Tim Ingold : Textility of Making/Hungate Clay Drawings/Speculative Constructions/Interior Design Theory

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

Gaston Bachelard.

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.

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

Clay-Drawings in volumes, void spaces and surfaces.

Presenting a building as a process rather than an object; a process which continues from the initial conception phase throughout its existence via construction and occupation

Tim Ingold.

Textility of Making, 2020.

https://issuu.com/oliwkaka/docs/publ_ver_15_publish_fin

Building Materials/Brick Form/Buttressed/Tower/Scaffolding

Corten Metal Box Constructions.

Components brought into a spatial form/navigation/exploration of built spaces.

Building as drawing, showing changes taken, marked, erasures, superimpositions, indexical and scored surfaces.

Materials marked, moved and redeployed elsewhere.

Poche/Pierced Walls/Architectural Details

Lead tray/Water/Ceramic/Wooden Wedges.

Making Template/Drawing/Pierced Components

Hidden Spaces/Enclosed/Confined Volumes/Voids

Experiential/Spatial Alterations to the drawn plan as the building commences. 

St Peter Hungate

Norwich.

A History of the Church.

Geoffrey Goreham, Rachel M. R. Young.

1965.

This sketch by John Kirkpatrick, who died in 1728, is the earliest extant picture of the church.

John Bonde also left 6d, to the anchorite of St. Peter Hungate. This  was a man vowed to live a religious life in solitude. An anchorite's cell was often built against the church wall with a connecting window, so that he could hear Mass and yet remain secluded.

The pyx and the metal box or chrismatory (mentioned in 1368) which held the consecrated oils were also locked lest the holy wafer and oils should be stolen and used in witchcraft.

Monochrome by James Sillett, 1828.

Space-Enfolding-Breath.

Monica Wyatt.

Towards a New Interior.

An Anthology of Interior Design Theory

Lois Weinthal, 2011.

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

Architectural Stratification/Installation : Crafting/Painting Transformative Reconstructions/Relationscapes

Outpost 200623

Sites of building over lived lives.

Of doing and un-doing, of being~becoming un-done by theory. 

For Manning, Arakawa and Gins, the challenge is that the procedures of a procedural architecture (its architecting) must continuously be reinvented to stay apace with the architecting of experience. And this procedure must be crafted with care, it must be relevant to the conditions already at hand.

Dress Becomes Body in The Minor Gesture, Erin Manning. 2016 

Sensing Spaces/Caryatid.

Painting Matter, Lime, Gesso, Charcoal, and Indian Ink on paper.

Clay.

Water.

Ceramics and Architecture.

 Architectural Stratifications, Carlo Scarpa, Intervening with History. 

The Placing of Pots.

The Hungate.

The Wonder Of Minor Experiences.

A Brief Phenomenology of Enchantment.

A Moment of Pure Presence.

Enchantment entails a state of wonder, and one of the distinctions of this state is the temporary suspension of chronological time and bodily movement. To be enchanted, then, is to participate in a momentarily immobilizing encounter; it is to be transfixed, spellbound.

Jane Bennett

The moment of pure presence within wonder lies in the object's difference and uniqueness being so striking to the mind that it does not remind us of anything and we find ourselves delaying in its presence for a time in which the mind does not move on by association to something else.

Philip Fisher.

Analysing The Observed.

To abstract from the observed means to simplify the complexities of seeing.

Piet Mondrian.

Space and Form are ignored in this type of Abstraction, the Lines and their Vectors of Movement become a Map, Mapping Forces onto the Surface of the Picture.

Thinking with directional, durational markings/feelings/intuitive judgements.

Small Perceptions/Perceptions in Folding.

Small perceptions are as much the passage from one perception to another, as they are components of each perception.

Deleuze, 1993.

Small perceptions are like what Arakawa and Madeline Gins call imaging landing sites.

Relationscapes.

Erin Manning.

'Incoherence' exists, which is why the composition 'Art' exists.

