Site~Emergent~Ecologies~Landscapes : Drawing translations within/between the photographic document.

Site~Making~Fieldworks.

Borderlands.

Alternative Photography.

Enchantments and Crossings : Somatic Effects~Enchantments

Topologies, mappings and their correspondences (thinking~feeling) between here, there, and elsewhere.

Playing with 'phronesis' a poetics of a spatial encounter and its enclosure forming an immediate immersive environment.

Developing inquiry through a process of familiarization and not-knowing, being undone by theory where things emerge, are accumulated, and are nurtured into being through relations (Continuous~weather-world sites) with human bodies and spatial bodies.  

Archiving materials, sites and events, resulting in an incidental aesthetic gathering.

Outpost Studio 030222

Immersed in Matter(s) of an Emergent and Continuous Weather World.

Covehithe : Walking/Thinking/Physical Entanglements in the Landscape.

Walking into Emergent Landscapes : Covehithe Beach.

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

Walking was a means of personal myth-making, but it also shaped his everyday longings:

Edward Thomas not only thought on paths and of them, but also with them.

To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,

Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

Rendering Visible : Heuristic Mappings/Assemblages and the Production of Open Subjectivities

Visual material must capture non visible forces. Render visible, not render of reproduce the visible

Deleuze and Guattari

Interior : Gridshell

A Hut of One's Own, Ann Cline

For Irigaray, wonder corresponds to time, to space-time before and after that which can delimit. 

Wonder constitutes an opening prior to and following that which surrounds/enlaces.

The Intuition of The Infine

The intuition of a subject that at each point in the present remains unfinished and open to a becoming of the other that is neither simply passive nor simply active.

The Poetics of Space : The house, from cellar to garret. The significance of the hut.

"He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to  the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar."

Gaston Bachelard.

Texts,Annotations, Foundations, Pathways, Corridors, Bookmarks, Walking, Thinking, Ramble, Cross Country, Disciplines,

Walking into Emergent Landscapes : Covehithe Beach
The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane
“ Walking was a means of personal myth-making, but it also shaped his everyday longings:
 Edward Thomas not only thought on paths and of them, but also with them.”


“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

DSC_0205 Archipelagic

Research Collage, Waverley Project/Reading Rooms

Blueprints : Anthropological Forms
Botanical traces with leper graves

Walberswick : DSC_0181a/Digital Pinhole. 2016

Being/Becoming : Aesthetics and Subjectivity
Gaston Bachelard, The Poetics of Reverie.
Nick Cave, The Lyre of Orpheus.
Hildur Gudnadottir, Saman.

Prints From Secrets and Ambiguity
Is there still an aesthetic illusion? And if not, a path to an “aesthetic” illusion, the radical illusion of secret, seduction and magic? Is there still, on the edges of hypervisibility, of virtuality, room for an image?
— Jean Baudrillard, The Conspiracy of Art, 2005

Jana Sterbak
Remote Control 1989

A heuristic technique (/hjᵿˈrɪstᵻk/; Ancient Greek: εὑρίσκω, "find" or "discover"), often called simply a heuristic, is any approach to problem solving, learning, or discovery that employs a practical method not guaranteed to be optimal or perfect, but sufficient for the immediate goals.

Sensate
Non Spaces : Fire escape Winchester School of Art

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

Corpus/Borderlands : A Society in Excess, Marc Auge.

Corpus : Photographic drawings from human outlines

Borderlines : Cley 19, speculative submission for exhibition

ANTHROPOLOGICAL NOTIONS AROUND ISSUES OF SPACES, ORIGINS, SOCIAL RITUALS AND TABOOS.

CREATING CREATIVE ANTHROPOLOGY INTO TEMPORAL SITES, between the concrete and the spatial.

Utilising processes and strategies and terminologies. 

Demarcation, set the boundaries or limits.

Acculturate, assimilate to a different culture.

Ethnology, the study of the characteristics of different peoples and the differences and relationships between them.

