Assemblages of movement : Human Bodies/Spatial Bodies/Body Matters

Outpost 201124

Parables for the Virtual.

Brian Massumi. 1985

When we think of space as 'extensive' as being measurable, divisible and composed of points plotting possible positions that objects may occupy, we are stopping the world in thought. We are thinking away its dynamic unity, the continuity of its movements. We are looking at only one dimension of reality.

If you know where you where you will end up when you begin, nothing happens tn the meantime.

Bergson redefined space in terms of movement, space is not a ground on which real motion is posited, rather it is real motion that deposits space beneath itself. Space comes into being through motion or event.

On Architectural Experience.

Architecture has the potential capacity on human/spatial bodies to affect or to be affected.

Relations of Movement and Rest.

The bodies capacity to enter into relations of movement and rest, to affect or to be affected.

Massumi/Spinoza/Deleuze.

Architecture still remains primarily as a discussion of distinct bodies, spatial and human with the two remaining physically and psychologically distinct.

Violated Bodies-Spaces.

Intense confrontations between body and space.

Tschumi allows for architecture to be considered as an assemblage, composed of a space and a bodily event, however, even his 'equation' retains a demarcation between spatial bodies and human bodies engaging in event and maintaining that the two function according to independent logics, but  serve to affect one another.

Bodies and spaces excrete out of themselves, they penetrate one another, contemporary architecture does not know what to do with such borderless entities. It has no mode of thinking about assemblages of this kind, where once discrete objects leak into one another creating indiscernible masses. There is a multiplicity of bodies, bodies that are forever being created and dismantled, forever in flux.

Architecture between Spectacle and Use.

Anthony Vidler. 2008

Architecture in Abjection.

Bodies-Spaces and their Relations.

Zuzana Kovar. 2018

For Vidler this spectacle architecturre is one that embraces the ideas of image and iconomy.

In addition to carefully placing and posing lone figures within architectural photographs, architecture is also synonymous with casting idealised bodies, Le Corbusier's athelitic figures and his 'Modulor' of an ideal masculine body. And then there are the bodies available in computer models, and the physical little white plastic figurines. These are all ideal figures, doing proper things.

Disjunction.

Volatility-Violence.

Sets in motion a particular series of potentialities that otherwise lie dormant, which can alter architectures physical, social, cultural, ethical and at times political properties. 

Creating a schism between program and space, space and program, it does this so precisely because event-space and movement each follow a distinct logic, that when they are superimposed over one another they create disjunction.

For Tschumi there is an intense confrontation that occurs between body and space, bodies violate space and space violates bodies, the relationship between the two is symmetrical.

Drawing : Proximities and The Sensing Self

 Outpost 221223

Drawings re-examine, explore the 'Body Boundary' its feelings between the world of the individual and the world. Drawings attempt to establish a common boundary condition between themselves and the outside world.

We experience architecture not by aggressively seeking it, but by dwelling in it.

Drawing is always a formulation or elaboration of the thought itself at the very moment it translates itself, makes itself as an image.

Proximities and The Sensing Self.

You see and hear things figuratively and at a distance. But you touch the actual thing. You can extend haptic perception with an instrument, in which case the 'feeling/sensing' moves out to the end of the cane. But when you extend sight or sound, telescopically or electronically you continue to see and hear figuratively and at a distance. 

Kinaesthesia a property of haptic sensing that allows one to sense the body motion (haptically) by detecting the movement of joints and muscles through your entire bodyscape. No other 'sense' deals as directly with the three dimensional world or similarly carries with it the possibility of altering the environment in the process of perceiving it. No other sense engages in feeling and doing simultaneously. This action/reaction characteristic of haptic perception separates it from all other forms of sensing, which in comparison come to seem rather abstract.

Body, Memory, and Architecture.

Bloomer, Moore.

Organism-Person-Environment

Affect Architecture : Sociological Inquiry. 

Architectural Body. 

Awakawa/Gins.