Art allows us to think the unthinkable, to posit one paradox after another in the hope of firming up wisps of our lives and feelings by transfiguring them. By giving them a shape, a design, a coherence, even if they remain forever incoherent.

Andre Aciman/Edmund de Waal. 

For nearly fifty years my darkroom and studio have been the focus of my solitude.

Landing Sites.

The Expanding Field of Relations.

Organism/Person/Environment

I need silence to be able to think clearly, and an empty space where my thoughts can accumulate undisturbed.

Duration.

The not yet meets the already gone.

A fluid flowing time which is intertwined with an experience of being, where past, present and future merge into an experiential time of the individual being/becoming.

Steven Holl.

Darkrooms were dangerous places as well as magical ones, they are a painful metaphoric yoking of creation and destruction.

My final print is a golden square enclosing the pinkest dusk sky I had ever seen or imagined.

Filtered Light/Pot Metal Colours/Silver Stain/Filtows/Filters/Shadows.

The Light Gatherers.

Bodleian Libraries.

March 2022-October 2023.

Light Laboratory/Creation as Duration.

Glass vessels, as light filters shining the enlarger light through them and creating photograms. Garry's work oscillates with differential velocities. He works with great deliberation and then he works with abandon. I keep thinking about the tension between deliberation and abandon. You look at a painting by Agnes Martin and experience the temporal aspect of lines repeated slowly over days and weeks. A cell like structure repeats and changes, you repeat so that in return you can find the smallest oscillations of difference. An expanded field where you sense the development of different kinds of time, movements and their durations.

Dark Room, Garry Fabian Miller.

Farewell to an Idea, Wallace Stevens/Edmund de Waal. 

Haecceity, thisness of things, which engenders feelings between ourselves/things/world.

I was grateful to have been able to live with so much pure colour for so long.

Space-Enfolding-Breath

Lake Of The Mind.

Ideas are already abstract.

Abstracted Transcriptions.

Drawing, Vectors and Forces of Subjectification.

Lines, mappings of forces across the surface of the picture.

Drawing on, analysis with, Dominants.

Formed by the dynamic forces derived from the outlines of objects and their surrounding spaces.

Palimpsest Collages

Psychogeographic Mappings

Architectural Models

The Process of Drawing/Building is Left Visible.

Psychogeography, Merlin Coverley.

Crafting Recovery and Regeneration.

Transformative Reconstruction.

SPAB, Summer 2023.

Michal Saniewski.

Falerone, San Francesco Monestry. Italy.

It's the forefront of modernisation, something that we thought the city was. The countryside is still the place where new ideas and experimentation actually take place..

Countryside : The Future.

Guggenheim Museum, 2020.

Heritage Conservation/Preservation

How do we insert new fabric into old and respect layers of history, of which the earthquakes are an inherent part? Perhaps some of the scars and cracks should be preserved to serve as a poignant  reminder of the past, becoming a living memorial? And perhaps there is potential to develop a new language of additive, 'surgical' architecture, where the contemporary timber frames serve a protective function, supporting and bracing the damaged medieval walls,  but at the same time can be inhabited, framing new uses and reprogramming internal spaces.

The reconstruction process should be used as an opportunity to add value beyond what existed before the earthquake. 

Exploring possible new functions and uses of currently empty spaces and damaged buildings, the local community was asked to participate in the act of psychogeographic mapping and thus rediscovering and revaluating the town on different levels.

Key themes of the New European Bauhaus initiative.

Renovation of existing buildings and public spaces in a spirit of circularity and carbon neutrality.

Preservation and transformation of cultural heritage.

Regeneration of urban or rural spaces.

 

Could Falerone become an experimental hotbed, an example of sustainable, community-driven reconstruction of urban fabric and place identity? The new crafts school could be an opportunity to achieve just that, stimulating collaborations not just with other towns and universities, but with regional authorities and even with the EU. 

Studio Cyanotypes.

