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

Indexical Trace/Drawing : Anthropocentrism/Hospitality.

Outpost 14082

Figurative Anthropocentrism in the Visual Arts/Humanities.

Organism-Person-Environment

Architectural Body.

A figure in congress with its environment.

Attunement is a living dynamic relation with another being, it doesn't stop.

De-constructivist Drawings.

Causal Matter Remains.

Reclaiming the papers reserve, its infinite space, through the reclamation of mark making.

Drawing/Veering towards things.

All lines as vectors of movement, situated to have immediate phenomenal values.

Seeking out, a line that searches for a corporeal congress.

Immediate primal territories of making/tuning differences.

Marks of attunement and adaption that we can own and explore.

Indexical Trace/Butades, definitive space/body of a boundary of sensation. 

Bodily inclusion, a drawing hidden yet revealing its presence intimately to the papers total surface. 

A lines movement, its attunement/demarcation to the body, of the body, creates the flow of sensation, simultaneous lines make explicit the absence of the matter into form.  

On the manner of attunement, since a thing cannot be known directly or totally, one can only attune to it with greater or lesser degrees of intimacy. Nor is this attunement a 'merely' aesthetic approach to a basically blank extensional substance. Since appearance can't be peeled decisively from the reality of a thing. 

In Art As In Life.

What would it look like if we allowed more and more things to have some kind of power over us?

There is an excessive intensity to the energy of things that can't be contained efficiently. This can produce a type of restricted economy, that is an economy in which the dominant theme is efficiency.

Living in a society based on principles of restriction and efficiency, a modern life that is tight and restrictive and full of all kinds of police and policing, of policing pleasure, of keeping lifeforms alive. In the end any style of efficiency is going to be stifling and uncreative, not allowing for malfunctions and accidents.

Art is a place where we get to see what it means to be human or whatever, which is why what I do is called humanities, which contains a lot of different temporal formats, realising this is what ecological awareness is all about. It's the equivalent to acknowledging in a deep way, the existence of things that aren't you with whom you coexist. Once you've done that you can't un-acknowledge it. There's no going back.

All Art Is Ecological/Tunings. Timothy Morton.

Painting adds perspectives of emotions through colour.

An idea for a painting is a way of seeing inquiry/nurturing it/gathering an idea for exploration between interior-exterior. 

 

Spatial Object Diagram/Drawings as Tuning Towards OOO

All Art is Ecological.

Timothy Morton.

On the significance of things, an attunement that is alert and relaxed.

Site drawing from a propositional garden.

Causal Environment.

Cyanotype/Sculpture Trail.

Art/Agencies and movements that open up the world to curiosity, wonder and lightness.