Caloricity/Corporeality.

The Dreaming Physical Body.

Poetry as a synthesis of human existence.

Novalis, Bachelard.

I've always loved encountering a Rothko, up close, they really hum through your body.

I like the spaces that a large scale offers.

I think of each mark or area as having the possibility of carrying a sensation.

Jenny Saville.

Bodily Boundaries.

Body-Image-Theory.

The 'Physical' Body is the private property of the individual, but the individual's Body Image is developed, socially and thus has a social property. The tendency to associate the body with physicality rather than image over associates the body with notions of privacy.

Bloomer, Moore.

Paint/Haptic Fleshings.

The Bodies She Paints.

Chadwick/Saville.

If Painting presents Being, the drawn line presents Becoming.

Norman Bryson.

Drawing : Bodily Transactions/Making Public.

Displaying : Showing Possession.

Possession, like a body is a feeling that calls on all the senses, but is the direct consequence of feelings that are confirmed haptically, in contrast to the more distant and figurative feeling that are experienced visually and audially.

Bloomer, Moore.

Drawing/Sensing Haptic Relations.

Situatedness through drawing produces the hapticity of the experience of seeing/sensing/feeling with the body. 

The Anatomy of The Body.

The Exposed Interior of a Painting. 

The Space between Abstraction and Figuration.

Having flesh as a central subject (what it feels) I can channel a lot of ideas.

I need my marks to construct the anatomy of the Body.

If there's a narrative I want it in the flesh, in the body of painting.

I try to find Bodies that manifest in their flesh something of our contemporary age.

I find having the framework of a body essential.

Jenny Saville.

Elpis. Gagosian Gallery. 2021

The monumental paintings explore the human body and its fascinating aesthetic potential. Saville's bold and sensuous impressions of surface, line, and mass oscillate between rational and irrational forms, capturing a unique approach to realism specific to the twenty-first century. The publication documents the twelve paintings in the exhibition alongside photographs of the artist's studio and reference materials, including snapshots taken by Saville. It also features a poem by Anna Akhmatova, whose work Saville learned about while she was in Russia, where she photographed many of the models pictured in the paintings.

Primordial Memory/Dreaming/Making/Corporeality : Antony Gormley/Francesca Woodman/Bodies/movements of becoming.

Concept of the Body : Merleau-Ponty

Fundamental assumption that the body was not an object, the body is the condition and context through which I am able to have relations with objects. 

The mind in its insertion in (creating/becoming) corporeality creates the ambiguous relation with our body, and correlatively with perceived things/superimpositions/entanglements.

Understanding the material/body image in discursive terms

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

The body generates and presumes interpretations, perspectives which serve its needs in the world, its will to power and its drive towards self expansion/self overcoming, the movement of becoming, vigorous, free, joyful activity. (Nietzsche)

 

Francesca Woodman explores the spatial relationship of the body in space and time.

These performative images and her relationship to the pictorial space, her body traces, are witnessed and further manipulated/annotated by drawn lines enclosing and creating other spaces.

Barad: Thinking with intra-action

There is an important sense in which practices of knowing cannot fully be claimed as human  practices,  not simply  because we use nonhuman  elements in  our practices but because knowing is a matter of part of the world making itself intelligible to another part. Practices of knowing and being are not isolable; they are mutually implicated. We don’t obtain  knowledge by  standing  outside the world; we know because we are of the world.  We are part of the world  in  its differential becoming.  The separation  of epistemology from ontology is a reverberation of a metaphysics that assumes an inher­ent difference between  human  and  nonhuman,  subject and  object,  mind  and  body, matter and discourse. Onto epistemology—the study of practices of knowing in being— is probably a better way to think about the kind of understanding that we need to come to terms with how specific interactions matter.

Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning (Durham: Duke University Press, 2007), 141.