Tools/Working Drawings and the Semblances of Spatial Agencies.

Keywords.

Visual Substance, Causal Doing, Investigating, Inquiry, Process, Agency, Matter, Material, Discursive, Iterative, Creative Apparatuses, Intra-Activity, Performativity, Bodies That Matter, 

Spatiality/Spatial Agency/Light Laboratory : Literary and Visual Cartographies : Lightness,Quickness,Exactitude,Visibility,Multiplicity,

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

Spatial and Literal Cartographies.

Lightness,

Quickness,

Exactitude,

Visibility,

Multiplicity, 

Consistency 

ItaloCalvino,  6 memos for the next millennium.

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

Water at Hungate : Architectural Body/organism/person/environment

 Outpost 130723

Hungate Installation of Works.

Making Material into Paths-Of-Difference.

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

Working Fables/Visual Aphorisms.

The Poetics of The Pragmatic.

The Multivalence of Metaphor.

A series of three follies to accommodate the family, the on-site guardhouse and an art gallery.

Private Estate, Montana, USA, 1991.

I opted to be a fabulist rather than an ideologist because fables retain the ring of immutability long after ideologies have wilted.

Emilio's Folly as well as offering a figurative and allegorical manifesto of its author's idiosyncrasies, is also a catalogue of the metaphors that recur in his architecture: water and the earth, the house with a Mediterranean patio, subterranean architecture and the descent towards the depths. Emilio's island of folly tranforms the eighteenth century penchant for picturesque aesthetics into the narrative frame of a passage describing a private garden and in constructing a design image,  envisages a miniature theatre of memory in which the mechanism of memory is analysed and forgetfulness suspended.

Passing from the canopy at the entrance to the twilight glimmer of the misty cavity offers a didactic description of memory elaborated through cognition's subterranean strata, while simultaneously testifying to the hopes associated with the act of designing, evading paralysis by memory's repetition compulsion.

Fulvio Irace.

My work is a search for giving architectural forms to primal things: being born, being in love, and dying. They have to do with existence on an emotional, passionate, and essential level. I understand  architecture as the search for a spiritual abode. On the one hand, I am playing with pragmatic elements that come from my time, such as technology. On the other hand, I am proposing a certain mode of existence that is an alternative, a new one.

Emilio Ambasz.

Anyway, to come back to the story, yes, water plays an important role in what I do because it doesn't have a shape of its own; that is to say, it does have indeed have an immense power of its own, but the shape it adopts is the shape of the container you give it. To me water is important it can be nebulized.  I have used fog many times to evoke the presence of a building which isn't there, and its presence becomes very strong when the sun creates a rainbow. It cools you or warms you if you make those clouds of mist.

I use fog and its indeterminate form maybe because I am a prisoner of my time and afraid of making definitive statements. I seek to make statements which are constantly being reformulated. 

I always say there are two ways to cast a shadow: one is as a tree and the other as a cloud. I think that I chose to be a cloud.

Interview, Emilio Ambasz, Emerging Nature.

Working with the the force of a relational environment, expressing thought as an incipient movement being  articulated through sensation. 

Indexical Traces/The Flux of Processual Drawing.

Architectural Body/organism/person/environment

Bringing potential relations into actual experience.

Experiential experiments/proposals/inquiry expressing the force/nature of a relational environment.

Resonances that modulate her body, her own becoming, movement in tandem with the environment moving.

Hortus Conclusus, Centre Pompidou. 1989.

You always have the sense that behind the walls of these projects are absent presences or present absences. The notion of that which is in front of you and what happens behind the wall has always appealed to me. There is a certain anima or spirit behind the wall.

Emilio Ambasz.

The garden is the smallest parcel of the world and it is also the totality of the world. The garden has been a sort of happy, universalizing heterotopia since the beginnings of antiquity. 

Michel Foucault.

Notes Towards A Conditional Art.

