Outpost 100223
Spatial Bodies~Environments : Matter(s) of Interference
Architecting and its ecologies/matters of concern.
Circulating Objects : Lines/Holloways.
Making~Journeys.
The items shown in the image are ceramic sculptures by artist Russell Moreton.
These pieces are part of his exploratory, architectural-themed work.
They are characterized by a processual nature that focuses on the imprint of the artist and the material itself.
The sculptures often feature a raw, distressed finish, incorporating white paint and visible construction marks.
Moreton's practice in these ceramics investigates themes of silence, architectural space, and the interconnectedness of interior spaces.
The image displays a workspace cluttered with various documents, papers, and art-related materials, suggesting an environment dedicated to research, archival work, or artistic preparation.
Workspace Setting: The desk is heavily organized with stacks of papers, binders, and printed documents, which is characteristic of an academic, curatorial, or creative office space.
Artistic Materials: A large, black-and-white print or photographic work is prominently displayed on a board in the background, surrounded by smaller reference materials pinned to the wall.
Documentation: The presence of extensive paperwork and what appears to be exhibition or research documentation suggests the space is used for managing art projects, publications, or historical research.
Professional Environment: The overall composition implies a professional or semi-professional setting, likely related to art history, gallery management, or creative practice, where the physical handling of documents and visual references is central to daily work.
The body's participation in explorations, engagements and its care in attending to the values of immediacy, vulnerability, fragility, improvisation, performance, movement, multiplicity and becoming.
Apparatuses and their ecologies for learning.
The choreographic object/agent.
The role of the body is scored through a shifting agency and the power of techniques of things.
Theoretical objects of things which do theory without us imposing it, on them.
Oren Lieberman. 2013.
The Production of The Unexpected.
The Joy of Speculative Play.
Perception/Thought/Action
A caring curiosity that wants to know and understand and explore relations.
Projective Speculations.
Ecologies/Locations.
Questioning/Research.
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The objects in the image are slab-built ceramic sculptures created by the artist Russell Moreton.
Artist: Russell Moreton.
Medium: Clay.
Technique: Hand-built using slab construction.
Style: The works are processual in nature, featuring raw, distressed finishes and architectural themes.
Inspiration: The artist's work often explores the interconnectedness of interior spaces, architectural settings, and the imprint of the maker.
Processual learning occurs in movements, gestures, postures, expressions and exchanges with other bodies and things.
Landscapes Of Actions.
Modalities Of Intravention
Constitutive Qualities Of Dance.
Ephemerality
Corporeality
Precariousness
Scoring
Performativity
If we start by moving, by thinking through moving, and by living through moving. We'll arrive to that disturbing vision : that the predicament of dance is to be an art of erasure. Dance always vanishes in front of our eyes in order to create a new past. The dance exists ultimately as a mnemonic ghost of what had just lived there.
Lepecki. 1996.
Bodily interactions highlight the entanglement of material through a process/processual understanding and situated analysis.
The Archive.
Matters of Concern.
Terms of Engagement.
Interrogate with descriptors and new issues of practice.
Bringing Things to Life.
Starting conditions for responsible and curiosity driven engagements with the world.
Place-Refreshed.
New-Agencies
The Interconnectedness of Places.
For Ingold, congealed places become relationships/connections for lines of occupation.
Curriculum making/experience as the enactment of dwelling in places.
Landscape Constructions/Observatory/Garden.
Raveningham, drawing,mapping, landmarking paths, wayfinding, territories.
Ceramics and Architecture
Marking The Line.
In response to Sir John Soane.
Joanna Bird. 2013
Arranging the physical space/circulation to receive forms/intraventions.
Christie Brown, her practice engages with mythology and narrative and the parellels between psychoanalysis and archaeology through figurative work, which references archaic collections and the significance of inanimate objects in human lives.
Carina Ciscato, relocated to London in 1999, where she worked in the studio of Julian Stair and Edmund de Waal. The move, the contrast in culture and in attitudes to ceramics, has seen her work grow in confidence and move in exciting new architectural directions.
Nicholas Rena, his art is concerned with reconciling the domestic and the sacred, through the medium of the vessel, a form that reveals in a single look an exterior, the figure- and an interior – the inner life. Rena's strong , expressionist forms make explicit this duality, this communion and tension between our inner and outer life. His intensity and feeling for interior space imbues his work with immense presence and stillness.
Clare Twomey is an advocate for craft as commensurable to the wider visual arts. Her practice can be understood as 'post studio ceramics' as her work engages with clay yet often at a critical distance.
Twomey's work negotiates the realms of performance, serial production, and transience, and often involves site-specific installations. She is especially concerned with the affective relations that bind people with things, and how objects can enable a dialogue with a viewer.
Joanna Bird Pottery
Director of the Joanna Bird Foundation.
London.
Ceramic Forms and Paintings.
Materials/Substances on a drawn and constructed surface.
Drawings, wax and yellow ochre on layered canvas and paper.
Water : A Phenomenal Lens.
The transformative properties of the substance.
The 'void space' water gardens and the interior ceilings of the adjacent apartments are connected by reflected light from the ponds. These 'void spaces', three inches of water over black smooth stones from Ise, are analogous to a sacred space within the every day world of domestic urban life.
An attention to phenomenal properties of the transformation of light through material can present poetic tools for making spaces of exhilarating perceptions.
Imaginative metaphysics shows that man becomes all things by not understanding them- for when he does not understand he- becomes them by transformation himself into/with them.
Refraction/Reflection/Spatial Reversal Phenomena.
Time : Duration and Perception.
Duration as a multiplicity of secession, fusion, and organisation.
Henri Bergson.
One's perception modifies consciousness, attention is broadened, time is distended, just as in the density of language.
Thus when I measure time, I measure impressions, modifications of consciousness.
Saint Augustin.
Time conceived as the analog between architecture and cinema, passing time was measured and observed in a precise strip of sunlight which slowly formed different reflections as it passed across the glossy lack floor.
The physical and perceptual experience of architecture is not a scattering or dispersion, but a concentration of energy. This physically experienced 'lived time' is measured in the memory and the soul in contrast to the dismemberment of fragmented messages of media..
Steven Holl.
Hungate, Norwich.
Anglian Potters
Undercroft, Norwich. 2023
Helgate Proposal
Exploratory Ceramic Practice.
Clay Making.
Plaster Work.
Commissioning of Gas Kiln for large scale works.
Glass Tech Kiln.
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