Antony Gormley, states, that one of his central concerns has been to recover a sense of being in the conditions of today's increasingly materialist and mediated social environment. He uses sculpture, via the intimate process of the body cast, to construct surrogate forms, derived from an almost sacrificial process. A rehearsal of death of an absent body, recorded as an enclosed volume of air, entombed in a lead sarcophagus of fragmented body sections, soldered to reconstruct a new wholeness. He creates, within this sculptural volume, an “infinity of space within the body.” His works are embodiments of the body. They are literally body cases. The use of lead with its own alchemical and historical contexts and its particular non­ aesthetic further adds to the tomb like qualities of the work. 

Each sculpture invites occupation; it is complete when the imagination or the mind inhabits them.

Gormley’s body cases are almost orphans, cast adrift from their symbolic maternal mother. They have become shells; empty humanoid spaces, awaiting an identity in the mind of the post-modern witness. In return their identification identifies the witness. The experience of metaphysical inhabiting this surrogate human space might allow us to lose all sense of the present and our identity with ourselves. Gormley’s sculptures, with this lack of identity or questioning of identity with the space they are placed in, prompt a different mode of questioning the purpose of their presence. The viewer becomes more interrogatory, more concerned, almost asking the sculpture to confirm its placement, not its actual identity. We see in them something of ourselves, externalised for scrutiny, a dialogue of intervention caused by a bodily proximity to something unknown, which can compound meaning, or conversely it can fragment it. 

An investigation into a disembodied physicality, inducing elements of fetishism and narcissism, with the search for an identification of the feminine, within the confines of spaces, loaded with tactility, dust, dilapidation and decay?

Some of  Francesca Woodman’s work involves herself and female characters in staged film, feminised melodrama. Stills with an unknown and possibly convoluted narrative, together with ambiguous relationships amongst the characters. The images are shot as straight documentary stills and seem to be searching for the identity of the partially hidden women, as seen through the response and body language of the other characters facing us. These works are full of conceptual ambiguities.

Photographs are indexical; they point to something else; a mirror with a memory; a stage for an inquiry.

Francesca Woodman’s use of the camera’s ability to witness and document, is subverted into a personal language of aggressive tactility and the notion of the body’s identification being partially hidden or even lost; just its trace remains recorded in the latency of the camera’s recorded time.

Her work seems to have an inherent almost codified, femininity, probably due the semiotics and symbolism of early surrealist influences. She performs, re-enacts and exposes her body for the witnessing of the camera. She seems to, fleetingly, seduce and then disappear, just leaving a trace of her being, her sexuality and its actions, entrusted to the fragility of the light sensitive gelatin.

 (extracts from The Body, Francesca Woodman and Antony Gormley, WSA Russell Moreton 2006)

Reading The Landscape

This Enchanted Isle : Peter Woodcock 2000

Radio On by Chris Petit.

The film has a hallucinogenic noir-like quality, a weird hybrid of Fifties Americana and a displaced Britain. It is a seismographic disruption of British culture in a limbo land of displaced dreams, elements of an almost mythical Britain fleetingly appear.

What distinguishes Neo-Romanticism from traditional romanticism is the feeling of danger, the juxtaposition of the urban with the countryside, the element of darkness, dissolution, an almost pagan reverie breaking through the ruins of post-industrialism (Woodcock,2000:55)

England Dreaming : Primordial Memory/Dreaming

The darkness is a silent solid, the light etches its surface, it is simultaneously sign and cypher. The light etching itself on the dark surface is akin to a revelation, an epiphany before the building is transformed by its users and movement. (Daniel Libeskind)

The Drought : J G Ballard

The Tempest : Alchemy, Prospero.

The Neo-Romantic Vision from William Blake to the New Visionaries. 

‘A new alchemy is being formed which encompasses traditional methods of art, the new technology, and the revolutionary new scientific discoveries.’