The Art Of Colleagueship

It is a shared curiosity that ties individual creative actions into a dialogue of immanence. A special feature of which is the willingness of the participants to temporary suspend judgement so as to seriously entertain the open potential of our discoveries. That nothing occurs in a vacuum is an idea which is particularly true of human actions. So while the art of pure inquiry is uniquely individual, it does not take place in isolation.

Certainly the pure void of concept beckons the curious, and the unique motive for a pure inquiry of a pure subject is curiosity and the desire to know.

The art of pure inquiry is an open interface between the pure subject-all that is out there-and the pure potential of the individual perceiver-all that is in here. Where the strength (clarity) of this inquiry lies is in its single motive-the desire to know.

What is key here is that certain ideas (possibilities) are immanent at particular moments. That in each time and place there exists a unique body of shared experiences, knowledge, and need, that marks our moment in time, and from which all inquiry steps off. Merleau-Ponty, in writing about the work of Cezanne, reflected that art may have an advantage over philosophy as a speculative thought form in that it has at once a tactile and a cerebral dimension.

Robert Irwin.

Hungate Group  Exhibition 'Water' 2023.

Russell Moreton is a visual artist interested in gathering research and responding to the historical site of St Peter, Hungate. He has explored the exhibition theme 'Water' as both a spiritual and corporeal inquiry for site-specific artworks. He has spent time developing working ideas that have an affective resonance to the architectural setting of their presentation. His  use of slab built ceramics vessels echo the stillness and muted silence experienced within the medieval fabric of the Hungate. He has used a figural drawing on Chinese paper, processed by the evident passage of water to explore the representation of the human form in this particular place.

Drawing Towards an Ecology of Materiality/Embodiment/Emotion/Affect

Outpost 280623

Relation-In-The-Making.

Spaces between objects, Giorgio Morandi.

Emergent Evolutions.

These micro-perceptions are perceptions without objects, hallucinatory tendencies in the sense that they express nothing but the emphasis on the quality of becoming. They do not give us a body fully formed or an object-in-place, rather they fold perception into a becoming-body-of-movement, creating the emphasis of quasi formation that is relation-in-the-making.

An object becomes the threshold for thinking feeling.

Momentum Wheel : Lucie Rie Installation.

We perceive/perception is the force for the worlds infinite unfolding, with objects catching the edges of their contours, participating in the relation they call forth.

Erin Manning.

The smooth paint of the background turns out to be made of many translucent layers, intended to cover over outlines that Giacometti rejected, always in favour of a smaller and smaller head.

John Berger.

Diffractive Thinking/Reading abstractions in the middle of things and both ways at the same time.

Karen Barad.

MAKING

Anthropology

Archaeology

Art and Architecture.

Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making. For Ingold instead of treating art and architecture as compendia of objects for anthropological or archaeological analysis, he advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or correspond with one another in the generation of form.

Hungate Site Visit.

Water/Light/Architecture.

Ceramic Vessels/Lead Tray/Water/Mirror.

Cyanotype Solution, unexposed, unwashed.

White gesso on biscuit ware.

White lead glaze.

Ceramics and Architecture.

Ceramics for a reflective solitude, an architecture of silence.

Figural Jars/Abstracted Human Clay Vessels/Cinerary Pots.

Sainsbury Centre.

Julian Stair.

Art, Death and the Afterlife.

Mezzanine Gallery.

Towards an Ecology of Materials.

Materiality, Embodiment, Nonhumans, Hylomorphism, Things.

One of the peculiarities of material culture studies over recent decades has been its virtual divorce from the traditions of ecological anthropology. This is odd, given that both fields are broadly concerned with the material conditions of social and cultural life. Students of material culture are interested in people's relations with things. Ecological anthropologists study how human beings relate to their biotic and abiotic environments. For the former, persons and things are bound in relational networks; for the latter, human beings and other organisms are bound in webs of life. Yet practitioners of these two fields are speaking past one another in largely incommensurate theoretical languages. 

Tim Ingold.

Archaeology, Volume 41, 2012.

