Layered drawing/collage/stratifications/exactitudes : Drawing and the production of space.

Layered drawing : Sensuality, Drawing and Astronomical Space., 

Russell Moreton on Flickr.

18/10/2012

ITALO CALVINO

SIX MEMOS FOR THE NEXT MILLENNIUM

LIGHTNESS 

QUICKNESS 

EXACTITUDE 

VISIBILITY 

MULTIPLICITY

CONSISTENCY not written at the time of the authors death.

Photographic Spatialities : Geographies of Art and Architecture.

 Images/Energies/Collages : Core, Periphery and Semiperiphery : 

Figuring it out : Display and Process : Conceptual Frameworks/Contexts

 Outpost 010323

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

The Parallel Visions of Artists and Archaeologists.

Figuring It Out.

Colin Renfrew.

Archaeologists/Artists, intuitively working with materials that are local and quotidian.

New insights into the way humans use things/people/the earth.

Encounters.

Art as archaeology, archaeology as art.

What is Art.

The tyranny of the renaissance.

Off the plinth.

Display and process.

The human condition.

Being and remembering.

The (al)lure of the artefact.

Baneful signs.

The archaeology of now.

Figuring it out.

The Indexical Body.

Corporeality/Aesthetics.

Contemporary Fine Art/Working from/with the body

Francis Bacon.

The figural body.

Manuel Neri.

The sculptural body in relief.

The Body/Spatial/Temporal

Rituals/Places/Vessels

Awareness/Repetition/Ritual can give meaning to existence.

What Are We?

Where Do We Come From?

The Anthropology of Art.

Constructed as a theory of agency or of the mediation of agency by indexes understood/conveyed through material entities which motivate/create inferences, responses and interpretations.

For Gell, art is not 'axiomatic' about a 'matter of meaning communication' but rather it is about doing that is theorized as agency in a process involving indexes and effects. Art, its actions and their effects are similarly not discrete expressions of individual will, but rather the outcomes of a mediated practice in which agents and recipients are all implicated in complex 'participations, ways of relations and their diffractions.

Artists/Prototypes/Things/Recipients/Affect/Generative Relations.

Practical Experience/Cognitive Knowledge/Analysis.

Art and its complex participation/phenomena is distributed by an agent with other agents, the artist attempts to distribute elements of their own efficacy amongst others. 

Artists are those who are considered to be immediately causally responsible for the existence and characteristics of indexes, artists/a person both distributed and implicated may also be vehicles of the agency of others.

Alfred Gell. 

Conceptual Frameworks/Context

Axes of Coherence/Indexes/Formal Analysis/Repetition/Improvisation. 

Resultants that incorporate the friction/asperity of their trajectories through a medium.

Tilt-up concrete construction, Chapel of St Ignatius, Seattle, Washington, USA.

Steven Holl.

Cathected, Aesthetic Phenomenon, Aesthetic Causality, Sensual Object, Allure,

The Projects.

Hungate.

Water, niche, Priscina, font, vessel, grounding body/spirit, apparatus, scaffold, un-doing of Place, Site, Reading the existential qualities of architectural spaces into the corporeal/haptic body, plaster, lime, canvas, whitewash, yellow ochre, water becomes a sacred conduit running through the architectural body.

Raveningham. 

Ground Marking, ceramic spheres, Fontana, clay/raku. Movements/Durations on grass to leave temporal traces. String line, shadow sticks, involuntary markers, found objects, collected phenomena,  

Undercroft Anglian Potters, Norwich.

Ferini Gallery, Lowestoft.

Panspermia 2010/Banga, Patti Smith : Layered Drawings/Silent readings/diagrams/ceramics of imaginary space

Patti Smith - After The Gold Rush - Banga, 2012 (A Neil Young Song).

Reading : Slow Philosophy

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

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 Arts : The inherent finality of the human condition is concisely and eloquently measured and mapped.

.

Russell Moreton  Spatial Practices MA, UCA Canterbury.

Visual artist who currently uses simple descriptive gestures and processes drawn directly from the human body. His practice continues to explore issues around "Spatiality" and the "Postmodern Human Condition." The use of site specificity and materials "at hand" are employed to further underpin the practitioners sense of place, memory and dwelling. His descriptive working narratives are in effect physical working ideas, spatial  entanglements between the relations of  life and art.  