Re-Enchanting the Land. (Woodcock,2000:140)

‘When one lacks outer space one creates inner space. Invention becomes more complex, cup and circle markings on stones, intricate Celtic spirals and knots, illuminated manuscripts, gothic architecture with its inherent story telling.’ (Woodcock,2000:131)

Throughout John Piper’s long and prolific life he remained fascinated not only with churches, country houses and landscapes but also ancient sites. He comments on the landscape of Snowdonia, each rock lying in the grass had a positive personality, for the first time I saw the bones and the structure and the lie of mountains, living with  them and climbing them as I was, lying on them in the sun and getting soaked with rain in their cloud cover and enclosed in their improbable, private rock-world in fog. Piper never dismissed the archaic spirit of place.  

(Woodcock,2000:31)

To take a picture is to have an interest in things as they are in the status quo remaining unchanged. It is to be in complicity with what makes a subject interesting.

Cameras consist of small voids, the ‘camera’, a lens and photographic film. They are camerae obscurae  that collect light and allow it to meet the surface of the film. But in fact the light comes from the larger void outside the camera. The moment the light has registered on the light-sensitive surface of the film, memories are constructed. The memory is literally conceived in this meeting and is added to life as an additional layer of being. The process through which void meets surface is therefore also about love—the love of ancestors and relatives, but also of life and its conception.

The camera records subjects considered disreputable, taboo and marginal. Sontag notes Times relentless passage and photographs as a pause of evidence, Together with the camera’s ability to turn people into objects that can be symbolically possessed. She recognizes the inherent pathos in .objects being photographed, and the compulsion to take photographs. Sontag realizes the photographic recycling of reality, acceptable as a daily activity in our consumer society. Photographs do not explain themselves, they just acknowledge.

Bibliography

Bachelard, Gaston, Psychoanalysis of fire, New York, Beacon press 1964 

Benjamin, George, Antony Gormley: critical mass, London, Royal Academy of the Arts 1998 

Curtis, Penelope, Sculpture in 20th Century Britain, Leeds, Henry Moore Institute 2003

Deneuve, Catherine, Bettina Rheims, Munchen, Schirmer-mosel, 1989 

Douglas, Mary, Purity and Danger, London, Ark Paperbacks, 1984 

Gormley, Antony, European Field, Museum of Modem Art, 1994 

Greenaway, Peter, The Physical self, Rotterdam, Museum-Boymans, 1992 

Israel, Deborah Turbeville: Wallflower, London, Quartet, 1978 

Karabelnik, Marianne, Stripped Bare, London, Merrell, 2004

Krauss, Rosalind, L ’Amour fou, New York, Abbeyville, 1985 

Moszynska, Anna, Antony Gormley Drawing, London, British Museum, 2002

Sollers, Philippe, Francesca Woodman, Paris, Foundation Cartier, 1998 

Solomon-Godeau, Abigail, Francesca Woodman, Photographic work, New York, Hunter College, 1996

Thewelt, Kllaus, Antony Gormley, Germany, Kerber Verlag, 1999 

Articles

Riches, Harriet, A disappearing Act; Francesca Woodman’s portrait of a reputation, Oxford Art Journal, 27.1 2004 95-113, Oxford university press

Rus, Eva, Surrealism and self-representation in the photography of Francesca Woodman, www.palazzoesposizioni.it/schede/woodman, 2004

Making Iterations/Procedures Crafted with Care ~The Interweaving of Everyday Experience in Texture~Pattern~Weave

For Manning, Arakawa and Gins, the challenge is that the procedures of a procedural architecture (its architecting) must continuously be reinvented to stay apace with the architecting of experience. And this procedure must be crafted with care, it must be relevant to the conditions already at hand.

Dress Becomes Body in The Minor Gesture, Erin Manning. 2016 

Affective~Ecologies~Immersive Atmospheres.

Matterings~Un-doing theory into the making of the everyday.

The Anthropology of Skill.

Architecting with experience.

On the distinction between Art and Technology.

Yet speech is no ordinary skill. Weaving  together in narrative, the multiple strands of action and perception specific to diverse task and situations, it serves, if you will, as the 'Skill of skills'. And if one were to ask where culture lies, the answer would not be in some shadowy domain of symbolic meaning, hovering aloof from the 'hands on' business of practical life, but in the very texture and pattern of the weave itself.