The Archaeology of Emotion and Affect.

Sarah Tarlow.

When David Sylvester asked Giacometti about the thinness of the sculptures he had made without a model, Giacometti said 'they get narrow despite myself'.But then added, 'from life, they do this less'. Models put up a resistance to the thinning gaze, as if they were resisting Giacometti's willingness to let them go.

Drawings That Shrink.

Drawings that are extremely tense, a sign that the object/model is resisting.

Relations on the figure and the rejected lines and their borders on the drawing.

And so Yanaihara tilted and shrank, and sank down towards the bottom of the frame. As he shrank down, he also shrank away, back in space, away in time and perhaps in imagination, away from firm memory and towards insecure recollection. At some point Giacometti abandoned the drawing and began another.

Giacometti was fastidious about the placement of the easel, the canvas, and Yanaihara's chair, and he put little red blocks of clay under the stretcher to keep the canvas at a precise angle. None of that helped him anchor the figure: still it kept shrinking. The principle of its shrinking is clear in the dozen preparatory drawings, because many of the rejected lines remain visible. What mattered was the relation between the head and the borders of the drawing. That's why the drawings have drawn borders with lines scattered like matchsticks inside them.

On Drawing/Seeing to abolish the principle of disappearance, but it never can, and instead it turns appearance and disappearance into a game.

The crucial sadness of drawing  is it is unsurpassably close to the object, but always separated from it. Drawing bends my thoughts towards the nearly indescribable distance between the model and the motions of my hand, or should I say between the movements of my eyes as they pass over the model, and the sweep of my hand as it moves across the paper. Or the feel of the model, as I imagine it, and the texture of the paper as it slides under my hand.

The game of drawing is intricate enough with its slant rhymes between the feel of the model in my mind and the feel of the paper. It is made more difficult because drawn lines have the power to remake my own imagination. Every line I draw reforms the figure on the paper, and at the same time it redraws the image in my mind. And what is more, the drawn line redraws the model, because it changes my capacity to perceive. 

As I draw, the model becomes defective. The image in my mind is marred by the marks I put on paper. And so because a drawing cannot quite be touched, because it shifts when I try to fix it on paper, because it does not simply transcribe something in the world, because it can never bring back what I once loved – because of all that, drawing is an intense expression of the defect of distance.

John Berger.   

Architectural Abstracts/The Works Subject/Conceptual Resonance

 

Outpost 070723

On The Plane of Feeling.

The Aesthetic Dimension of Individual Human Experience. 

We Are Moved To Think.

Incipient Expressions.

Feeling-with is a force for thought.

A work creates a force for rethinking as much as a force for the experience of sensation's relays towards prearticulation.

One work can have many dynamic forms, many concepts, many feelings or thoughts.

The artist is not the subject, rather prearticulation is.

The Work's Subject

Is Its Dynamic Form

Its Valuation

Its Conceptual Resonance

Its Diagram.

Activating new parameters for thought.

The force of feeling-things becoming into existence.

To posit a subject for feeling means, engaging with the creative from the outside. This taking form is less the formation of a concrete identity than the culmination and residue of a process.

The Work creates its own subject, its subject is the force of becoming it proposes.

Feeling is power's compulsion of composition.

Whitehead 1929/1978.

The compulsion to compose is an aesthetic drive, a will towards sensation, a will to power-feeling.

Becoming-Bodies Feel-With The World.

Amanda Baggs feels-the-world. Watch her reading a book, she touches it, puts her face into it, listens to the pages rustling, smells it, looks at it. Through her the book becomes conjunctive, valued within a complex responsive environment. By culling the bookness from the book, Baggs makes the field of its musicality felt, its texture, its force of becoming not only as an object to be read but as a relation to be lived.

By feeling the book, Baggs brings the book into relation with a force of prearticulation that exceeds the book-as object.

Erin Manning.

Concepts appear/manifest-themselves as forces of expression in its incipiency.

