hirsch.

A Life Between Chance And Design.

Scott Meyer.

The Psychoanalysis Of Fire.

Gaston Bachelard.

Gaston Bachelard was intrigued by the process of imagination, the way in which the pensive mind brings to any given reality a multiple perspective. About many substances such as earth, air, water, and fire, he contended, we harbour subconscious convictions which modern science may disprove in fact but cannot seem to eradicate from artistic reverie.

Northrop Frye. 1964.

Against Hylomorphism.

Gilbert Simondon. 1964-89-2005.

Individuation, the generation of things, should be understood as a process of ontogenesis in which form is ever emergent, rather than given in advance.

The Clay can take to the mould and mould the clay.

Simondon, took the essence of matter or the material to lie in form-taking-activity.

Brian Massumi. 2009.

Concepts rendered into material relations.

Making new aesthetic utilities, materialities for thinking about the world.

Making is central to our legacy as a society, materially, economically, ecologically and socially.

A modern version of hylomorphism is enacted by a culture that furnishes the forms and nature the material. In the superimposition of one upon the other, human beings create the material culture with which, to an ever increasing extent, they surround themselves.

Tim Ingold. 

Urban Spaces, palimpsest, impressions, traces, ecologies, redundancies.

Frames, Handles and Landscapes.

Georg Simmel and the Aesthetic Ecology of Things. 2016

Eduardo de la Fuente.

The tool/the thinking hand, has grown to be a part of the hand, using a tool is both a practical and aesthetic action involving the artful manipulation of material by hand.

Juhani Pallasmaa.

Affordances of Things.

Affordances provide strong clues to the operation of things. A psychology of causality is at work as we use everyday things.

Donald Norman. 2002.

Ecological Approaches to Aesthetics.

Aesthetic Patterning/Matters in Everyday Life.

Organism-Person-Environment

Ecological, interested in the organism-environment relationship.

An aesthetic ecology, each thing is a mere transitional point for continuously flowing energies and materials, comprehensible only from what has preceded it, significant only as an element of the entire natural process.

Theory/Culture/Society, Simmel 1994.

Matter and materials are lively and require attention. 

Materials continue to thwart us in unpredictable ways.

Jane Bennett.

Aleatory, by chance, lots of the 'acts' of nonhuman agents are aleatory exactly because they are not directed by any intension.

In And Out Of Material. 2007.

Tony Cragg.

All our senses scan the space in front of us; the future, in both a literal and metaphorical sense, lies before us.

Tony Cragg, 1998.

Cutting Things Up.

Material In Space.

Scale.

Impulses through Drawing.

Working Things.

A diffractive methodology is a knowledge making process, understood by the physical phenomenon of an energy or force as it flows across an obstacle. Diffraction is the process of ongoing differences, and ass such it can be used as a tool for analysis, as it attunes us to the differences generated by our knowledge.

Karen Barad.

Areas Of Presentation and Participation.

Historic and Social Sites, Art Venues and Exhibitions.

Making Theoretical Objects, Installations and Interventions.

Generation/Generative/Material.

I think mass and energy need to be generated, any effective change has to be generated. It's to do with a positive directed  initiative to change things.

“Generative” for me, in terms of my work, is the fact that within my own work, within any given period the work generates itself and there is a self-generating characteristic. The work I'm making today is only possible because of the previous work of three or four months ago and that was only possible because of the work of nine or twelve months ago.

Even if it's not a linear thing, things are generating. There is a sort of self-propagating, self-generative energy that is inherent in the material, I think. And even in the  term “generative”, from “genus”, is the idea of making a family group of things, whether making an associative group of things or creating a population, a species of things which “relativise” generation.

Tony Cragg.

The material is just part of the vocabulary of meaning.

Cragg wanted  to give the materials 'more meaning, mythology and poetry' He used the skills available to him at the EKWC residency to create ambiguities and tensions, to suggest past and present, to complicate rather than to describe.

European Ceramic Work Centre, Netherlands. 1990, 1992.

With the return of Cragg to studio based work in the early 1990s, when he was experimenting with clay; ideas around humanness, archaeology, and ritual were being explored within different areas of the fine arts. In addition, studio ceramics were frequently using the vessel as an initiating point to develop new forms and sculptural ideas.

