Studio : Making movements in thinking ( the way is made in the walking of it )

 Outpost Studio 24/10/2021 

Outpost Studio 221021

Material in space, working with spatial agency/thinking movements

The use of any material that helps any figure/organism exist in any given framework/environment.

Working Things/Coalitions of Material, Meaning and Form

Heuristic Discontinuities and  Materialism

Studio images, black windows, arch model,

Kounellis/Oren Lieberman

Architectural Proposal/Spatial Agencies

Marking/Demarcations/Corporeality

Drawing as an impromptu heuristic tool.

Gordon Baldwin, charcoal drawing for a vessel in a landscape. 

Drawing Materials, Blue lever arch

Exploded contents into critical/subjective analysis/displayed as assemblage around the environs of the studio

Content/First Readings/Shifting/Splitting discontinuities between organism, person, environment.

Richard Serra

Drawings Work Comes Out Of Work : Eckhard Schneider

There is no way to make a drawing - there is only drawing

Richard Serra, 1977

A sculpture grammar, based on formal reductionism, an active site-specific reference, and the central theme of gravity and balance. This results in sculptures that let the viewer experience the critical balance of different forces and whose large-scale dimensions impart a strong physical and emotional experience.

Large scale drawings and monoprints

Paintstick on paper and cloth.

Pressure is exerted on the back of the paper with a hard marking tool.

The paper treated as an active substance rather than a passive ground.

Liquid material under pressure shoots out and produces the explosive markings at the edges.

I don't see the drawing I am making until the paper is pulled off the floor and turned over or the screen is lifted.

Precisely because every illusory strategy is avoided, the forms are at the same time able to imply weight, mass, and volume.

Warming or melting the material for his drawings, he applies it either directly onto the paper with large sweeps of his arm, or he uses a window-screen as an intermediary surface through which he presses the colour.

The material and the entire work process serve to build the drawing step by step. It is an elementary process, which, carried out with intense energy, is the result of direct action. By splitting and discontinuing the flow, Richard Serra avoids the gestural and allows a dense superficial construction. Serra avoids gestural features in order to sharpen the awareness of the viewer and draw attention to one's own corporeality. He is not concerned with subjective gestures or narrative references; at the core of his drawings is the principle of marking, of the anonymous characteristic style in which the drawing seems to find its form through the density of the material and the compact work process.  

Unlike the site-specific Wall Drawings, which, rendered directly onto cloth, operate with the proportions and scales of the existing architecture, Serra's drawings on paper are not bound by content. The frame serves, instead, to separate the paper drawing from the wall.

Serra is fully aware that the weight of a drawing does not just depend on the layers of paintstick applied, but above all on its form.

I like to draw. It is an activity I rely on, a dependency of sorts. Drawing gives me an immediate return for my effort and the result is commensurate with my involvement. It is an activity that requires solitude, it is the most concentrated space in which I work.

The colour he uses is black, a dense layer of paintstick absorbs and dissipates light; what emerges is the mass, density, and volume of the drawing.

For Serra, black is a property, not a quality. In terms of weight, black is heavier, creates a large volume, holds itself in a more compressed field. It is comparable to forging. To use black is the clearest way of marking against a white field. He finds it also the clearest way of indicating something without triggering associations because black is interpreted as a material substance rather than a colour.

Convertible Facts : James Lawrence

Drawing is transformative.

Drawing is a primal, fundamental concept, an activity intimately connected with the raw terms of life as it is lived. Artists prize drawing not only for its inherent qualities, but also for its virtues as an  impromptu, heuristic tool. Rapid and agile, drawing is easy to adjust, erase, supplant, emulate, and if necessary, discard. It is a fluid means of anticipation, often prior to translation into more celebrated form.

Tony Cragg

In And Out Of Material

Interested in the coalitions of material and meaning and in the content of form.

MATERIAL IN SPACE

Working Things, Reflections on Tony Cragg's Sculptures : Robert Kudielka

Materialist

Materialism means the sculptor's experience that only through the effort of working things is thinking also able to move and change. The material assumes a new form, and the sculptor discovers new contents and meanings.