NON- SPACES, Introduction to an anthropology of super modernity. Marc Auge. My working practice intuitively reflects and responds to what Marc Auge considers to be the condition of Supermodemity, briefly his defining parameters on the idea of Supermodemity are.

Overabundance of events. 

Spatial overabundance.

The individualization of references. A SOCIETY IN EXCESS.

My creative practice attempts to reconstitute spaces from this condition of Supermodemity into temporal sites, places from which to solicit a sense of a mobile anthropology, a dwelling that is both intimate and public and promotes solitudes and subjectivity.

Marc Auge states the twenty-first century will be anthropological, not because the three figures of excess are just the current form of a perennial raw material which is the very ore of anthropology, but also because in situations of supermodemitiy the components pile up without destroying one another.1

Contemporary Practitioners like anthropologists will attempt to make sense, they will attempt to resolve, to make or rather remake meaning through the processes of observing the phenomena of acculturation. 

1  Marc Auge, Non-Places, introduction to an anthropology of super modernity. (London: Verso, 1992) page 41.

Submission Guidelines

All proposals must be for new work that addresses the brief, artists are encouraged to experiment, be playful and push the boundaries of their practice.

BORDERLINES

Artists translate cultural moments and offer responses to their environment, whether geographical, political or spiritual. Inviting artist's to respond to the theme Borderlines as it requires an inquisitive approach to the site that surrounds them and to the climate in which we live.

Geographical Environmental Landscape

Terrain

Migration (Wildlife/Humans) Transmigration

Socio Political Departure

Borderlands

Borderlines

Borders

Lines

Spiritual Embodied Walking

Wandering 

Wanderlust 

Movement

Borderlines, simultaneously both boundary and threshold.

Visible, Existential, Imaginative, Porous, Contingent, Reflexive, Nowness, Un-Knowing, Awkwardness, Liminality, Territory, Subjectivity,

Concrete Collage : Raku fragment, clay form/photograph, drawing, handwriting and painted surfaces.

 Ancient Lights : Abstract Painting and Constructional Drawing for Architectural Glass. 

Anthropological Landscape : Drawing from archaeological dig, liquid light, field chalk, charcoal. 

Cley, St Margaret's South Entrance : Collage, Sketchbook, working ideas for small glass panels. 

Cell, Court, Domain, Field : Layered paper, paint, and absent objects.

Architectural Concerns : Collage ,drawing, installation, blue prints, historical building plans. Scriptorium : Architectural model for a reading space within a pastoral landscape or community.

Working Notes/Extracts and Fragments from site visit. St Margaret's Church

Silence and stillness, social/historical shelter from/within the landscape

A place acting through our sensate/spiritual world, a space crafted by the specificity of its making/usage. 

An interior sensing space of a protected and defended/fortified silence, affirming beliefs and community.

Subtle and muted, stillness, embodiment from the patina of use. Bleached woodwork, lightness, dryness and the humidity of absences.

Empty and eroded stone mullion windows/ancient lights, architecture framing its un-making worn, broken and repaired flooring surfaces, ceramic and stone.

What does Borderlines mean to you? Boundary and Threshold

Visible, existential, imaginative, porous, contingent, reflexive, nowness, un-knowing, awkwardness, liminal, territory,

Material Process/Inquiry, Praxis, Content, Context

Form, Existential Qualities/Values AGENCY

Mindfullness of the brief to discover things through the inquiry and engagement with the site. 

Develop Inquiry

Documentation, Artist Book, and other media mixed media painting

Small series of glass panels ceramic tiles/facades

Photographic material/photograms, drawings/hangings on Chinese paper

Melancholy Landscapes : The Plague/Vermilion Sands

Film Collages, hybrid processes and temporal states Liminality: Literature/Philosophy/Visual Art

Landscapes : entering/intruding/emerging (holga819) Existential Gestures : Looking away from the sea

Ballard : Vermilion Sands : Speculative Fields/Spatial Practices Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modem type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'

Shusha Guppy, Sunday Times

Walking into Emergent Landscapes 

Walking/Thinking/Physical Entanglements in the Landscape

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,

Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

Walking into Emergent Landscapes : Covehithe Beach

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

 Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

Colouring Light : Brian Clarke : An Artist Apart/Unframing Architecture

Don't Forget The Lamb : Brian Clarke

Filtered Light/Boundary Transgressions.