Drawing.

Installation and Working Sites

Architectural Glass and Ceramics

Liquid Light and Pinhole Photography

OUTLINE

Drawings by sculptors that place the relationship of the line derived from the body on the same field as material/media residues. These configurations give rise to conceptual associations and meanings. This contemporary approach is in evidence in a number of artists work where the per formative aspects of drawing are the key issue. To put it simply there is a growing awareness of the gesture of drawing as the work, and not just simply the representational merit of recognition that has previous acquainted skill and draughtsmanship. I am talking about the authentic gesture of inscription, the combination of both the trait and trace that the trait has circumscribed. This almost primal visual rendering from a sensation of blindness is captured succinctly in the myth of butades, or as it has come to be known "the birth/origin of painting” This myth preserved through the device of its very nature contains an irony trapped, almost withheld until the contemporarily of its content could be recognized. It is my aim to expand on these issues using the situation of my own practice as a bridge to attempt to illustrate some of the complexities unearthed.

Analysis of a drawing.

Crafting the mind : Human Inhumation/Containment

Julian Stair

Quietus/The Body Politic

Morality

Jonathan Sacks

Jozef Van Wissem

Grand Central Confessional

Nature Boy

He said that in the end it is beauty

That is going to save the world, now

Nick Cave and The Bad Seeds

THE PHYSICAL

THE EMOTIONAL

THE CONCEPTUAL

First Intension (noun) Medicine the healing of a wound by natural contact of the parts involved.

Fecundity, Fertility, Creativity, Inventiveness, Fruitfulness, Productiveness. What response within ones subjectivity created the desire and its necessity to be

embodied, to be brought into the realm of things? CREATIVE POST-MORTEM 19.08.2010.

Outline of a female body on light-weight Chinese paper, life size, laid out as if in the process of making passage through a fluid. The body stance seems tensioned with arms outstretched and together above the head, as is it is being propelled, or conversely the feet together might signify the body is sinking into a space occupied by a fluid. The body seems to be caught in some sort of stasis, between sliding back or diving head first. This outline has been in places in filled with a blue photographic material ( cyanotype).This material that displays a floral print caused by the displacement and actuality of seed heads having been placed directly in contact with the paper. This floral marking occupies only part of the territory which was once occupied by the body. There is evidence that this fluid substance (blueprinting of a fecundity) has transgressed, seeped through the boundaries of the traced form. It has done so through the cyanotypes fluidity and the absorbency inherent in the structure of the paper. Within the territory of the body, there are spaces void of the cyanotype material, these appear as barren areas, unfertile yet they seem to suggest an infinite space which gives the cyanotype surface its ability to both record an actuality and suspended it. This appears to question the spatio-temporal aspect of the relations between the application of the fluid and the drawing of the trace. What is apparent is that they have become superimposed and strangely contingent. There exists a sense of transition between fluidity of the cyanotype and the fixed “registration” of the hand drawn trace this creates different senses of temporalities on the same surface. The residues left over from the cyanotype process are still clearly visible, channeled into a flow which is delivered to a reservoir at the foot of the trace. The outline in what appears to be black marker pen preserves a permanence against this flow. This same marked permanence records an intervention of two back slashes which tags a closure of performance of the trace with a date simply stated across the foot. One might be tempted to consider if this marking and its proximity might have associations that reference the labelling of the mortuary corpse. The inclusion of this precise date marking, renders other material traces some sort empirical touchstone, an observation point clearly defined from which to see other phenomena present. This observational mode of inquiry is perhaps promoted by what appear to be astronomical markings that are only "‘present” within the territory of the body, curiously they appear to have been inscribed from the reverse side of the paper. They appear akin to body markings, tattoos or some other form of writing information on the body. These marks suggest some sort of cartography which can only be read by others, this information is clearly “hosted” for the benefit of others, a message that might contain an augury. The host body might be a vessel for these speculations, but it is clearly not their author in fact the astronomical details place their own authorship right through the vessel of this un-gendered female form. Given that the astronomical markings have been assigned to a human form, a form of mobility the knowledge of these marks therefore exceeds the temporality of the host form, in the literal sense this is already confirmed by an existence only recorded by its trace, its absent presence. This terrestrial being with its absent presence marked and dated is further appropriated into a territory containing celestial mappings and traces from its own host planet. The inherent theme of fecundity and fragility supported by the inherent finality of the human condition is concisely and eloquently measured and mapped. Like a shroud this work is delivered to reaffirm the body as a site.