197

For Cragg, the German language in particular provides a unique possibility of distinguishing clearly 

between the thingness, objectness and objectivity. Kant.

The Rebirth of Sculpture from the Spirit of Matter : Christoph Brockhaus

Art Povera

The relationship between people and their environments and the things, materials and images in this environment, the relations among things,materials and images.

Collecting and Ordering Found Objects, Things, Materials, Images.

Formal Thinking With Matter

THINKING IS FORM

The Drawings of Joseph Beuys : Temkin, Rose

Northern accretion of detail from many sources, he explored several directions and mediums at the same time. 92 

RODIN BEUYS

Rodin's lines don't just represent carnality, they are themselves carnal, invasive, sexy. 

The Drawing Book : Tania Kovats

Drawing and Random Interference/Quantum Chance

ECSTASIS/MATTERING

QUANTUM CHANCE : Janna Levin

DRAWINGS : Antony Gormley

BODY, 2009-2011

A state of becoming, a dispersion of being part of space and time.

WRITING ON DRAWING : Essays on Drawing Practice and Research. Steve Garner.

The Erotics of Drawing : Jonathan Cooper

 

 

Library and Observatory/Abstract Fields of Inquiry : A Meditation on the Human Condition (Giacometti, artist-philosopher)

process,celestial sphere,observation,Karen Barad,zenith,analogue,trails,film,astronomy,night skies,dust particles,voids,Night Train,#russell moreton,#spatial practice,time cavity,The Seeing,naked eye universe,Martin Amis,

Books can step up to us- into us- in many ways.
Voices from Chernobyl by Svetlana Alexievich was for me that rare precipitate force which calls another book into being.

Mario Petrucci, Heavy Water, a poem for Chernobyl.

Norman Lockyer Observatory, Seaton.

Celestial Sphere : Stars and Dust Particles. 

https://www.flickr.com/photos/russellmoreton/25942954484/in/dateposted-public/


Astronomical archive

Hawking understood black holes because he could stare at them. Black holes mean oblivion. Mean death. And Hawking has been staring at death all his adult life. Hawking could see.
Martin Amis, Night Train, 1997.

For Baudrilland the actual photographs are beside the point. It is what precedes them that counts in his eyes- the mental event of taking a picture.
Sylvere Lotringer, The Piracy of Art, 2008.

Entanglements of matter and meaning.

Karen Barad, Meeting The Universe Halfway, 2007.

Meeting the Universe Halfway is an ambitious book with far-reaching implications for numerous fields in the natural sciences, social sciences, and humanities. In this volume, Karen Barad, theoretical physicist and feminist theorist, elaborates her theory of agential realism. Offering an account of the world as a whole rather than as composed of separate natural and social realms, agential realism is at once a new epistemology, ontology, and ethics. The starting point for Barad's analysis is the philosophical framework of quantum physicist Niels Bohr. Barad extends and partially revises Bohr's philosophical views in light of current scholarship in physics, science studies, and the philosophy of science as well as feminist, poststructuralist, and other critical social theories. In the process, she significantly reworks understandings of space, time, matter, causality, agency, subjectivity, and objectivity. In an agential realist account, the world is made of entanglements of "social" and "natural" agencies, where the distinction between the two emerges out of specific intra-actions. Intra-activity is an inexhaustible dynamism that configures and reconfigures relations of space-time-matter. In explaining intra-activity, Barad reveals questions about how nature and culture interact and change over time to be fundamentally misguided. And she reframes understanding of the nature of scientific and political practices and their "interrelationship." Thus she pays particular attention to the responsible practice of science, and she emphasizes changes in the understanding of political practices, critically reworking Judith Butler's influential theory of performativity. Finally, Barad uses agential realism to produce a new interpretation of quantum physics, demonstrating that agential realism is more than a means of reflecting on science; it can be used to actually do science.

Hyde Abbey Gatehouse/ Chamber, photograph on lead roll.

Hyde Abbey Gatehouse/ Chamber, photograph on lead roll., a photo by Russell Moreton on Flickr.