Moments/Marks/Gestures differ because of their fecundity.

Outpost 010724

The Rehabilitation Of The Imagination.

Correspondences between humankind and the world.

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

russellmoreton.com

In the heart of matter there grows an obscure vegetation; in the night of matter black flowers blossom. They already have their velvet and the formula of their scent.

Gaston Bachelard 

Imagination must infuse a second life into familiar images, it must create 'metaphors of metaphors'.

Reverie, reconciles the world and the subject, present and past, solitude and communication.

Gaston Bachelard.

Moments differ because of their fecundity.

The Intuition Of The Instant.

The imagination is not a state, it is the human existence itself.

William Blake. 

For Bachelard, Blake's poetics, presents a complex around the dialectics of rock and cloud. A dynamic imagination, he is a poet of absolute imagination for whom the unreal directs the real.

The Reverberation of Images.

In a word, the phenomenological approach is a description of the immediate relationship of phenomena with a particular consciousness. It allows Bachelard to renew his warnings against the temptation to study images as things. Images are lived, experienced, re-imagined in an act of consciousness which restores at once their timelessness and their newness.

Therefore a poetic image does not duplicate present reality.

From phenomenology Bachelard retains above all the admonition to return to 'phenomena themselves' this requires putting aside naïve belief in the reality of things and approaching phenomena through consciousness which is always intentional, always consciousness of something.

I realized then we were thinking the same thing. As we looked into each other's eyes, I felt, once again, the anxiety that had taken root in our hearts a long time ago. The light reflecting from the spray of the fountain lit R's face.

The boy was fiddling with a nondescript stone as though it were a toy with some elaborate hidden mechanism. His plain light blue gloves had obviously been knit by hand. They were connected to each other with a strand of yarn, to keep them from becoming separated. I remembered wearing the same kind, long ago, and, in this basement so full of anxiety, they seemed like the lone sign of innocence and peace.

The Memory Police.

Yoko Ogawa.

The Immaterial Body.

Proposals through transparency and trans-illumination.

Sensate Inscriptions. 

The Mechanized Image.

Thresholds and projections of creative perception.

Drawing into the visual field.

Paint, pigments, lines, bought to light. 

Gestures, lines from sensations and its seeing.

Life Drawing/Corporeal Social Bodies.

Drawing/Sensations into the memory and anxieties of physical things.

Drawing attention to the relations of the body.

Social and sexual politics.

The Modernist Offence.

Schiele And The Naked Female Body.

Gemma Blackshaw.

Feminist art historians have developed new ways of thinking about the relationship between sex and spectatorship.

As Abigail Soloman-Godeau has claimed in her exploration of photography and female subjectivity in the Second French Empire, the barriers between what is deeped licit and illicit, acceptably seductive or wantonly salacious, aesthetic or prurient, are never solid because contingent, never steadfast because they traffic with each other – are indeed dependant upon each other.

How might such an engagement with difference, with the binary system, shift not only our understanding but also our appreciation of Schiele's representation of the naked female body, of what continues to be described and displayed as 'the nude'? 

Egon Schiele.

The Radical Nude.

Thresholds of The Body Image/Body Boundary

Outpost 291223

Drawing/Dwelling.

Thresholds of The Body Image/Body Boundary.

Drawings and their haptic experiences which include the entire body give fundamental meanings to visual experiences. The extra-personal space of drawing, haptically and psychically touching the space occupied with others. The body is the source of a 'personal world' which generates many of the meanings by which we experience the whole world. When we consciously stare at an object, the body boundary 'hardens' and there is a heightened sense of separation, whereas a casual viewing weakens the sense of separation and encourages instead a psychic fusion with the object.

Seated Woman with bent knee.

Her haptic experiences of space, the push and pull of gravity on her sense 'inside' of a centred body.

The Artist's Wife.

Egon Schiele. 1917

Readings beyond the success and failure of Life Drawing.

Art/Effrontery-Affect/Attraction/The Abject 

Drawing/Feeling through the framework of the body

Bachelard, on images, of pulling away from framing concepts.

The Drawing/Physical Self, with others in the  life class/in solitude in the studio.

Drawings/Graphic Correspondences, represent time spent searching the figure, finding its form.

Drawings present ways of/responses to seeing feelings.

Working From Corporeality.

Skin/Sensuality/Tensioned/Compressed Flesh.

The Situation/Observation and Criteria of Drawing from The Body.

Drawing on the hapticity of the living/sensing body.

Drawing from/present with the Body of Others.

Drawing from/working from the Images of Others.

Departures/Innovations/Differences from 'institutional drawing' situations and their outcomes.

The Figure/Human Form scrutinized/represented via the framing nature/device of the picture frame and its sensing gathering surface.

Painting/Drawings, mark making through abstraction and figuration.

Drawing intimacy/closeness with the drawn images, sensing self from their physical presence.

Life Drawing Re-Imagined.

Drawing from the Human Form.

The Nude in Art.

The Naked Human Form in Contemporary Art.

