Persistent Bodies ~ Correspondence Kept~in~Play

Persistent Bodies ~ Reading, Clay, Ceramic

Confessional : Vessel, Sculpture or Fiction.

A Troubling Interiority. 300926

 

A Propositional Setting for a Spatial Practice.

 

Confessional : Vessel, Sculpture or Fiction?

 

Other Bodies~Other Propositions

 

Gatherings For Speculative Bodies.

Confessional and Conversational Spaces.

Study Spaces~Research Creation : Seating with Cabins.

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

 

Interior Social Places : Perforated Inner Spaces~Intervals~Interiorities

 

 

Pigeon Houses/Dovecotes for Philosophers.

 

What do I know?

Michel de Montaigne.

 

A house for confessing animals.

Michel Foucault.

 

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.

 

 

Clay-Ceramic/Thinking Architectures/Interior Places.

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

 

The ceramic is therefore not a conclusion to making but a speculative body within its continuation: a sensate chamber in which material, spatial and philosophical relations can gather, weather and begin again.

 

In troubled times they all sought to experience life away from social definitions of success or failure. From there, these primitive huts marked personal, original inquires into the ever-mysterious nature of human existence.

 

Anne Cline. A Hut of One’s Own

 

Life Outside The Circle Of Architecture.

 

 

Collages.

Spatial and Reading Apparatuses.

Making Spatial Research Creation.

 

Pink Cosmos~Panopticon : Research Collage~Diffractive Inclusions and Annotations.

 

Body, Personal Relations and Spatial Values. Yi-Fu Tuan, Space~Place~Perspective of Experience.

Reading does not remain outside making. Its soundings pass between bodies of thought, images, materials and places, sometimes surfacing as propositions, sometimes withdrawing into the material conditions of a work.

The reading body moves between these correspondences without requiring them to converge. Ingold, Manning and Barad remain distinct within this gathering, their differences continuing to resonate through the movements of spatial practice. Clay encounters these soundings otherwise. Through making and firing, propositions acquire another condition of existence: a materially persistent body whose interiority remains open to further encounter.

What persists is not an idea preserved intact, but the possibility of its becoming otherwise.

Reading~clay~ceramic: persistent bodies already enduring their weather~~world, carrying relations forward into situations not yet known.

What is gathered is never simply contained. It passes between bodies, withdraws, and remains~in~play.

The Reading Body ~ Correspondence Without Convergence

The reading practice brings Ingold, Manning and Barad into correspondence, not to reconcile their thinking, but to allow their differences to remain active within the work. Each becomes a distinct sounding within a wider field of inquiry, offering ways of attending to movement, material relations, touch and the emergence of bodies. Their thinking is neither applied to the ceramic nor secured within an explanatory framework. It enters the movements of making, where it may be taken up, resisted, altered or carried elsewhere.

The reading body acts as an intercessor within this gathering. It moves between texts, images, materials and architectural situations, allowing propositions to pass between them without determining their final destination. Sometimes a correspondence surfaces explicitly, finding expression in a written proposition or a material decision. At other times, its sounding withdraws, becoming less immediately recognisable while remaining active within the ceramic's spatial and material relations.

Reading, in this sense, becomes a practice of ambiguous inhabitation. The reading body dwells within the relations between ideas and things, neither standing outside them as an observer nor dissolving into their differences. It keeps these relations available~in~play, allowing them to acquire other conditions of existence through making.

The ceramic body becomes one such condition. What has been encountered through reading may persist there, though not necessarily as a recognisable idea or an identifiable influence. It may surface as an aperture, a chamber, a resistance of material, an uncertain interior or a relation between bodies. The correspondence has changed its condition without exhausting its possibilities.

The reading body carries the soundings forward, allowing them to surface, withdraw and enter other bodies. Its work is not to preserve an idea intact, but to sustain the possibility of its further becoming.

The ceramic becomes materially persistent, while the propositions that have passed through its making remain available~~withdrawn for futurity.

Attentiveness ~ Material Persistence ~ Propositional Futurity

Moreton’s Spatial Triad

Attentiveness ~ Material Persistence ~ Propositional Futurity

Attentiveness is a way of becoming responsive to the world’s patternings and murmurings. It is not simply looking closely, nor a prior intention imposed upon making. It develops through encounters with bodies of thought, material, image, architecture and experience, sensing forces as they emerge through resistance, pressure, movement, memory and change. Attentiveness allows these encounters to matter without deciding in advance what they must become. It is an openness to the relations through which a spatial proposition might begin to take form.