Laibe, with its rich possibilities of interpretation that incorporates the past in the present and the universal aspects of human survival within the ceramic vessel form, lies at the heart of these complex and overlapping areas of practice.

Imogen Racz. 2009.  

The Ceramics Reader. 2017.

Andrew Livingstone.

Kevin Petrie.

Ceramics : Materiality and Metaphor.

Why are Ceramics Important?

The Existential Base, Philip Rawson.

Containers of Life: Pottery and Social Relations, Silvia Forni.

Ceramics and Metaphor.

Analogy and Metaphor in Ceramic Art, Philip Rawson.

Sculptural Vessels, Tony Cragg's  Laibe and the Metaphors of Clay, Imogen Racz.

Ceramics in Contexts.

Historical Precedents.

Studio Ceramics.

Sculptural Ceramics.

Ceramics and Installation.

Theoretical Perspectives.

Conceptual and Post Studio Practice.

Contemporary Clay, Clare Twomey. 

Extending Vocabularies: Distorting the Ceramic Familiar

Clay and the Performative 'Other', Andrew Livingstone.

Gender, Sexuality and Ceramics.

Identity and Ceramics.

Image.

Figuration and the Body.

Ceramics in Education.

Ceramics, Industry and New Technologies.

Museum, Site and Display.

Re-defining Ceramics through Exhibitionary Practice (1970-2009), Laura Breen.

Ceramic Houses and Earth Architecture.

How to build your own.

Beginning.

Model Making.

We will begin practising by constructing a room and covering it with a simple dome or a vault.

Once a person has constructed a model, within hours, he or she is encouraged to learn and understand more. The knowledge thus gained will trigger quests in building with earth. It is possible to learn the basics of thousands of years of earth architecture within a day if it is taught in the simplest terms, and  if all our senses are involved in the learning process. 

Nader Khalili.

Re-imagining learning, workshop session, conducted and initiated a walk across a landscape with clay being actively manipulated by a number of participants as they engaged with the material, their bodies and the landscape.

Beach firing at St. Ninian's Scotland, experimental kiln and site built reduction pits excavated from the beach. Pots fired and reduced with found materials, then washed in the Irish Sea.

Hans Coper, essay on professional practice, including his architectural ceramics. 

Crafts Study Centre, Farnham.

Sectional Works.

Slab Constructions.

Plasterwork, Pressmoulding.

Working with materials/substances/drawing and traces of making.

Raku, engobes, slips, oxides, templates, spray diffuser, stencils, fabric inclusions, intermediaries, Indentations, found objects, ferric chloride,  

Reduction materials, woodland branches through shredder.

Clay body additives, molochites, mica, vermiculite. other material,

Clay Tools : Block Strips and Combs.

Sound Vessels.

Capacitors/Insulators.

Passive, encapsulated layers.

Architectural Slab Works.

Ceramic and gesso/whitewashed/waxed/painted/bound/surfaces and structures.

The Chapel Of St.Ignatius.

House, Black Swan Theory.

Steven Holl.

Nail Collector's House, New York.

White plaster walls, hickory floors, and cartridge brass siding nailed in pattern over a wood frame, create a tactile weathering for this structure, a poetic reinterpretation of the industrial history of the site and the pre-Civil War architecture of Essex.

The jewel-like Chapel of St. Ignatius contains the essence of Holl's vision, his interest in the phenomenology of space, his passionate investigations of form and material, and his use of reflected light and colour.

The angst of a concept before spatial definition, interior and exterior are simultaneously explored.

The largest 'tilt-up' slab weighs 80,000 pounds and is filled with reinforcing steel. Its greatest stress is during the lift.

Working from the specific towards the universal.

The Built and The Unbuilt.

A theory of architecture that is mutable and unpredictable.

The body as a theoretical object doing/architecture (architecting its situatedness, Oren Lieberman)

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

The Black Workbooks : Forces of juxtaposed areas.

Harleston 290623

Research Creation : Revisiting the image archive as an anachive for movements in material matters.

Perception, folds in an infinite play of foregrounding and backgrounding.

Eternal objects are nodes of relation for this elastic process of pulling in and out of experience's continuum. Perception moves-with these openings towards changes in nature occasioned by minuscule folds that are endlessly unfurling and bending on the edges of juxtaposed areas.

Erin Manning, Deleuze, Relationscapes.

