Ceramics and Architecture : Architecting and its ecologies/matters of concern.

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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.

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.

Assemblages of Event : Visual Art+Spatial Practices/Human Bodies/Spatial Bodies

Outpost 111225

The Everyday.

ANTONIO  He misses not much.

SEBASTIAN  No, he doth but mistake the truth totally.

The Tempest.

The Transparency Of The Morning.

One never sees what is always seen.

The immediate, just like the simple, the natural and the ordinary, does not perceive itself.

Substances : Artworks, rituals of purity and impurity.

Demarcations/Systems/Fields of order and contravention.

Material Margins/Transitional  Spatial Spaces.

Knowing that this clarity which has sprung up will soon dissipate.

Morning coincides with the emergence, giving back a possibility of springing up, of rising before the day has started to spread out.

For Jullien, it is possible to gain access to it only as we gain access to the immediacy of the day from the night. A world in which living is not right away (in which respect metaphysics is correct) it is necessary to cause it to rise. But without again being concealed by whatever has been entrusted with revealing it.

Life, is devoted from the outset to what its 'end' might be (telos) in the full sense of the Greek word.

Telos, at once a conclusion, aim, perfection, abandoning all the preceding 'between of life' to indifference.

The Way- Without demarcation, rather a way of viability by which the continuum of life is renewed.

The Philosophy of Living.

Francois Jullien.

Developing Open Subjectivities/BwO : Visual Art, Winchester. 2006.

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

Bodies are conditioned by architectural surrounds.

Architectural Body.

Reversible Destiny. 

Arakawa and Gins.

The transformative body, creates bodily interiors/relations that can open up to become productive alliances in which using spatial bodies, (other than the ideal types) they can be brought into new affiliations with systems outside of their boundaries. 

Creating an affective intensity.

Human Bodies/Spatial Bodies.

Relationscapes/Bodies/Events.

Organism-Person-Environment

Event-Space-Movement, superimposed over one another creates disjunction(Tschumi) and assemblages (Deleuze).

Drawing/Beginning a dialogue with matter/material between human bodies and spatial bodies.

Simple articulations (frottage) with the immensity and immediacy of the everyday.

Abstracted-Diagrammatic-Inhabitations.

Paintings/Drawings/Sculptures/Instalations.

Francis Bacon.

The Logic of Sensation. 1981, 2003.

Deleuze.

Reliquaries/Enclosures of Spatial Silences and of Light/Air.

A type of labyrinth with a momentary impossibility of escape (soul cages)  these are minoritarian architectures (Deleuze).

Real Spaces for Fictional Events.

A becoming architecture to provoke potentials to occur.

On the everyday, abjection of the human body.

The Clinic.

Bathrooms are spaces associated with the clean body and simultaneously with the dirty body. They are spaces that allow for hygienic evacuation of our excretions, they order our un-containment.

At the end of the day , the curtain is hung and there is a certain visceral repulsion to the damp curtain hanging in the window. To the drying of our bodily excretions and their gradual visual indiscernibility with the fabric. So no one knows what the fabric has absorbed.

All that remains is us, inhaling ourselves as air passes through the curtain and into our lungs. A re-absorption of our expulsions.

Zuzana Kovar.

The work of Deleuze and Guattari as a whole provides a way of approaching all bodies void of a dualistic framework. In particular for Kovar, Deleuze's work specifically touches on abject(ion) through his notion of an open and transformative or spasmodic body, which he discusses in the work of Francis Bacon.

Figure at a Washbasin. 1976

Francis Bacon.

Event-spaces in the paintings of Francis Bacon.

The Body-Figure/Figural-Event.

From the start, the figure has been a body and the body has a place within the enclosure of the painting from which the figure expels itself, gymnastically on the fields of colour. Is this the event of a body escaping itself into a figure, of the body in Deleuzean terms of trying to escape any notion of identity/form of repression?    

For Bacon, the body-figure exerts an intense motionless effort upon itself in order to escape down the blackness of the drain. This plexus (the body as plexus) its effort or waiting for a spasm, becomes for Bacon a painterly approximation of horror or abjection.

Paintings that create spasms that re-order the human organism, in order to escape it, by growing bodily organs as prostheses, or by allowing the enclosure of painterly space and contour to become an apparatus, an extension of the body-figure-figuration.  

The body waits to escape itself in a very precise manner, to escape itself via a spasm, the movement of the figure towards the material structure, towards the field of colour.