Drawing Bodily Transactions.

Private and Social Properties.

Egon Schiele.

Eros and Passion.

Klaus Albrecht Schroder.

In Schiele, the artist is always there, similarly in the drawings the exaggerated perspective, the striking angle of sight which situates every viewer of a Schiele drawing in a specific location of observation which defines the active relationship between artist and model. Schiele makes the process of observation his theme by giving thematic status to the observer.

Schiele's nudes are unsanctioned by any artistic genre, in his art  aesthetics disowns itself and art disowns its tradition.

Squatting Couple. 1918

Egon Schiele.

This painting appeared in the 1918 Secession catalogue as Squatting Couple, but after the death of Schiele and his wife it was retitled The Family.

Body-Fragmented-Modernity.

The Body of the individual in terms of isolation and alienation.

Fractured figures, bodies made from parts/areas of bounded/blemished flesh.

Schiele's fractured 'figure types' make visible the conflict, archetypal of its period between the whole and its parts. The points, areas of fracture, the angularities of their crooked members show each part independent of the others.

Drawings made of parts, areas constructed by components resulting in bodies being isolated from a somatic whole. Balanced though Schiele's compositions are in physical terms via his sureness of hand, the figures themselves have no core, the mobility of their limbs does not derive from any psycho-physical centre.

Looking Into Other Criteria.

Drawings Unpacking 1997-2017.

Expressive Content/The Body Exposed.

Selected From Living Bodies.

Selected From Other Images.

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

Interactions of Colour and Bodies : Rothko/Neri/Kundera/Schiele, subjects alone in a moment of utter immobility.

Manuel Neri

Milan Kundera

Josef Albers

Mark Rothko

Egon Schiele

The use of the word 'immobility' recalls an article that Rothko wrote in the 1947

"For me the great achievements of the centuries in which the artist accepted the probable and familiar as his subjects were the pictures of the single human figure - alone in a moment of utter immobility."

p84, Possibilities , 1, New York, 1947

The world is overloaded/the nature of things : Peter Zumthor, Jean Baudrillard

The world is overloaded of signs and information, representative of things that nobody completely understands, because they are in turn nothing but signs representative of other signs.

The real thing remains hidden. Nobody can ever see it.

Peter Zumthor

The nature of things cannot be discovered by analyzing them according to their functions, by labeling or categorizing them but by understanding their relationship to people, their behavior and emotions which caused creation of these objects.

Jean Baudrillard

Sculptor's Drawings/Sculpting in Time.

Outpost 231123

Using the line as a graphic means to probe/navigate elementary structures and  three-dimensional frameworks.

Giacometti : Realities of Perception.

Drawings on the difficulty of the 'Figure In Space' and its representations.

The Creative Imagination.

Gaston Bachelard.

Rendering visible the essential enduring dimension of reality through energies of matter and confusion, being and becoming. 

The Radical Nude.

Transfiguration and Masking.

Egon Schiele.

Schiele's fears of death, sexuality and disease, and his ambivalence about beauty and ugliness, both his own and that of the world he was part of, all of these conflicts play out across the surface of the skin and are transformed in Schiele's radical nudes.

What mattered for both Schiele and Nietzsche was not the fact of suffering, but how it could be transformed.

The pots/surfaces of Hans Coper endure the suffering of the artist.

Confronting The Naked Human Body.

Female Nude. 1910

Everything is living-dead.

An artistic corpus of a dangerous sexuality.

This female nude embodies the sinister complicity between sex and death.

Sneering Woman. 1910

An embodiment of Nietzsche's imperious and domineering free spirit, who with a not altogether innocent readiness to deceive and to dissemble, enjoys the cunning and multiplicity of its masks.

Uneven washes of white paint applied to the surface of Gerti's skin, which give her a sickly appearance. Her sneer, 'masks' signifies her own criticism and protects her from others, as she transforms herself into something greater than negation.

Alberto Giacometti.

Drawings and Watercolours.

The Bruno Giacometti Bequest.

Kunshaus Zurich. 2014

I realised that my vision changed daily, either I saw a volume or I saw the figure as a blob, or I saw a detail or I saw the whole. Given that models only posed for a very limited period, they left even before I had begun to capture anything at all.

Giacometti was asked to put his drawings with notes into chronological order. After making several attempts the artist declared that it was impossible to give the sort of chronology that was intended, because all of these copies take their place today as if on the same plane, without any chronological order.

Drawings and their nearness, a nowness/revelation of spatial proximities.

Drawing into the deeper ecology between things/matters of concern.

Drawings that struggle at the unknowing flux of things.

Drawing, Gathering Situatedness, nesting into the process of mark-making between the indeterminacies of self and others across the domain of a surface on paper. 

The differing execution of the figures, some in heavier outline, others in a lighter stroke alludes to the appearance of the figures in space and their proximity and distance in the relationship to himself.

Views of the artist's studio executed sometimes in fleeting strokes and at other times in dense linear structures. They testify to the creative dialogues battling for artistic insight and understanding. 

