Raveningham/Trails and Wayfaring/ Finding enlightenment in the ground beneath one's feet. J. G. Bennett.

Existing between the subjectivity between things.

You Are The Weather.

Roni Horn.

Clouds and Clocks.

The project arises between a dialectic between the poetic and the systematic.

Between Science and Art.

The Embodiment of Minimal Gesture.

Wanderlust, A History of Walking. 

Rebecca Solnit. 2002

The Mind at Three Miles an Hour.

Everyday Aesthetics : Ordinary Lives

What shall I do next?

Tim Ingold.

Finding enlightenment in the ground beneath one's feet.

J. G. Bennett.

Tim Ingold is an anthropologist who has looked at the interface between people and the environment. In The Perception of the Environment, he argues that ecological psychology and the philosophical writings of Heidegger and Merleau-Ponty share the view that the world becomes  meaningful through active inhabitation, or 'dwelling', rather than cognitive representation. 

Curriculum Making : The Enactment of Dwelling in Places.

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 

Raveningham/Scripted Places

Garden/Ground/Circulation Diagrams.

Doing Slow Philosophy : Materials/Objects/Things/Walking/Listening to the wind 

Boundaries/in the making between the personal and the commonly shared.

A space where the individuals mental reality meets cultural narratives.

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 2011

The Autonomy of The Natural Environment.

Sculpture/Playing with the existence of things.

Field Studies : Pathways around the Sun.

Drawing : Assemblage of Lightness and Weight.

Enmeshed Space : Working Drawing with Handwritten Notes.

Lawn Deliberations/Mappings of Human Agency/Space/Time.

Space projected from the body is biased towards the front and right.

The future is ahead and 'up.'

The past is behind and 'below.'

Time as a structure/place to observe things in constant motion/relation.

Drawing Site/Spiral Windings/Diagram/Spherical Markers

Terracotta, lime wash/lamp black/blackboard paint/chalk/ink

Ground Pegs/Labels/Text Markings/Archival Information

Points becoming lines, Tim Ingold.

Reading Matter/Rooms.

The Lake of The Mind.

Stochastic Thinking.

Steven Holl.

Raveningham : Site-specific project place

The Garden of Ongoing Differences.

Diffraction/Energy/Analysis/Attunement 

Site Cyanotypes/Drawings/Intermediaries

Spatial Collages Reconfigured  

Walking/Thinking with Ideas/Observations.

Site Drawings and Observational Mappings.

Cultivation Field.

The circle and square together embody what I think of as human nature.

Dark Room, Garry Fabian Miller.

If the everyday can be considered an ecology where passions circulate in a perpetual state of intensification and entropic decline, the empirical self (and not just David Hume's version of it) is essentially in a state of flux. This posits the human as an organism constantly adjusting to its passionate environment, with a self that is constantly appearing and disappearing, crystallising and dissolving.

Ben Highmore

Rich Lyrical Motifs.

Brilliant Trees.

Within each lesson lies the price to learn.

David Sylvian. 

Artist's Development.

Planting Research

Vital Nourishment.

Raveningham Garden Project.

Circle/Linear Time/Centred on objects.

Spiral/Deep Time/Awareness between things.

Architectural Ceramics.

Inseminations/Sketchbooks

Cell/Seeds/Dispersal/Cloud

Organism-Person-Environment

Working Ideas/Proposals into Matter/Making

Contents/Description/Instructions/Diagram/Drawing

Presentation/Ritual/Repetition.

Art is contemplation and must act upon our consciousness.

Objects/Things are part of the artist's immediate existence.

Contemplative experiences become truly meaningful when they occur in everyday life and when nirvana or the state of superior awareness blurs into samsara or ordered time.

For Tapies, repetition is above all else a perpetual questioning or a perpetual becoming.

A working process that is additive, which incorporates changes and accidents and as such his methods are hardly erasing anything that is already present on the canvas.  

A Summer's Work, Antoni Tapies.

The Garden/Material of/for Forking Paths.

The Diagram/The Program/The Inquiry

Marking Durations.

Ground Mappings.

Solar/Daylight Observed/Shadows Recorded 

A Garden Observatory/Philosophy of Silence/Solitude. 