Black Artist's Books

Visual Art, WSA 2007 

Like a mist or fog that makes their surface sparkle at speeds that no one of our thresholds of consciousness could sustain.

Deleuze, 1993.

Assemblages of movement : Human Bodies/Spatial Bodies/Body Matters

Outpost 201124

Parables for the Virtual.

Brian Massumi. 1985

When we think of space as 'extensive' as being measurable, divisible and composed of points plotting possible positions that objects may occupy, we are stopping the world in thought. We are thinking away its dynamic unity, the continuity of its movements. We are looking at only one dimension of reality.

If you know where you where you will end up when you begin, nothing happens tn the meantime.

Bergson redefined space in terms of movement, space is not a ground on which real motion is posited, rather it is real motion that deposits space beneath itself. Space comes into being through motion or event.

On Architectural Experience.

Architecture has the potential capacity on human/spatial bodies to affect or to be affected.

Relations of Movement and Rest.

The bodies capacity to enter into relations of movement and rest, to affect or to be affected.

Massumi/Spinoza/Deleuze.

Architecture still remains primarily as a discussion of distinct bodies, spatial and human with the two remaining physically and psychologically distinct.

Violated Bodies-Spaces.

Intense confrontations between body and space.

Tschumi allows for architecture to be considered as an assemblage, composed of a space and a bodily event, however, even his 'equation' retains a demarcation between spatial bodies and human bodies engaging in event and maintaining that the two function according to independent logics, but  serve to affect one another.

Bodies and spaces excrete out of themselves, they penetrate one another, contemporary architecture does not know what to do with such borderless entities. It has no mode of thinking about assemblages of this kind, where once discrete objects leak into one another creating indiscernible masses. There is a multiplicity of bodies, bodies that are forever being created and dismantled, forever in flux.

Architecture between Spectacle and Use.

Anthony Vidler. 2008

Architecture in Abjection.

Bodies-Spaces and their Relations.

Zuzana Kovar. 2018

For Vidler this spectacle architecturre is one that embraces the ideas of image and iconomy.

In addition to carefully placing and posing lone figures within architectural photographs, architecture is also synonymous with casting idealised bodies, Le Corbusier's athelitic figures and his 'Modulor' of an ideal masculine body. And then there are the bodies available in computer models, and the physical little white plastic figurines. These are all ideal figures, doing proper things.

Disjunction.

Volatility-Violence.

Sets in motion a particular series of potentialities that otherwise lie dormant, which can alter architectures physical, social, cultural, ethical and at times political properties. 

Creating a schism between program and space, space and program, it does this so precisely because event-space and movement each follow a distinct logic, that when they are superimposed over one another they create disjunction.

For Tschumi there is an intense confrontation that occurs between body and space, bodies violate space and space violates bodies, the relationship between the two is symmetrical.

Mediators : Vessels and Drawings creating Intercessors

Spaces/Aesthetics : 'Spatiality' between Objects, Concepts and Beings.

250724

In his discussion of mediators, Gilles Deleuze (1995,121) describes being taken up in the motion of a big wave. He notes that instead of looking for 'points of origin' attention should be directed to mediators that enable a 'putting-into-orbit' that facilitate the movement of concepts, sensations and matter without recourse to origins or destinations.

Katve-Kaisa Kontturi uses the term 'intercessor' instead of  'mediator' as it aligns better with Deleuze's argument, where importance is placed not on mediating between already formulated shapes or beings, but on opening beings up to movement through a third actant.
For Deleuze (1995,125), Intercessors are about entering into or creating a series.

Gilles Deleuze. 1995, Negotioations, 1972-1990.
Translated by Martin Joughin. New York: Columbia University Press.

Notes, Introduction
Ways of Following
Art, Materiality, Collaboration.
Katve-Kaisa Kontturi

Open Humanities Press
London 2018



Immaterial Architectures : Raveningham Pavilion #1
DSC_3283 Raku Beakers : Lead Glaze/Yellow Ochre
DSC_4049 Field Aesthetic : Causality/Layered Drawings
DSC_3776 Sacred/Secular : Vessels on Painting
DSC_4097 Field Aesthetic : Causality/Layered Drawings
DSC_8923 Artists Studio : Collage/Photography/Painting

Outpost Studies
Norwich
UK