Drawings characterized by a fine network or net-like structure, containing intricate connective lines of matter and the layering of visual tissue/flesh.

Drawing into the corporeality of the architectural body.

Organism-Person-Environment

Arakawa, Gins.

Reticular Drawings.

Interconnected, Interrelated, Reciprocally Connected.

Reticulate, cancellate, cancellated, clathrate, having a lattice like structure, pierced with holes or windows. 

Working/Making from within and with visual material.

Sculptor's Drawings/Sculpting in Time.

Martin Collis/Tarkovsky. 

Drawing Nomadologies between points, paths and territories, producing forms derived from the movement/relay across surfaces and things. 

Deleuze, Guattari.

Drawings on the phenomenal qualities of things and the  relations with space between things, becoming into time through movements of spatial/temporal matter.

Giacometti, drawing out perceptions from swirling and reticular strokes and breaths.

Making exteriorises and extends internal capacities and conditions

 Outpost 161123

The process of making is a magical act, organic and physiological. 

Making exteriorises and extends internal capacities and conditions.

Tim Ingold.

The new virtual social spaces are changing actual physical space.

The virtual world continues to overlap with the real one, further weakening of the boundaries between the two domains is inevitable.

Drawing Concepts/Identities.

Gathering Situatedness.

Nomadology on the relay between points, paths, territories, boundaries, borders and lines.

 

The drawing acts/re-enacts through the forces and flows of materials/matter/media and experience.

 

The Space/Situation of Art as a Sociological Phenomena.

The Drawing Class

10 Days in The Laundry

Winchester 2009.

Drawing-Traces-Bodies-Movements.

The Production of Space/Spatiality.

Line as a Graphic Inquiry.

Johannes Schreiter.

Wellbeing and Mediated Spaces within Drawing.

How I was drawing was far more important than what I was drawing. I decided to abandon figurative representation and actually focus on my own body as a producer. My interest in space mediation is materialised in site-specific works, where the combination of the performance and the specific features of the site, its architecture, history, etc of a particular context determine decisively the appearance of the work.

M. Lohrum.

Resonances/Reverberations (Bachelard) as the performativity between things and of the innate reversibility of inside and outside, such that intimate spaces loose their clarity, whilst exterior spaces loose their sense of void.

For Bachelard, inside and outside, as experienced by the imagination can no longer be taken in their simple reciprocity, consequently by choosing  more concrete, more phenomenologically exact implications/inceptions, we shall come  to realize that the dialectics of inside and outside multiply with countless diversified nuances.

All matter vibrates, causing correspondences between people, things in movement with each other.

Making/Matter/Intervening.

Drawings that are intimately tied/underpin/inquiry/situate into your emotions/sociological self.

Social Contexts Making Artistic Creation.

During the act of drawing, the artist focuses on the physicality, movement, and gesture of their body , or the bodies of others. The resultant drawings work as documentation of the performance, they retain the indexical trace of the performance that produced them.

Drawing practices that are performative, inspired by the uncertain and changeable nature of both our social context and artistic creation.

Performative Drawing explores drawing as a consequence of a residue of a performance or event, as such it is very process oriented, doing things with unknown or unfolding outcomes.

The experiences and knowledges of the body.

Drawings that remain in the  exploratory realm of drawings.

The Drawing needs to be 'read' forward into an ongoing generative movement that is once itinerant, improvisatory and rhythmic. 

Corporeality  in Drawing.

Situated Awareness/Attraction.

Drawing onto the openness of the resonances of bodies.

The Radical Nude, Egon Schiele.

A creative corpus of extreme representations of the human body that  show an ambivalent treatment of sexuality, creation and death.

The Nietzschean Perspective.

Nietzsche explains that ever art, every philosophy may be viewed as a remedy and an aid in the  service of growing and struggling life; they always presuppose suffering and sufferers.

A Philosophy of The Body.

Schiele experimented to see how he could represent the experiences and knowledges of the body by using his own body as an object and as a tool for experimentation.

For Nietzsche, to what extent can truth endure incorporation? That is the question, that is the experiment. This evokes both gleaning the truths of the fleshy and making something lived corporeally, truth is now of and in the body. The body is the source of the soul and of our most valuable forms of knowing.

The naked, primal vulnerability that has been socially and culturally manipulated turning the naked into the nude. 

Marie's body was dedicated to a dance of death, masquerading as the cycle of life. By the time she bore Egon, Marie had already given birth to no fewer than four babies, only one of whom would survive beyond childhood. Egon the male heir was bought into a world in which sexuality, disease and death were not only inextricably intertwined but also oppressively omnipresent, and his art evinces this fearsome reality most memorably in his brutal treatment of the naked body.

Dioysian Ugliness and Radical Beauty in Egon Schiele's oeuvre.

Kathryn Simpson.

Vienna, was saturated both with Nietzsche's actual writings and with the multiple and various Nietzscheanisms. Every educated person was familiar with Nietzsche's Philosophy, indeed the ubiquity of Nietzschean influences can barely be overstated.