The Multiple Sense Of Concepts.

There is no event,

No phenomena,

Word,

or Thought 

Which Does Not Have Multiple Sense.

A thing has many senses as there are forces capable of taking possession of it.

Deleuze. 1993.

Concepts value the rhythmic pressure of feeling/thinking with the work/world.

The concept is a gear-shift mechanism that acts on blocks of sensation, oscillating between thought and articulation, it pulsates between the actual and virtual realms. On the virtual stratum concepts propel the becoming event of thought, they feel its force of creation. On the plane of composition concepts articulate the dynamic form of prearticulation, they express the feeling of force.

The theoretical object as a concept to express the force and feeling of inquiry.

The Stick Thing, Canterbury School of Architecture/Spatial Practice/Oren Lieberman. 2009.

Robert Irwin

Notes Towards A Conditional Art.

2011/2017.

Editor's Note to the Reader.

Beatrice Hohenegger.

The fact that so many manuscripts have until now remained unpublished reinforces Irwin's characterization of his writing as motivated not by communication or publication, but rather by a desire to examine and clarify core questions that he was pursuing at key moments in his career.

Introduction 

Irwin's Writing.

Matthew Simms.

In a statement published in 1998, Robert Irwin emphasized that his essays, were not written in order to communicate, I am a visual artist, not a writer, or to refute criticism, writing was for me a means to examine the questions that were turning in my head concerning the 'why' of art, with the intention of clarifying the process of making. Together, they reflect relatively well the development of my thinking and the guiding idea of my work: the potential of each person to perceive the surrounding world from a unique aesthetic perspective. 

Notes toward a Conditional Art brings together for the first time Irwin's published and unpublished writings. While the texts span a wide range from letters to project proposals, the vast majority are personal ruminations, sometimes set down in draft form and other times worked up into fully developed essays. They cover a diverse conceptual terrain including, among other things, Irwin's philosophy of teaching, the lessons of modern art, and the artist's understanding of art as a form of pure inquiry. Above all, this book makes clear that starting in the 1960s and continuing up to the present, writing has been and remains an integral element of Irwin's multifaceted art practice.

White Washed Spaces:

Hungate/Water.

Provisional Objects/Architectures.

Porous Fired Clay-Drawings as Spaces.

Thinned Gesso, Sanded/Abraded Surfaces.

Lead  Sheet/Glaze/Slip/Batt Wash/Opal Glass.

Compositional Tilt-up Pieces/Vessels.

Figural Body/Water on Chinese Paper.

Hybrid Body-Trace Drawing.

Indian Ink/Cyanotype Process.

Mounted/Inter-hanging/Canvas/Screen Mesh.

White Conduit/Nylon Line.

Re-Visiting The Human Outline.

Chinese Paper/Thinned Gesso/Wax/Lime

On The Plane Of Feeling.

We are moved to think through a conceptual unfolding a reaching towards-expression.

Through feeling, thought begins to take form as a conceptual force.

The complex interplay of the transversal passage between thought-concept-articulation-

For Whitehead, feeling is the pulsion that transduces thoughts into becoming concepts.

Feeling is a pulsion to think, a sensitivity that situates thought in the world. Through feeling, thought's affective tonality is foregrounded.

Affective tone is an environmental resonance of a  feeling-in-action, as a vibrantile force that makes a resonant milieu felt. (The Hungate, Norwich, Propositional Workings)

Feeling Is Affect Bleeding Into Thought.

Activating complexities on the verge of expression. At the threshold of thought as creation, feeling provokes an aperture for that which has not been thought.

Thought is a lure for feeling that prearcticulates the virtual inflections of its incipient expression.

Feeling-with is not without thought, it is a force for thought.

A Brief Phenomenology of Enchantment : Assemblages/Relationscapes/Things exist rooted in the flesh (R. S. Thomas)

Blueprints,Texts and Materials/Building on Concerns
Toward a New Interior.