Between art and information/photography and the invisible

Vectors of Subjectivation

The excitement that accompanies the darkroom/laboratory genesis in which something entirely unexpected is bought to light and comes across undiminished.

Colliding Particles of Reality : Darkroom Alchemy.

An affective in-between that activates an intermediary of relations.

Wim Delvoye : Gothic Works

Brian Clarke

Lead/Lamb

Glass/Lamina

Stained Glass, Painting, Appropriation or/and Collage.

Lead Based Drawings/Lead as the ground of the work.

A lot of people are interested in skulls, but not nearly as much today as in the past.

The skull is not only a memory of who we were but also an image of what we will be.

I think it will probably engage artists as a subject for as long as art exists.

You realize that in the midst of living, death is with us, and I wanted to stay with the skulls.

Brian Clarke.

The Passage of Flesh : Ann Mandelbaum

Whispers of Immortality, the skull beneath the skin, TS Eliot.

Layers Of Meaning : Martin Harrison.

Only colour-happiness with glass culture.

Light permeates everything and is alive in crystal.

Glass brings usthe new era; brick culture is a burden...

Paul Scheerbart, Glasarchitektur, 1914.

Immateriality and Transparency

Technique and Expression in Glass Architecture

The Poetics of Glass

Lightworks : Layered Constructions/Interspaces and Transitions

Simulacrum : Installation in the New Building E. ON Eergie AG Munich.

Andreas Horlitz, 2006.

What thrills me about light is the involuntary subjective response that one has to its expression against the engineering of a building, against a tree, against skin.

But more than anything else it's the way light passes through the membranous filter of leaves.

I suppose I wanted to engage the same kind of disciplines that an architect has to deal with when he's building, because I feel what I do is so integrally married to architecture.

In a way what I'm doing is coming as close as I can to creating my own architectural experience without the interference of an architect.

Lamina : Brian Clarke, 2005.

A thin layer of bone, membrane, a thin plate of tissue, the expanded portion of a leaf

Don't Forget The Lamb : Brian Clarke, 2008.

Lead and Stained Glass

Oil on Canvas

You see stained glass by virtue of the passage of light through it, whereas you see a painting by the light reflected off it. So, in contrast to the static condition of a painting, a stained glass window is in a constant state of change as the day progresses, the clouds move, traffic or people pass by behind it.

Immaterial, Ultramaterial : Architecture, Design and Materials.

Substance, Ron Witte, 2002.

Bodies in Space

Spatial Practice

Spatial Representations

Francesca Woodman : becoming-woman, becoming-imperceptible, 

becoming-a-subject-in-wonder

Lone Bertelsen

We are not in the presence of a passively representative image, but of a vector of subjectivation.

Guattari, 1995.

The figures in Francesca Woodman's photographs often leave the ground, and the photographs themselves seem strangely ungrounded. 

Both the figures and the photographs themselves are mobilised: they become “trans-situational” 

(Massumi,2002) and open up towards “a new space-time” (Irigaray, 1993).

As part of this mobilised opening, Woodman often camouflages the body and/or moves it in front of the lens during exposure.

Camouflage : Neil Leach, 2006.

A Theory of Camouflage.

Camouflage is not restricted to the visual domain. It can be enacted within the domains of other senses, especially smell and hearing.

Camouflage can therefore be read as an interface with the world. It operates as a masquerade that re-presents the self, just as self representation through make-up, dress, hair style etc., is a form of self re-presentation.

Camouflage refers to both revealing and concealing. Camouflage delineates a spetrum of degrees of definition of the selfb against a given background.