Tim Ingold. Beyond Art And Technology.

Circulation Diagram~Lines of Flow amongst Clay.

2025 Diary Content.

May 26 - June 1

Readings and their speculations of theory into the realm of everyday practices.

Interior Spaces.

Infra~Bodies of Immediacy 

Becoming Volatile, matter(s) entering into movement, creating in~with bodies.

The permanency of ceramic objects both reflect and indexically link clay with its very nature of uncertainty and change through the very extreme and  volatile processes of firing. 

Clay is about the primacy of the corporeal human body as it attempts to express~abject itself through bodily metaphors or nesting, dwelling, nurturing and enduring.  

The Inner Life of Pots~Ceramics

Tunings~Innerness~Thresholds~Change

Sounding Voids/Muted Light

Brian Clarke

Concordia

Film, analysis, organisation of human access, wonderous, the best of myself.

Elements of flight, collage, and sensate fictions.

Hannsjorg Voth

Working with intensity(building structures)

Architectural Reflexive Spaces

Inhabitation's into the continuous weather world.

Landscapes~Making~Building~Ecologies

Innovative Objects~For Critical~Philosophical Thinking~Living.

Cognitive nature~potentiality of matter(s) of making worlds. 

Tectonics materials, matter(s) of wood, light, clay and water.

Outposts, observatories, places of inquiry, dwelling, self builds.

Independent researcher, artist in residence, works manager, project development. 

Constituting Consistencies.

Bodily/Corporeal Metaphors, Analogies and Poetics. 

Calvino, exactitude, lightness, quickness, visibility, multiplicity.

Ecologies of Experience~What is the nature of the drawn line? : Thinking/Becoming through Drawing.

Outpost 070524

Studio representations from the Life Class, negotiations around the physical body through drawing. 

The difficult question?

What is drawing?

What is the nature of the drawn line?

The first condition that precedes them all, the blankness of a surface, and the motions, now commencing of a point tracing, marking lines across its spaces into further spaces.

Of all the Arts, drawing has the potential to reduce to its smallest the smallest, the gap between meaning and non meaning, between repeatability and singularity.

What exactly is a mark, and how does it, might it distinguish itself from say a trace?

Drawing because of its status as becoming (blot becoming mark-mark becoming line-line becoming contour-contour becoming image-image becoming sign) the direction of this movement being always reversible, posits a continuum of sense, from one sense of 'sense' to the other, yet it seems impossible to observe, or to catch hold of. 

The precise moment or experience of that 'flip-over' from pre-sign differentiated, but not yet diacritically caught in an opposition to signification, image, and meaning. It happens in a blink, when the eye is closed insofar as something is given to us that we cannot experience, it is something like death, or a trauma, or a transport from one place to another without our knowing how we got there.

What would be the distinctive mode or modes of the manifestation of drawing.

The problem is to 'slow' the consideration of the mark, so that it does not move too quickly towards line-contour-figure or image. To allow it to hesitate on the edge, to show what it hides.

The blind-spot marks that point in the field of vision that we cannot see. If to look at something means to impose a distance and to objectify it, the blind-spot would be the 'place' in the visible from which we cannot detach ourselves and which we cannot objectify, it marks our attachment or our adhesion to the world.

Drawing, shows what it hides.

Jackie Pigeaud argues that the sense and the practice of the contour is doubled. 

The contour is the joining of the traits to make the line and the contour is doubled by being finished by a second contour that does away with the imperfections of the first. In this sense of the creative act, the artist shows what he hides and furthermore he hides the transitions and joints that make this showing possible, a collapse of the distinction between mark and line as they become contour, image, representations.

Michael Newman.

The Marks, Traces and Gestures of Drawing.

The Stage of Drawing, Gesture and Acts.

Thinking Through Drawing.