Relationscapes
Movement, Art, Philosophy. Erin Manning. 2009

What Moves as a Body Returns as a Movement of Thought

Heidegger's Topology

Things exist rooted in the flesh (R. S. Thomas)

Being, Place, World

Jeff Malpas. 2008

David Smith : Sprays, The Absent Object. Peter Stevens

Eidetic Image, Nearness/Proximity/Atmosphere

Temporal Structures,

Unthinking Eurocentrism

The Political Writing of Adam Kuper and Tim Ingold

Justin Kenrick. 2011

Pottery, The mindfulness of making social

Anthropological Notebooks 17

The War of Dreams

Exercises in Ethno-Fiction.

Marc Auge

The Culture of The New Capitalism

Richard Sennett.

VISITORS

a film by Godfrey Reggio

The World of The Anthropologist

Marc Auge, Jean-Paul Colleyn. 2006

The Field

The basic methodology of anthropology is ethnography. This is the famous 'fieldwork' in which the researcher shares the daily life of a different culture (remote or close), observes, records, tries to grasp the 'indigenous point of view' and writes.

Objects of Anthropology

Politics is also the art of administrating and producing subjects, citizens.

The Woman in The Dunes

Kobo Abe

Site-Specific Art

Performance, Place and Documentation.

Nick Kaye

Heidegger For Architects

Adam Sharr

Poetically Man Dwells

The Perception of The Environment

Essays in Livelihood, Dwelling and Skill.

Tim Ingold

Hans Coper

Sensations in the Vessel/Innerness

Clay and The Engagements of Mind and Body

Peter Zumthor

Thinking Architecture/ A Way of Looking at Things

Zumthor mirrors Heidegger's celebration of experience and emotion as measuring tools.

The physicality of materials can involve an individual with the world.

The Visual Poetics of Jannis Kounellis

Suzanne Cotter and Andrew Nainre

He translates the painterly relationship of figure and ground into the space of real situations

Kounellis's engagement with the social and historical content and with the material fabric of a given space is critical to his art.

The Castelvecchio in the Opus of Carlo Scarpa

Possibly until very recently Scarpa's work was still judged as anachronistic, small scale and craft intensive.

An Attitude to History, The Drawings, Formal Language,

Technical Specifications of Materials.

What is the relationship between the visual arts and 'performativity'?

Site-Specific Art. Nick Kaye

Wittgenstein : The Duty of Genius

The work of art/aesthetics/ethics seen 'under the form of eternity'

Schopenhauer discusses, in a remarkably similar way, a form of contemplation in which we relinquish 'the ordinary way of considering things', and 'no longer consider the where, the when, the why, and the whither in things, but simply the what'.

Spatial Practices : Thinking Sociologically

'What does it do'?

Oren Lieberman

Visual/Spatial Tool, Flickr

Making Statements/Making Things : Hungate/Anglian Potters.

The Enabling Constraint.

Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits . Erin Manning.

Architectural slab built pieces investigate ceramic forms as a dwelling place or a model for a building construction. Some thrown shapes on the theme of crucibles fired by the Raku process. Recent work has been exhibited in historical sites and locations, exploring contexts of ceramics and rituals. Studied Ceramics at Epsom School of Art and Design UCA, Visual Fine Art at Winchester, Teaching at Brockwood Park School.

Anglian Potters

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

Water at Hungate.

Hungate Architectural Explorations. 

Air/Place/Breath/Light/Architecture/Ritual/Social Space

Cell-Court-Domain.

Russell Moreton is a visual artist interested in gathering research and responding to the historical site of St Peter, Hungate. He has explored the exhibition theme 'Water' as both a spiritual and corporeal inquiry for site-specific artworks. He has spent time developing working ideas that have an affective resonance to the architectural setting of their presentation. His use of slab built ceramics vessels echo the stillness and muted silence experienced within the medieval fabric of the Hungate. He has used a figural drawing on Chinese paper, processed by the evident passage of water to explore the representation of the human form in this particular place.