Mimesis, Sensuous Correspondence, Sympathetic Magic, Mimicry, Becoming, Death

Narcissism, Identity, Paranoia, Belonging, Sacrifice, Melancholia, Ecstasy,

Mimesis :Paradox or Encounter

Jane Bennett, 2018.

Skin-Surface-Subjectivity.

The body is the origin point for a discussion of spatial practice.

The Roman Years : Isabella Pedicini

Between Flesh and Film, 2012

Francesca Woodman

Gordon Matta-Clark

Spatial Agency and Relationscapes

Yves Klein

Works-Writings

Klaus Ottmann, 2010.

The Battle between Line and Colour.

The Performative Body

Few things are as fascinating as an imprint. An imprint is the trace of a presence-within-absence, the substratum or deposit of a being who no longer exists, the mark left by a moment beyond recall.

Such impressions pose the problem of being and nothingness, fullness and emptiness, presence and absence. Far from seeking to sidestep that problem, Klein's anthropometries address themselves to the heart of the issue.

Klein strove for dematerialization, for the emancipation from matter, in order to overcome the predicament of the art of his time. He ultimately abandoned both pictorial content and form, immersing himself in the boundlessness of pure colour.

Since re-presentation is a cultural artifice, presentation alone can sustain an 'authentic natural realism'. The imprint preserves the memory of the contact. It is a natural 'inscription' preceding writing. 

The aesthetic of the trace is opposed to the aesthetic of mimesis.

It counters the mimetic with a presence.

Body traces, traces of 'health', are records of a pristine state of life.

Seeing chromaticity arising from the modulation of light.

Pierre Soulages/Jean-Dominique Fleury : Conques 1987-1994.

The result was a translucent non transparent glass, that let the light through but not the view: a glass that diffused the light not by reflecting it on its surface but from its very texture.

This modulation of the transparency was the natural consequence of the uneven distribution of ting bits of glass of different sizes, and of their partly “deglazing” during fusion.

Maps of Interior Space

A Swimmer Between Two Worlds, Francesca Woodman.

Katherine Conley, 2008.

Extract, on the nature of  photographic light.

The Self-Representational Photography of Francesca Woodman : Harriet Katherine Riches.

Clementina Hawarden/Francesca Woodman

Both photographers' imagery centres on the portrayal of interior space in which the borders and limits of that space are constantly affirmed and re-iterated. 

Staging their female models against walls, learning against fireplaces, positioned adjacent to thresholds and doors, or gazing wistfully through the glazed panes of windows, the interiority suggested in each woman's imagery is always held in tension with what lies beyond, emphasising the boundaries of public and private space.

Riches, it is their shared manipulation of light to exaggerate a sense of physical containment that my interest here lies. In both women's work, light is not only that medium of clarification and development necessary to the photograph itself, but conversely also becomes the means through which a subject is obscured, contained or constricted.

Becoming

The Photographs of Clementina, Viscountess Hawarden.

Collecting Loss, Becoming Decay, Francesca Woodman, Sally Mann,

Carol Mavor

Projecting Touch

Francesca Woodman's Late “Blueprints”

Emotion, Space and Society

An intimate mode of looking

Woodman insists on the sheer impossibility of dividing the problems of the self from the problems of the medium, and in so doing it compels an intimacy, an inquiry between photograph and viewer.

Francesca Woodman's photographs, Jane Simon, 2010. 

Francesca Woodman's Dark Gaze : Claire Raymond.

The End of Art and the Question of Legibility.

Outside In : Francesca Woodman's

Rooms of Her Own

Johannes Binotto

To divert our gaze from Woodman's body and consider what is going on next to, behind, and around it. Indeed Woodman's photographs always also capture that other; she incessantly switched angles of view and photographed what was beyond her body: the scene of the action, the room itself, calling on us to turn our attention to the spatial situations in her pictures.

National Galleries Scotland

Self Deceit, Eel Series, Untitled Providence,

Francesca Woodman

The Raw Seduction of Flesh

Photographs by Connie Imboden, 1999.

