Claywork/Correspondences/Vibrant Matter : Situated interactions between bodies and habitats.
Reading with Deleuze and Spinoza~Radical Intuitions : Interacting with clay.
https://www.flickr.com/photos/russellmoreton
https://www.anglianpotters.org.uk/members/russell-moreton
"Claywork/Correspondences" explores how clay, as a material, and the resulting artforms, can reveal situated interactions between bodies and habitats, emphasizing the material and relational aspects of human-environment connections.
Here's a deeper dive into the concept:
Clay as a Material of Connection:
Clay, being a natural material found in the earth, becomes a tangible link between humans and their environment. The act of working with clay, from gathering the raw material to shaping and firing it, involves a direct engagement with the earth and its processes.
Correspondences and Situated Interactions:
The term "correspondences" suggests a relationship or connection between different things, in this case, the human body and the habitat. By examining claywork, we can understand how humans interact with their environment, how their bodies are shaped by their surroundings, and how these interactions are reflected in the art they create.
Examples in Art and Culture:
Ceramics and Pottery: The creation of pottery and other ceramic objects demonstrates a deep connection to the earth and its resources. The process of shaping and firing clay involves a careful manipulation of the material, reflecting a knowledge of its properties and behavior.
Figurines and Sculptures: Clay figurines and sculptures can offer insights into the beliefs, practices, and social structures of past cultures. The forms and materials used in these objects can reveal how people perceived themselves and their relationship with the natural world.
Glazing and Decoration: The application of glazes and decorations on clay objects can further enhance the connection between the material and the artist's vision. Glazes, with their diverse colors and textures, can transform the raw material into a vibrant and expressive medium.
Beyond the Object:
The study of claywork can extend beyond the object itself to encompass the broader context of human-environment interactions. By analyzing the materials, techniques, and cultural meanings associated with clay, we can gain a deeper understanding of how humans have shaped and been shaped by their environments.
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Generative AI is experimental.
Clay/Fire/Space-Situatedness.
The Becoming of Continuity/Relations.
In/Out of Material, Tony Cragg.
An Exploratory Ceramic Based Inquiry.
The Ways/Movements of Practice.
Ceramics In The Environment.
Clay, is always a working idea, a matter/material process between things, a form of thinking in process.
The Durational Time of Play/A Lure For Feeling.
You don't need a choreographer to dance, what you need is a choreographic proposition. Propositions are ontogenetic, they emerge as the germ of the occasion and persist on the nexus of experience to take hold once more through new occasions of experience. For Manning what else is an associated milieu but a cornfield for crafting of the as yet unthought, where the microperceptual meet to create new movements in the making.
William Forsythe, Erin Manning, Always More Than One, Individuation's Dance. 2013.
https://axisweb.org/artist/russellmoreton
Crucible Bowls. 2020.
Slab Facades. 2021.
Rutile/Yellow Ochre/Red Iron Oxide/White Raku Slip/Transparent Raw Glaze.
The Moon Tower, Nina Hole. 2000.
The Watchdog, Michel Kuipers. 1990.
Intertwinining Thinking and Making.
Painting in Form of a Bowl.
Quietus, Cinerary Jars.
The Vessel/The Human Body.
Volumes/Voids
Clare Twomey.
Tony Cragg.
Eduardo Chillida.
Paul Soldner.
Julian Stair.
Bryan Newman.
Gordon Baldwin.
Hans Coper.
Lygia Clark.
Richard Hirsch.
Edmund de Waal.
Juhani Pallasmaa.
Steven Holl.
Ceramic vessels and surfaces for a reflective solitude, an architecture of light,silence and innerness.
Spaces between Objects/Things/Making, Giorgio Morandi.
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.
Paintings of nothing, ceramic, raw material, dry pigment, wax.
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.
Urban Spaces, palimpsest, impressions, traces, ecologies, redundancies.
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.
A diffractive methodology is a knowledge making process, understood by the physical phenomenon of an energy or force as it flows across an obstacle. Diffraction is the process of ongoing differences, and ass such it can be used as a tool for analysis, as it attunes us to the differences generated by our knowledge.
Karen Barad.
Areas Of Presentation and Participation.
Historic and Social Sites, Art Venues and Exhibitions.
Making Theoretical Objects, Installations and Interventions.
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.
Ceramic Houses and Earth Architecture.
How to build your own.
Beginning.
Model Making.
We will begin practising by constructing a room and covering it with a simple dome or a vault.
Once a person has constructed a model, within hours, he or she is encouraged to learn and understand more. The knowledge thus gained will trigger quests in building with earth. It is possible to learn the basics of thousands of years of earth architecture within a day if it is taught in the simplest terms, and if all our senses are involved in the learning process.
Nader Khalili.
Re-imagining learning, workshop session, conducted and initiated a walk across a landscape with clay being actively manipulated by a number of participants as they engaged with the material, their bodies and the landscape.
Beach firing at St. Ninian's Scotland, experimental kiln and site built reduction pits excavated from the beach. Pots fired and reduced with found materials, then washed in the Irish Sea.
Hans Coper, essay on professional practice, including his architectural ceramics.
Crafts Study Centre, Farnham.
Sectional Works.
Slab Constructions.
Plasterwork, Pressmoulding.
Working with materials/substances/drawing and traces of making.
Raku, engobes, slips, oxides, templates, spray diffuser, stencils, fabric inclusions, intermediaries, Indentations, found objects, ferric chloride,
Reduction materials, woodland branches through shredder.
Clay body additives, molochites, mica, vermiculite. other material,
Clay Tools : Block Strips and Combs.
Sound Vessels.
Capacitors/Insulators.
Passive, encapsulated layers.
Architectural Slab Works.
Ceramic and gesso/whitewashed/waxed/painted/bound/surfaces and structures.
The Chapel Of St.Ignatius.
House, Black Swan Theory.
Steven Holl.
Nail Collector's House, New York.
White plaster walls, hickory floors, and cartridge brass siding nailed in pattern over a wood frame, create a tactile weathering for this structure, a poetic reinterpretation of the industrial history of the site and the pre-Civil War architecture of Essex.
The jewel-like Chapel of St. Ignatius contains the essence of Holl's vision, his interest in the phenomenology of space, his passionate investigations of form and material, and his use of reflected light and colour.
The angst of a concept before spatial definition, interior and exterior are simultaneously explored.
The largest 'tilt-up' slab weighs 80,000 pounds and is filled with reinforcing steel. Its greatest stress is during the lift.
Working from the specific towards the universal.
The Built and The Unbuilt.
A theory of architecture that is mutable and unpredictable.
The body as a theoretical object doing/architecture (architecting its situatedness, Oren Lieberman)
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