Clay/Fire/Space-Situatedness.
An Exploratory Ceramic Based Inquiry.
Propositional Drawing/Speculative Architecture.
Drawing Inscriptions : Situatedness in Ceramics
Notes Towards a Conditional Art.
Robert Irwin.
Shallow - Space Constructions
Veils
Structural Cuts : Skyspaces
Skyspaces : Autonomous Structures
Site Specifity
Dark Spaces
Autonomous Structures : Models
Perceptual Cells
James Turrell
Fundacon 'la Caixa' 1993.
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https://www.flickr.com/photos/russellmoreton/
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.
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.
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.
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.