Human Figure Drawing : Daniela Brambilla 

Drawing Gestures, Postures and Movements

The Artist's Reality : Mark Rothko

Philosophies of Art

Teacher's Manual Brockwood Park School

Enquiry and Investigation, Krishnamurti.

John Berger

Bento's Sketchbook

Storytelling, the invisible and the hidden, protagonists are survivors.

Their stories remain unfinished, because they involve sharing, because in their telling a body refers as much to a body of people as to an individual, for them mystery is not something to be solved but to be carried.

The arts, as technologies, are carried along in the same unpredictable history. Their very finality is uncertain. How then can one found a school of art? Perhaps precisely by bringing together artists, that is to say, technicians, who are no longer assured of disciplinary borders, who explore the frontier zones, the limit zones, the in-betweens. . . .

A paradoxical institution, to be sure, since it institutes a decompartmentalization , giving a place and a frame to operations of unframing.

Sylviane Agacinski, IN-BETWEEN (a notion which is neither a concept nor an image, Tschumi)

At some time, perhaps many times in his life , every man is likely to meet with a thing in art or nature or human life or books which astonishes and gives him a profound satisfaction, not so much because it is rich or beautiful or strange , as because it is a symbol of a thing which, without the symbol, he could never grasp and enjoy.

Edward Thomas
The Inn/One Green Field

In the course of a lifetime there are few decisive conversations: with a classmate in high school, a father or mother, a best friend, an admired mentor, a person whose newfound presence will shape the rest of our existence.
Alain Fleischer, LE  FRESNOY : WHY THAT? WHY THERE?
Bernard Tschumi : Architecture In/Between




Architecture, Light, Art,

The real drawing takes place in the mind, Brian Clarke

Drawing in a volume, Zaha Hadid

Anthropological Entanglements/Emergent Landscapes : Strange Tools/The Rings of Saturn

 

Walking into Emergent Landscapes : Covehithe Beach

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

DSC_0585 Covehithe : Walking/Thinking/Physical Entanglements in the Landscape

Natural History : Dried Carnations

Blueprints : Anthropological Forms

Botanical traces with leper graves

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

Contexts:

Art therapy , Exhibition , Open studio , Practice-based research,

Artforms:

Film & video , Painting , Photography , Printmaking,

The Geography of What Happens : Environment/Perception

The Perception of The Environment, Livelihood, Dwelling and Skill. Tim Ingold.

Archaeology, Anthropology, Art and Architecture.

“ We live amongst the specta of destructive mythologies, that have been narrowly racial, ethnic, denominational and egotistic, all culminating in the condition to exalt the self by demonising the other.”

“Eliot laid bare the sterility of contemporary life, The Waste Land where people live inauthentic lives”

A Short History of Myth, Karen Armstrong

The Ruins, a wasteland, fragments of a spiritual integration.

The Existential Value of Design

“Design as” Tools and Apparatuses for Spatial Practices/Deeper Social Ecologies (crafting and constructing new political genres)

The responsibility of “Design” in the development of an experimental rather than a representational approach to the social sciences, the arts and the humanities.

An Architectural Interior that through “Listening to, and working in the Landscape” can produce a creative reverie, manifested by materials and acts; and through innovation and creativity produce a deeper ecology for learning that is able to keep abreast of our technological genius.

PRACTICAL ISSUES.

The Geography of what happens, Space, Politics and Affect.

DE-Fusing URBANISM

Paths and Thinking with them

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

 Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

“Macfarlane has a rare physical intelligence, and his writing affords total immersion in place, elements and the passage of time” Antony Gormley

What do I know when I am in this place that I can know nowhere else?

What does this place know of me that I cannot know of myself?

HEIDEGGER’S TOPOLOGY

BEING, PLACE, WORLD. Jeff Malpas

The Deeper Significance of The Sensory World

Beauty, Roger Scruton

Walking into Emergent Landscapes : Covehithe Beach

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,