The materially persistent body is where these relations acquire another condition of existence. Through clay, forces are registered, negotiated and transformed; through ceramic firing, a provisional field of actions becomes materially persistent. Yet persistence does not mean completion. The ceramic body continues to encounter: light, atmosphere, architecture, other bodies, changing situations and ways of being with it that its making could not have anticipated. Its material withdrawal from the activity of making does not withdraw it from the world. The ceramic body persists as an active participant in correspondence, carrying relations forward while entering others. It is less a resolved object than a body through which spatial relations continue to happen.

The force~~form of propositions emerges between these movements. A proposition is neither an idea simply realised in material nor a meaning secured within the finished work. It is a spatial possibility produced through encounters, made perceptible in a particular body, and released into relations that remain unfinished. The proposition is available because it has acquired material presence; it is withdrawn because that presence cannot exhaust what it might become. Its force exceeds its form without being separate from it. What has been made persists, while the relations it makes possible remain open to alteration, re-encounter and further making.

Futurity resides in this interval between persistence and possibility. It is not a projected outcome or an imagined future awaiting fulfilment. It is the capacity of a materially persistent body to enter encounters not yet known, allowing its propositions to be furthered without requiring them to remain faithful to the intentions from which they emerged.

The three movements are therefore inseparable. Attentiveness makes relations available to experience; the materially persistent body gives those relations another duration and condition of encounter; force~form opens what has been made towards propositions that remain available~withdrawn for futurity.

This is a spatial practice in which making does not conclude with the production of a body. Nor does the body merely stand as evidence of a completed process. It becomes a site of continuing correspondence, where matter, thought, atmosphere and experience may gather differently.

The ceramic becomes materially persistent, while the proposition remains~in~play.

And perhaps this is where the weather~world enters the triad: not as a fourth element, but as the changing field through which attentiveness, material persistence and propositional futurity become entangled. A spatial synthesis of material forces, continually gathering and dispersing, in which the work does not contain the world it proposes. It participates in making that world perceptible—and leaves it open to becoming otherwise.

The interval between persistence and possibility is itself spatial. It is a living, ecologically driven attentiveness to situatedness~~to the instances, encounters and material relations that remain~in~play. Here, persistence does not signify stasis, nor does possibility belong to an abstract future. Both are active within the situated encounter: the ceramic body persists, yet continually enters relations through which its propositions may become otherwise.

Attentiveness is the capacity to sense and respond to these changing conditions. It is an attentiveness to the forces through which bodies inhabit, affect and are affected by their surroundings; to the atmospheric and material exchanges through which a spatial proposition acquires its particular instance of existence. Each instance is situated, but never entirely self-contained. It carries traces of previous encounters while opening onto relations not yet realised.

The spatial therefore emerges within this interval~~a living middle in which persistence and possibility remain entangled. What has become materially present is not closed upon itself; what remains possible is not detached from the material conditions through which it might emerge. Both remain active, held in a dynamic ecology of correspondence.

The proposition becomes available~~withdrawn: present enough to encounter, open enough to be furthered. Its futurity resides in this unresolved condition, in the capacity of situated instances to remain~in~play.

Perhaps this is the ecological force of the spatial triad: not the organisation of three distinct principles, but their continuing correspondence within a living middle.

Attentiveness senses the relations. The ceramic body persists through them. Force~~form carries their propositions towards what has not yet happened.

The Withdrawn Ceramic Body Persists, But It Does Not Close ~ Research in Futurity

The Withdrawn Ceramic Body ~ Research in Futurity.

Towards an Elaborative Spatial Practice.

For Moreton, the withdrawn ceramic body is not where the research ends. It is where the research acquires another capacity for futurity.

Moreton’s spatial practice has developed through an extended gathering of bodies: architectural, material, photographic, textual, remembered, imagined and lived. These bodies have emerged through different situations and periods of working, including interiority, landscape, drawing, walking, architectural research, teaching, image-making, reading and the exploratory use of clay. They do not form a linear research history. Rather, they remain as propositions capable of returning, entering new relations and becoming otherwise.

The practice therefore begins not from a singular question requiring resolution, but from a multiplicity of questions that remain active through making. Earlier speculative spatial practices are not treated as completed stages through which the ceramic practice has subsequently progressed. They remain research bodies. Their propositions continue to have a capacity for encounter.

The ceramic bodies have not arrived to resolve these earlier questions. They have arrived as another access point.

This access point is significant because clay introduces a particular material condition through which multiplicity can gather. The recent work with clay allows architectural propositions, spatial memories, images, readings, bodily experiences, surfaces, apertures and material encounters to enter the same field without requiring them to become equivalent. Clay does not reconcile their differences. It provides a hospitable condition in which their differences can remain active.

This hospitality is important to Moreton’s developing spatial practice. It is not hospitality as an invitation into a predetermined interior. It is a more unstable form of hosting in which the host itself is changed by what it receives. Clay receives pressure, touch, resistance, gesture, force, moisture, gravity and time, but it does not simply register these things passively. It transforms them. The material becomes an active correspondent within the making.