Raveningham Sculpture Trail. 

Site Visit 160423

Sculptural Spacings and Sensual Engagements.

Showing Points/Lines/Vectors of Change/Movement.

Dwelling Demarcations/markers of temporality and disappearance. 

A poetics derived/driven from both the systematic and the small wonders of the everyday.

Circular Breathing/Cyclical Lines. 

The Peripheral Movement/Moment

The Space/Time between things.

The Concept of Sculpting Invisible Materials.

The Array, a phonographic inquiry recording transits of the suns pathways across the sky. 

Wanderings, caught up in the wanderlust of stillness and slowtime.

Paths of movement, paths of observation, paths of existential abstractions following daylight.

The artist's creative act of a self amongst others.

A sculptural deliberation that engages with the experiences of working a site in the landscape.

Curatorial.

Spatial Practice.

Practice/Display/Audience.

Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a  project of the mind.

Tim Ingold 'Making'

Camouflage : Neil Leach

Camouflage offers  a mechanism of locating the self against the otherwise homogenising placelessness of contemporary existence. It thereby promotes a sense of attachment and connection to place.

Camouflage may  therefore provide a sense of belonging in a society where the hegemony of traditional structures of belonging - the family, church and so on - has begun to break down. This aesthetic sense of belonging can be compared to other modes of belonging, such as religious devotion or romantic attachment.

Aesthetic  production should maintain the capacity  to operate as  a mediation between the self and the environment, but only aesthetic production whose design has been carefully  controlled can achieve this. The difference between productive and unproductive modes of expression is therefore a question of design. In this respect we can recognise the important social role of design in providing a form of connectivity for ‘cognitively  mapping an individual within the environment. 

Design becomes  a crucial consideration for the effective operation of camouflage.

In highlighting the creative capacity of human beings to adapt to their environment, this book offers a more optimistic account of human existence, which valorizes the present as the site of productive endeavor.

The thing contained is not the thing contained.

Manifesto for explorations of 'IN'

Steven Holl.

Wayfaring Forms : Living Architectures beyond Function.

 

Outpost 030125

Living Architectures/Wayfaring.

Environments formed/experienced through Movement and Attention.

Lines.

Tim Ingold.

Numinous Odyssey : Raveningham

Spectral Affinities : Architectural Constellation

Processual Bodies.

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

Art's Use of Architecture: Place, Site and Setting.

Artists in 'Psycho Buildings' explore architecture's psyche, through the production of places, sites and settings, sites and settings, which engender spatial experiences that connect the viewer psychically, as well as perceptually and conceptually, to broader social issues and cultural phenomena.

Art and architecture are frequently differentiated in terms of their relationship to 'function' or 'use'. Unlike architecture, art may not be useful in pragmatic terms, for example in responding directly to social needs, providing shelter or somewhere in which to perform open-heart surgery, but we could say that art provides a place for other kinds of function – self-reflection, critical thinking and social change. If we consider this expanded version of the term function in relation to architecture, we realise that architecture is seldom given the opportunity to consider the construction of critical concepts and spatial relations as its most important purpose.

Jane Rendell.

Processes/Processual Thinking that constitute entities.

Moving Attentively In The Field of Material Structure.

The Itinerant Library of Excessive Tendencies.

Heterogeneous matter driven by disparate parts and elements of assembly.

Bricoleur Performing Practices.

Discursive Inquiry/Reading/Making.

Abjection flows between bodies, it never solely concerns one body.

For Kovar, when abjection is one of those processes, a very particular assemblage manifests itself. Where boundaries are disrupted, connections made and zones of proximity that are otherwise absent, are reached. Abject(ion) causes an inherent schism on the physical and psychological levels.

It opens bodies, to one another.

It opens up bodies for 'exchange'.

Such that they are in a perpetual process of being made and unmade, unfinished bodies.

It is precisely because abject(ion) is not only psychological but also physiological that it straddles both genders and is not solely reducible to the feminine. Abject(ion) is both feminine and masculine.

Reliquaries for experience : Wayfaring/Lines and Interior Spaces : Materials of movement and attention.