For Deleuze, the body repeatedly attempts to escape the organism, the particular organisation of organs that may be understood as constituting the subject the 'I', for Deleuze the body attempts to escape the 'I'. It is not 'I' who attempt to escape from my body, it is the body that attempts to escape from itself by means of, a spasm. But the body is not simply waiting for something from the structure (its place is an enclosure), it is waiting for something inside itself. It exerts an effort upon itself in order to become a figure now it is inside the body that something is happening, the body is the source of movement.

Athleticism, The Logic of Sensation. Deleuze.

Elliptical Circulations

Studio Wall Spaces/Artist's Books.

Between 'Devices'

Documentation/Research/Reading/Places/Images

Interpolation/Interpolation/Interstitial. 

Sculpting In Time.

Tarkovsky.

The Poetics of Space.

Gaston Bachelard.

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

Making as an Ecological~Intimacy : Trace~Drawing/Preservation and Movements in Media.

Outpost 230824

Human Thicket : Matter(s) of Composition~Connectivity~Decay

Life Outside the Circle of Architecture.

A Hut of One's Own.

Ann Cline.

The Importance of The Hut in Contemporary Society.  

For Ann Cline the ostensible subject of this inquiry is the primitive hut, a one room structure built of common or rustic materials. She gracefully weaves together two stories: one of primitive huts in times of cultural transition, and another of diminutive structures in our own times of architectural transition. From these narrative strands emerges a deeper inquiry: What are the limits of architecture? What ghosts inhabit its edges? What does it mean to dwell outside it?

Of Huts.

An ecological intimacy, a return to veering towards both humans and nonhumans.

When we study attunement, we study something that has always been there, ecological intimacy, which is to say intimacy between humans and nonhumans violently repressed with violent result.

Tuning, Timothy Moreton.

Architecture In Abjection.

Bodies, Spaces And Their Relations.

Zuzana Kovar.

The Raveningham Projects.

On the nature of crafting sheltering social spaces.

Site specific experiences on making/building/using.

A primitive attunement/dwelling, a return to the affective power between things.

A creative site specific study on 'dwelling, occupancy, and  hosting' through studying speculative architecture with its boundary conditions and formative structures. 

Simple 'undesigned' places valued for their timelessness and authenticity.

Philosophia/Socrates.

Philosophical love of wisdom rather than the possession of it.

A Philosophy of Solitude.

In Defence of Sensuality.

John Cowper Powys.

The Mythical City of Orion.

Storytelling through ceramics and explorative site markings, this sculptural intervention plays with archaeology, ceramic artefacts, and astronomy.

Sensing Self/Marking Realities.

Trace Drawing/Preservation and Movements in Media.

Territories/Borders/Boundaries.

Art-Workings.

Being able to work with and appreciate ambiguity.

An aesthetic timbre of the inter connective causal perceptual qualities of things.

You don't know why you should care about this, isn't that what we are all feeling when we experience something beautiful/wonderous.

Care/Love as an ambiguous spectral aesthetic around ethical decisions.

Being/All Art is Ecological, Timothy Morton

The Working Drawing.

Critical Body Contour/Outline.

The Fossil Line.

A primitive gestural drawing underpinning a Palaeolithic idea on an inter-connective, causal perceptual aesthetic force that invokes and engenders a phenomenological and hermeneutic philosophy.

Spectral Aesthetics, OOO. 

A line of energy flowing around the extremity of a formed space.

The reserve of a papers surface retains both its former presence and its continuing absence held captive simultaneously.

The Figurative/Experiential Flatness between seeing and sensing self.

The remembered, reconstituted spatial dimensions rendered attractively into volumetric flatness.  

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

Making Processual Paths Of Volatility : Ceramics/Sinopis Red/Palette from Antiquity.

Outpost 171225

Early palette from Antiquity:

White, yellow ochre, sinopis red (earth red), black (bluish).

Michael Grimshaw, Winchester School of Art. 2007

Intricate Local Behaviours : Conversations/Correspondences between unrelated entities.

Lines. (Making/Thinking/Matter/Material)

Tim Ingold

What Is Art ?

Joseph Beuys.

I find it interesting that you say that this stool or box speaks to you, whereas this floor, as you said, doesn't. A similar thing happens to me, and I ask myself: What is this due to, the fact that it doesn't speak to me, or only a little? It makes me think that these ready-made things, this precision, actually compels me to behave in a particular way, not just these things here, but also a certain window, or a specific type of architecture that is very fixed very straight, that derives from something very thought out; this compels me to live or behave in a similar way,

Volker Harlan.

Beuys: Yes, right, exactly; in other words, this lives (points to the box) while the other (points to the floor) is dead. The first doesn't force itself on you, the other continually forces itself on you.