The clay body therefore becomes a meeting place for other bodies.

The architectural body can enter it through proportion, enclosure, aperture, threshold and spatial memory. The photographic body can enter through trace, viewpoint, absence and the persistence of an earlier encounter. The textual body can enter through propositions, questions and speculative language. The remembered body can enter without being represented. Landscape can enter through weather, erosion, surface and movement. Other theoretical and artistic bodies can enter as correspondents rather than authorities.

None of these bodies needs to be reduced to the ceramic.

They remain themselves.

This is where Moreton’s spatial practice begins to move towards a practice of correspondence. The ceramic body does not become a container for research. It becomes a material condition through which different research bodies can encounter one another.

Multiplicity becomes correspondence.

The distinction is important. Multiplicity describes the presence of many bodies; correspondence describes what becomes possible between them. The ceramic does not gather in order to produce unity. It gathers in order to produce relation.

This also changes the understanding of the ceramic object. The fired ceramic is materially withdrawn from the provisionality of clay, but this withdrawal should not be understood as closure. Firing changes the condition of the material. What was soft, responsive and unstable becomes persistent. The provisional relations of making become materially carried forward into another state.

Pressure becomes surface.

Resistance becomes form.

Aperture becomes interior.

Gesture becomes trace.

Fire becomes transformation.

Ceramic becomes persistence.

Yet what persists is not simply the object.

Something of the correspondence persists with it.

The withdrawn ceramic body therefore occupies an unusual position within the spatial practice. It is withdrawn from the immediate event of making, but not withdrawn from relation. It carries the consequences of previous encounters into situations that have not yet happened. Its persistence makes another encounter possible.

This is where futurity enters.

Futurity, within Moreton’s practice, is not the prediction of what the ceramic will become. Nor is it an image of an imagined future. It is the capacity of a materially persistent body to enter another relation.

The ceramic waits.

It waits for architecture, for light, for another body, for proximity, for movement, for an altered viewpoint, for memory, for an encounter that cannot yet be known.

The future therefore exists not as a destination but as an interval of possibility.

This understanding also extends Moreton’s distinction between in~place and in~play. A spatial proposition cannot simply be transferred intact from one situation to another. Its physical components may persist, but its spatial proposition emerges through changing relations between architecture, ceramic, bodies, light, proximity, movement and atmosphere. The work remains spatially active when these relations remain capable of being re-entered.

The ceramic body consequently becomes a form of spatial persistence without becoming a fixed spatial meaning.

The same ceramic body can become another spatial body.

The same architectural body can produce another spatial proposition.

The same research body can enter another material condition.

This is why earlier exploratory research can remain relevant without being retrospectively converted into a predetermined origin story. The Waverley project, interiority research, architectural investigations, drawing, photography, landscape, teaching and reading do not need to be explained as steps towards ceramics. They remain active bodies whose propositions can now be furthered through clay.

The ceramic does not rewrite them.

It gives them another access point.

This access point also makes possible a different understanding of the archive. Rather than preserving research as a chronology of completed ideas, Moreton’s archive becomes a field of potential correspondence. Earlier texts, images and projects can encounter later ceramic bodies, while later making can return to earlier propositions without needing to reproduce them.

The archive becomes anarchive.

What was once speculative can become material.

What was once architectural can become corporeal.

What was once an image can become a spatial interval.

What was once a question can become an aperture.

What was once unfinished can remain unfinished, but acquire another body through which to continue.

This is not a movement from immaterial thought towards material resolution. It is a continuing movement between bodies.

Here, making becomes a form of spatial thinking. Clay does not illustrate an idea already formed elsewhere. The material encounter produces further thought. Resistance changes the proposition. The hand changes the surface. The surface changes the perception of the body. The body changes the spatial proposition. Fire changes the material condition. The fired body then enters another spatial situation.

The process is therefore recursive rather than sequential:

gathering ~ making ~ correspondence ~ withdrawal ~ encounter ~ futurity ~ gathering again

Within this movement, the ceramic body becomes neither object nor conclusion. It becomes a withdrawn spatial~practising body: materially persistent, relationally open and capable of carrying multiple research bodies into future encounters.

The body withdraws.

The correspondence continues.

The research remains~in~play.

And perhaps this is the deeper proposition of Moreton’s spatial practice: that making does not necessarily produce knowledge by resolving what is unknown. It can produce the conditions through which the unknown remains capable of becoming something else.

The withdrawn ceramic body is therefore not where the research ends.

It is where the research acquires another capacity for futurity.

The ceramic persists, but it does not close.

The earlier bodies remain different.

The spatial propositions remain open.

And what has been gathered is never simply contained.

It reverberates.