Reliquaries.

https://www.curatorspace.com/artists/russellmoreton

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

2024

Ceramic

170mmL x 240mmH x 60mmW

Wayfaring/Lines and Interior Spaces : Materials of movement and attention.

Processual clay+ceramic constructions that articulate through processes of mark making and intermediaries, surfaces spatial bodies and interiors all entangled in a complex scaffolding of its own making.

"Makers work in a world that does not stand still, Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations" Tim Ingold, 2010.

The Quiet Mind : Silently without resistance. Books/Reliquaries : Working of matters and the exteriority of their relations. Marking/Wayfaring Inscriptions : Clay+Ceramic

(Sound of barking) Do you listen to that dog? Wait, wait. Silently? Listen to it completely silently, which means without any resistance, without any irritation, just listen to it. When you listen quietly there is no resistance, there is no irritation, you do not identify yourself with the dog and the barking of it, your mind is quiet. Krishnamurti.

Meditation The meaning of that word is to measure, basically (for oneself).

Exploring Ceramic Art: Movement and Attention

This title targets specific keywords like ‘ceramic art’ and ‘movement’, enhancing SEO by attracting audiences interested in art processes.

Meditation and Art: The Quiet Mind in Ceramics

Combines popular search terms ‘meditation’ and ‘ceramics’, appealing to those exploring mindfulness in creative practices, increasing search visibility.

Wayfaring Through Clay: Art and Perception

Focuses on the unique concept of ‘wayfaring’ linked to clay art, appealing to niche audiences and improving content relevance in search results.

Wayfaring Places : Studio Compositions~Immersive Cells of Inquiry.

Undisciplined small spaces, places of refuge and solitude. A physical space, where an atmosphere quietly echoes spatial metaphors of enclosure, interiority and the sited and situated condition of making.

Studio Environments : Reconstructions and Fictions. Studio spaces for speculative making.

Wayfaring Landscapes~Affective Aesthetics of Difference.

https://www.curatorspace.com/artists/russellmoreton

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

 

 

A collection of slab-built ceramic sculptures crafted by artist Russell Moreton.

These works are described as exploring themes of "making" and the metaphysical nature of architectural spaces.

The sculptures are intended to evoke the silence and tranquillity found within historical architectural settings.

Moreton's process often involves slab construction techniques and research into specific historical sites to develop these forms.

The research collage depicts a curated collection of materials focused on late 20th-century art and architecture, likely from a research board or publication. Jannis Kounellis: The large black-and-white image features an installation by Jannis Kounellis, a key figure in the Italian Arte Povera movement, known for using raw materials like iron and coal. Carlo Scarpa: A handwritten note identifies another part of the collage as related to Carlo Scarpa, a Venetian architect renowned for his masterful renovation of historic buildings and intricate detailing. Architectural Detail: The top-right image showcases a historic stone structure, typical of the locations Scarpa worked with, showing a sculpture placed inside a renovated architectural space. Art Montage: The overall composition functions as a visual research montage, contrasting structural, industrial forms with historical contexts.

The documentary image and pinhole photograph features text referencing Rodin | Beuys Working Practices and includes a photographic portrait of a man reminiscent of artist Joseph Beuys. The collage incorporates elements that resemble technical drawings or maps of buildings, possibly related to architectural studies or documentation. This style of layering images with text overlays and handwritten annotations is consistent with artistic practices aimed at disrupting conventional viewing, similar to the "dynamic labyrinth" concepts explored in 1960s exhibitions.

Woven Gridshell and Wayfaring : Visual Environs/Emergent Landscapes/Lines

Walking into Emergent Landscapes : Covehithe Beach

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

 Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

DSC_0205 Archipelagic/Light Drawing

'Ma' The space,expanse and distance between objects/events and time that can create 'boundararies for nothingness/energy'

Covehithe

Walberswick : Woven Paths/Digital Pinhole. 2016

Gridshell Building, Singleton, West Sussex

Weald and Downland Open Air Museum

Making ; Tim Ingold

Anthropology, Archaeology , Art and Architecture.

Knowing is 'understanding in practice' made from lines of active engagement with the material world.

Wayfaring : Emergent Landscapes