Thinking Processual.

Resistance/Viability : Mapping/Living

Meaning that it is not so much a matter of crossing boundaries, but rather a matter of open-endedness. A place where boundaries have become diluted and single figures are already coupled or heterogeneous figures (in the case of Bacon, man-animal).

Kovar/Deleuze.

The Architecture of Abjection.

The Logic of Sensation.

Working From Simple Things/Gestures/Materials.

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

Theoretical Movements in Clay+Ceramics.

The Circular/Elliptical Matter/Mattering of Things.

Gathering/Pouring/Manifolds : Forms of Thinking. 

Events.

Arte Povera.

The Way, without demarcation, rather a way of viability by which the continuum of life is renewed.

The Philosophy of Living.

Francois Jullien.

The Quiet Mind :  Silently without resistance

(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.

Meditation

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

https://www.krishnamurti.org/transcript/in-meditation-there-is-no-direction/#:~:text=One%20must%20be%20wholly%20and,is%20vain,%20full%20of%20confidence

Human Bodies/Spatial Bodies.

Kounellis/Opera, interventions, unscripted by workmen, bodies on trolleys. 

Penone, wooden frame, human body, empty frame installed in a stream.

Beuys, accumulator, clay balls, wires, simple sturdy wooden table.

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

The Enabling Constraint. 

Erin Manning.

Visual Art Practice. 2024

Whether abject(ion) issues forth from a human body, a space or any other entity, it sets the whole world in motion and instigates a chain of exchanges.

In 'becoming' for Deleuze and Guattari we form a multiplicitous assemblage where individual elements are blurred, and together begin to act as a kind of whole. But a whole that is not fixed, as the assemblage also has a side facing a BwO which is continually dismantling the organism.

Through abject(ion) the smells, textures and physical forms of our body space and this excrement leaking out, become fused together. We become part of the space: the space becomes a part of us.

Abject(ion) re-configure the body and space physically through the transference of matter.

Architecture Without Organs (BwO)

The BwO is in fact produced as a whole, but a whole alongside the parts. A whole that does not unify or totalize them. But that is added to them like a new, really distinct part.

Deleuze and Guattari.

BwO plays a role in the notion of an open subjectivity. Kovar asks, are or how are abject(ion) and BwO related, and how might this relation be played out in architecture?

The BwO for Deleuze and Guattari is a concept that uses the virtual dimensions of the body as a set of potentialities that may be activated through becoming, importantly it is a body, understood as process that is continually constructing and deconstructing connections. 

To speak of process and the continual construction and deconstruction of connections is to implicate numerous entities between which these connections are made and therefore speak of heterogeneity.

Open Subjectivities.

Unmaking The Human Body/Subject.

Blurring the boundaries between interior and exterior.

Translucent assemblages are all that are left from the transparency/clarity of the morning that will soon dissipate.

Reliquaries of Light and Darkness.

Bodies, spatial and human in transitional movements. 

The Sacred and The Medical Body.

The Hospital Room.

The Killing of a Sacred Deer.

Cronos.

 

Clay/Working/Learning/Making.

Working in Clay and Fire /Mapping Resistance and Viability.

City of Orion, ceramic objects in the landscape.

Raveningham Sculpture Trail. 2024

Ceramic works investigating the relationship of water to the human body and the architectural body of interior spaces.

Water at The Hungate, Norwich. 2023

Exhibitions with Anglian Potters.

Ferini Gallery, Lowestoft. 5

Undercroft, Norwich. 4

All Saints, Cambridge. 2

2019-2024.

Revisited Contemporary Ceramics

Things of Beauty Growing.

The Fitzwilliam Museum. 2018

Anglian Potters. 2018

Teaching Sessions, throwing/handbuilding.

Brockwood Park School. 2012-2015

Speculative Clay Workshop/Walking in the Landscape.

Teaching Academy, Brockwood Park School. 2011

Raku Firings.

St Ninian's Cave.

Scotland. 2013

Bodyscapes, raw clay installations.

Chapel Arts Studios, Andover. 2010

The Yard, Winchester. 2009 

Contemporary Craft Ceramics. 2004-2006 

Life Drawing/Sculpture, figurative/abstractions in clay. 1996-2002

Dexterity Crafts.

Potter throwing domestic pottery.

Walton on the Hill. 1985

Ceramics, architecturally influenced vessels in slab and thrown processes.

Epsom College of Art and Design. 1981-1984

Industrial Pottery experience.

Grayshott Pottery. 1979-1981

Studio Pottery experience. 