Lines of Enquiry. 2006

Drawing as thinking as opposed to drawing as aesthetics.

It is the seemingly paradoxical nature underlying all drawing, simultaneously a form of recording and invention, situated between unconstrained gestures and the reiteration of a point of view, perspective or analysis. Each drawing is first of all a 'working sketch', the individual work forms part of a much wider and longer project and is an instance within that exploration.

Drawing/Project.

Both words drawing and project are both spatially and temporally orientated, project implies a throwing forward, a casting into the future towards some yet to be realised destination, drawing variously as an extruding, a gathering and a pulling closer. 

Drawing allows you to both evolve, describe, communicate all at the same time, it holds together many disparate factors, potentials, all of which may influence an outcome.

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

An Armada for Childhood : Proposal for Southampton Art Vaults 2008

Possible Worlds

The Sensual Reciprocity of This Enchanted Isle 

Peter Woodcock.

Installation using large paper boats (1.5m long) and mouldmakers plaster for a subterranean  space under the cities walls.

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

Vessels of Retreat/Dark Pots/ : The Body and its Entanglements with Things/St Ninian's Cave, Scotland.

Vessels of Retreat : Dark Pots around the Innerness of Ceramics.

2025, Ceramic, 180mmW x 265mmH x 65mmW.

Curriculum making as the enactment of dwelling in places,

Thrown ceramic vessels fired on the remote beach at St Ninian’s Cave, Scotland.

These vessels were originally thrown on a momentum wheel situated in the small niche like space of a scriptorium. The interiority of the bowls seek to reflect the quietness and openness of a ‘retreat’ through material and the muted light of its surroundings. A post firing process was employed of removing the bowls and their still molten interior into a chamber excavated on the beach to become reduced by local organic material and to cool. Once cooled the bowls were washed in the Irish Sea to reveal their glazed interiors for the first time.

Heidegger’s topology, Being Place, World.

Jeff Malpas on the concept of place and how it relates to core philosophical issues found in Heidegger’s engagement with place, his philosophical starting point: of finding ourselves already ’’there” situated in the world, in “place.”

Clarifying the relation between space and place which contains inherent difficulties in as much as they are necessarily connected (inasmuch as place carries a spatial element within it even while space is also a certain abstraction from out of place), but there has been a pervasive tendency for place to be understood in terms of purely spatial. Jeff Malpas

SPACE= ROOM TO MOVE

or as a verb To Make EMPTY, EVACUATE, EMPTY OUT. The Production of Space/Human Agency/Place

PLACE=VTLLAGE, TOWN, or OTHER SETTLED LOCALITY.

PLACE=HOME

PLACE=A VERY SPECIFIC FORM OF BOUNDEDNESS/GATHERING As a gathering of elements that are themselves mutually defined only through the way in which they are gathered together within the place they also constitute.

DESIGN=TO PUT IN PLACE

Place referred to merely in the sense of position or location - usually the location or position of some already identified and determined entity.

Slippages, Anomalies and liminal spaces. Our relationships with space and place.

THE MEMORY OF PLACE

A PHENOMENOLOGY OF THE UNCANNY

Dylan Trigg’s The Memory of Place charts the memorial landscape into the body and its experience of the world. Trigg analyses monuments in the representation of public memory, “transitional” concepts such as airports and highway rest stops; and the “ruins” of both memory and place in sites such as Auschwitz. The Memory of Place argues that the eerie disquiet of the uncanny is at the core of the remembering body, and thus of ourselves.

STOA, a complex topology.

The Stoics took their name from the place where they met. In the stoa they talked as they walked along the long shaded alcoves. The stoa offered shelter from the sun and rain without becoming an enclosed room. It was an in-between and transitional space, neither outside nor inside. Conversations could commence through casual interruptions in a site of gossip, rumour and information.

We imagine the stoa as a spatial metaphor for the emergence of critical consciousness within the transnational public sphere. It is a space for criticality without the formal requirement of political deliberation and for sociality without the duty of domestication.

The stoa is the pivot point at which private and public spheres interact and from which the cosmopolitan sense of being and belonging from the vantage point of the stoa, then the telematic linking of two screens in the public squares of Australia and Korea can be viewed in a new light.

The linking of these screens creates a new transnational public space, a space for the creation of a new discourse on the topology of the cosmopolitan imagination in contemporary art practice.

Thinking the place of art within this context is more than jumping from either the local to the global, the private/oikos to the public/bouletrion, or even the singular to the universal. It is more like the liminal zone of the stoa.

Public Screens and Participatory Public Space Nikos Papastergiadis, Scott McQuire

Flesh and Stone,

The Body and the City in Western Civilization. Richard Sennett.1994

Basically a long shed, the stoa contained both cold and hot, sheltered and exposed dimensions; the back side of the shoa was walled in, the front side consisted of of a colonnade which gave access onto the open space of the agora. Though free-standing the stoas were not conceived as independent structures, but rather as edging for the open space of the agora.

Sennett: Flesh and Stone, page 50. Bringing Things to Life

Creative Entanglements in a World of Materials Tim Ingold

EWO= The Environment Without Objects

THINKING AT WAVERLEY, as a site of multiplicity and memory. Walking is Thinking, Richard Long

Heidegger-To participate with the thing in its thinging

Our most fundamental architectural experiences, as Juhani Pallasmaa explains, are verbal rather than nominal in form. They consist not of encounters with objects - the facade, door-frame, window and fireplace - but of acts of approaching and entering, looking in or out, and soaking up the warmth of the hearth (Pallasmaa 1996: 45). 

As inhabitants, we experience the house not so much as an object but as a thing. (Ingold 2008: 8)

Curriculum making as the enactment of dwelling in places

Ceramic Gate/Waverley Stoa : Objects in a landscape/studio space of Gordon Baldwin

One Place After Another: Notes on Site Specificity, Miwon Kwon. 1997

The Reading Room (a library of subjective taxonomies on the alchemy of building)

The Listening Room (a soundscape interior in time with its environment)

The Sheltering Corridor (a modernist Stoa as a place for encounters/dialogues)

The Pot Room (a installation of thrown objects creating the interior partitions)

The Empty Studio (a adaptation of architecture through the ritual of creativity)

Kengo Kuma, Anti-Object, mindfully and experientially explores voids, vernacular materials and agency of spaces.

Utsu means nothing or emptiness, the void.

Wa means the border between nothing and something.

I want to make what we don’t see, and that means I must make what we see. My work is a container for what we don’t see.

Taizo Kuroda, Potter.

Natural Connections, Exhibition Proposal.

Humanities about the processes and experiences that map the evolving human condition.

Humanities and the Arts.

The Body and its Entanglements with Things.

The Ceramic House, 

A space of life. 

Exhibition 

Architecture of the ceramic vessel

Ideologies of Innerness 

The Archive

Flesh can house no memory of bone; only bone speaks memory of flesh. Voids, spaces between the bones, residues of the flesh

Flesh and Stone, Richard Sennett

Understanding the beliefs and practices that enable Relational Egalitarianism 

Kuper, Tim Ingold

Exhibitions, Pavilions, Huts and Observatories.

The Parallel of Life and Art, Alison and Peter Smithson The Physical Self, Peter Greenaway

Thames Dig, Mark Dion

The Barcelona Pavilion, Mies de Rohm

The Solar Pavilion, Alison and Peter Smithson

Field Photography: Light on Natural Phenomena and Site.

Pinhole photography and photograms on light sensitive paper with annotations from both research material and working practices. Visual material and artefacts acquired from archaeological sites whilst participating in recording the archaeological process at St Mary Magdalene Leper Hospital, Mom Hill, Winchester. The work explores subjectivities in the recording of natural phenomena, the spirit of place and its scientific inquiry and production of fabricated forms in the realm of a contemporary art context.