There is no authority in the gesture, it is an act of reassurance, he is fixing reality. James Salter

Geodesic Photographic Assemblage : Observatory #2

Hybrid Musical Sources : Astronomical Mappings/Spatial Propositions and Intervals

Amorphous Photography : Star Trails


Side C
10. Sola Gratia (Part 2)- Jozef Van Wissem et SQURL

MAPPING : Ritual,fire and stone : Human Filament

Astronomical data with outline of human form,candles,string and stones on paper.150cm x 240cm

Pastoral Space: Material,Inquiry and Craft.#3

Pastoral Space: Material,Inquiry and Craft.#3, a photo by Russell Moreton on Flickr.

Layered Drawings : Architectural Screens/Modulations of Translucency

Space Between People

How the virtual changes physical architecture
Stephan Doesinger

This book shows how the virtual has completely changed the physical world around us. If architecture is the construction of space between people, what happens when that space exists in a virtual world? That question is the starting point for this collection of revolutionary projects by a new generation of designers. The book begins by examining the important issues that have emerged as technology reshapes our idea of place and proceeds to present the four winning projects from the first architecture competition held within the explosively popular Internet community known as Second Life. Chosen for their inventiveness and aesthetic excellence, these structures - a cloud that can be inhabited; a meta-museum; an interactive sound scape; and a snow palace of discarded objects - illustrate the mindbending possibilities of digital design. In the books final section, media artists share their real-time experiences conceptualizing and creating projects for the virtual world.


Non Spaces/Digital Still Image : Fire escape Winchester School of Art

Meshworks/Norwich, moving analogue source : Midway/Dante
Beginning as one always does in the middle, in mediis rebus, one experiences a sense of disorientation, a sort of cartographic anxiety or spatial perplexity that appears to be part of our fundamental being-in-the-world. It is an experience not unlike that of Dante, in the opening lines of his Commedia:

Midway along the journey of our life,
I woke to find myself in a dark wood,
for I had wandered off from the straight path.

( Dante 1984 : 67)
Introduction : Spatiality .
Robert T. Tally Jr.
the New Critical Idiom, Routledge 2013

Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"

"All that is solid melts into air"

Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

Sensuality, Drawing and Astronomical Space.
Architectural Translucency (Tracing Layers)
DSC_8860 Pavilion : Borderlands

Andreas Horlitz : Simulacrum. 2006

Brian Clarke : Lamina. 2005

Gathering Energies/Planetary Movements/Reveries on Reverie : Blue Drawing 9549

Presentation Slide,  The Architecture of Continuity : Lars Spuybroek, essays and conversations. Rotterdam 2008. The Poetics of Memory "The Cinema of Robert Lepage : Alexsander Dundjerovic. London 2003. Spatiality : Robert T. Tally Jr. London 2013. The Poetics of Reverie "Childhood, Language, and the Cosmos" : Gaston Bachelard (trans Daniel Russell). Boston 1971.

Reveries on Reverie/Reveries toward Childhood

Childhood sees the World illus­trated,  the World  with  its original colors,  its true colors.  The great once-upon-a-time (autrefois) which we relive by dreaming in our memories of childhood is precisely the world of the first time.

For those of us who can only work on written documents, on documents which are produced by a will to 'edit,' a certain indecision cannot be obliterated in the conclusions which terminate our inquiries. In point of fact, who writes? The animus or the anima?

These seasons find  the means to  be singular while remaining universal.  They  circle in  the sky  of Childhood  and  mark  each childhood  with  indelible signs.  Thus our great memories lodge within the zodiac of memory, of a cosmic memory which does not need the precisions of the social memory in order to be psycholog­ically  faithful.  It is the very  memory  of our belonging  to  the world,  to  a world  commanded  by  the dominating  sun.

Gaston Bachelard