The Hop Kiln Pottery. 1978

A Level Ceramics.

Farnham Sixth Form. 1976-1978

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

Slow Philosophy : Diffractive Over Layering/Accretions Of Making.

Diffractive Readings/Visual Material and Resources.

Over Layering/Accretions : Asperity~Inhabitation~Urbanism

Of interiors, constructions and abject deconstructions into and around the ruinous. White (bleached) and soot fumed stains, textures, patinas of process and time, usage and possible shelter. Urban vessels poetically conveying a visual, tactile complexity, that of built and lived in spaces.

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

Orange School Graph Books 

Harleston 2020-2021

A Species of Spaces

The Social Turn

Museum Site and Display

Political Philosophy

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 social life of making

Making speaks in vivid dialogue with two associated themes, material and skill

Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve 

Making becomes a process of iteration, and a maker works with this iteration prolifically 

Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force

Vibrant Matter, A Political Ecology of Things

Jane Bennett 2010

Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds

Tim Ingold 2010

New Urban Adventures in Collaboration/Conceptual Ceramics

Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay

The transformation of the material is a central concern and semiotic significance unfolds with making

Seeking a symbiotic relationship between idea and object 

Materials are substances in becoming

Karen Barad

Towards an Ecology of Materials

Tim Ingold 2012

From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis

 

Materials-Centered Perspective

Making, almost defies precise definition

The composition and/or manipulation of materials that bring into being new or revised objects

Tim Ingold 2010

Cultures of thrift and scavenging, maintenance and repair

Making encompasses the ingenuity of fluid, locally situated and adapted technologies

Materials carry on overtaking the formal destinations that, at one time or another, have been assigned to them

Sensibilities and dispositions that are centred on a deep and considered relationship with materials

The Craftsman, Richard Sennett 2008

Crafting, often reconnects mind and body in the sites and processes of production, thereby potentially reconstituting labour processes in ways that ascribe agency to workers

Makers finding ways to resist norms of gender and neoliberal entrepreneurial subjectivities, finding ways and spaces for ethical practice to predominate

Contemporary conceptual ceramics operates at the permeable boundary between art and craft, partaking of aspects of both, and ultimately demonstrating (or performing) that permeability

The emergence of the museum as proactive laboratory of social evolution

Extradisciplinary Investigations/Operative Principle

At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice

Microtopias, small contained sites of functioning democracy

Tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline

The New Institutional Practice

Projective Enterprises (should unsettle, activate, and raise questions)

The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary 

So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes

Site-Specific Art and Locational Identity

Miwon Kwon 2002

Collaborations and its Discontents

Claire Bishop 2006

The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions

A complex environment, awash in affect and subjectivity

When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour  

New curatorial initiatives must unpack the terminologies we use to distinguish one project from another

A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives

Unsettling-Complicit

Provocative-Strategic

Interventionist-Collaborative

Perforative Curating/Prescribed Participation

Creating new/more coded patterns of behavior/conventions/role play for visitor's

New Institionalism and the Exhibition As Situation/Social Experiment

Claire Doherty 2006

Participation

In which people constitute the central artistic medium and material

In the manner of theatre and performance

Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it

The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations

The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end

Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries

Artificial Hells (exposing the political and aesthetic limitations in the work)

Participatory Art and the Politics of Spectatorship

Claire Bishop 2011

Site-Specificity/Spatial Practice

The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate

Miwon Kwon 1997

Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames

Participation, creating a bridge between socially engaged practice and the permanent collection

Expressing itself expressing 

Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions

Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact

The strategy of making artworks as response

The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement

Making vessels, beyond the examining and intellectually impoverished questions 

A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside

Few boundaries are impenetrable

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

Like the vessel, the house shapes and nurtures the life contained inside

The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community

In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others

Clare Twomey, Lead artist at Tate Exchange 2017

Post Studio Ceramics

Interfaces between Making-Makers-Museums

Exploring object engagement beyond the known historical models of clay practice

'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital

Clare Twomey

Ceramics In The Environment 

An International Review

Janet Mansfield 2005

With Fire, Richard Hirsch

A Life Between Chance and Design (invites the unknown)

Scott Meyer 2012

Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility 

Raku as an Ideology

Breath-Energy-Immanence

Raku, A Review of Contemporary Work

Tim Andrews 1994

The Poetry of The Vessel

A calm invitation to thought and imagination

Chris Tyler

The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world

Arte Povera/Germano Celant, an aesthetic-philosophical movement

An eclectic synthesis of knowledge fields, that emerges into a total space where disparate categories can meet; a art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen