Biosphere/Archipelago : Sun Drawing/Cyanotype/Spheres of Activity

Bioscleave/Blue Particle Cloud/Diagram.

Biosphere/Archipelago : Sun Drawing/Cyanotype

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

blueprints, cyanotype, alternative printing processes, light drawings, 

precision and indeterminacy, human form, ecology, 

environments, contemporary art practice

ARCHITECTURAL Body

An ORGANISM that PERSONS

Gins and Arakawa 2002

Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable

If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave

Procedural Architecture/Architectural Body

Gins and Arakawa

The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount

The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum

An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013

Jondi Keane

Contexts:

Practice-based research , Research , Studio practice

Artforms:

Painting , Mixed media , Drawing

Tags:

Bioscleave, Architectural Research, Arakawa and Gins, 

cyanotype, diagram, collage, texts, current concerns, contemporary practice

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral

Shroud

Richard Stillman

Yard and Metre Event, Winchester

As the marks resonated, did they sound true?

Could we tolerate margins of error or latitude?

Is there strength in that built by blue ink?

It is hard to see without certainty.

Why have they flown, gathered, shrouded?

Is the date significant? A memorial?

Or is it white noise reverberating,

striking parallels, refusing focus, insisting?

The shape of the cross is still distinct

but opening out, refusing definition,

never quite caught as an intention,

pinned on dimensions it wants to refuse.

When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other.

This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice.

The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably - in effect fusion takes place.

This is the thinking behind 10 days | Creative Collisions and for The Yard artists and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential - and with potency.

Stephen Boyce

Contexts:

Arts in health , Community , Publication , Socially Engaged , Writing

Artforms:

Painting , Performance , Photography , Printmaking , Text

Tags:

Space for Peace, 10 Days, Creative Collisions, Winchester Yard Artists, 

Hyde Writers, collaborations. visual art, poetry

Drawing Surfaces : Situated Knowledges/Constructing Atmospheres

Outpost 120123

Constructing Atmospheres/Test Sites for an Aesthetics of Joy.

Margit Brunner. 2015

https://issuu.com/aadr_publishing/docs/constructing_atmospheres_s

Red Is Not A Colour

Architectural Concepts

Bernard Tschumi

What role does the audience play in the definition of a provocative project?

What are the ways in which I want to construct my world?

The in-between chapters that reveal his underlying beliefs and influences. From movies to built spaces or from art pieces to historical events, a melting pot of his imagination. This is where we understand what Tschumi means by his endless questioning  of the world and what the architect's contribution could be.

Antoine Vaxelaire, AA 5th Year. 2013. 

Marking The Line

Ceramics and Architecture.

Christie Brown, Carina Ciscato, Nicolas Rena and Clare Twomey in response to Sir John Sloane.

Cathected

Aesthetic Phenomenon

Aesthetic Causality

Sensual Object

Allure

Graham Harman reminds us that moments of allure, the fusion of always accessible sensual qualities onto a reified sensual object, are ontologically special experiences, but they are very common in human life.

Architecture articulates our experiences of being-in-the world.

The very essence of the lived experience is moulded by hapticity and peripheral unfocused vision.

Pallasmaa. 2005

The simple complexity of the sensibility found in textures and the drama of shadows.

Developing natural aptitudes through the sense of touch.

The senses considered as perceptual systems are defined as a haptic system in which the sensibility of the individual to the world adjacent to their body and by use of their body.

J Gibson. 1966

In some cultures, the senses of smell, touch and taste have collective importance for memories, behaviour and communication.

Indigenous clay and mud constructions, with their plastic properties, seem to be generated more from the haptic senses than the eye.

Hapticity and Alvar Aalto's Architecture.

Sam Barnham.

David Abram, The Spell of the Sensuous. 1996

Juhani Pallasmaa, The Eyes of the Skin. 2005

Juhani Pallasmaa, The Thinking Hand. 2009

Gaston Bachelard, The Poetics of Space. 1969

Speculative Sites of Working : Ways Of Knowledge/Site based explorations, emerging methodologies of making.

Outpost/Gildengate House 300125

Ways of knowledge prompts us to consider what happens when artists step into territories of knowledge production traditionally associated with disciplines like anthropology, science, or history. Opening new possibilities of how knowledge can be understood, represented and disseminated through contemporary art. 

An exhibition that invites consideration of how making research becomes an integral part of practice. Using thematic presentations that explore, give platform to emerging methodologies, art forms, and conceptual investigations.

Rosario Guiraldes (Curator)

Ways Of Knowing. 2025

Walker Art Center.

Making Speculative Learning Spaces.

An extending phenotype consisting of traces left by engaging with material and research as an assemblage that is inhabiting the ecologies of making practice.

Morphogenesis/Emergences/Expulsions

The Inherent Politics In Movement.

Vitamin C

Clay+Ceramic

The Ceramic Reader.

Flooring Texts

Lines : Tim Ingold.

Notations

Contemporary Drawing as Idea and Process.

Drawings that are habitable.

The line is a whole, an identity, for a particular place and time.

Fred Sandback did not create new environments with his yarn works. Instead, he thought of his sculptures, the existing gallery space, and viewers all coexisting and able to occupy essentially the same space.

Visualizing Feeling.

Affect and the feminine avant-garde.

Susan Best.

Surrealism, the feminine and sexuality.

Bodies in the Filmic Medium.

Film.

Tacita Dean.

Senses Of Cinema.

Philippe Grandrieux.

The Belly of an Architect.

Peter Greenaway.

Optics Nihilist/Paintings Body and Mind In The Films Of Gasper Noe.

Pipilotti Rist

Making An Exhibition.

Interior Architecture 'sip my ocean'

Uta Barth

Stefanie Schneider

The Camera Obscura becomes a small portable box.

From Shadowgraphs to Alchemy.

The Photogram.

The Cyanotype.

Heterotopias.

Of Other Spaces.

Michel Foucault.

The Observatory by Robert Morris.

Joseph Cornell And Astronomy.

A Case For The Stars.

Kirsten Hoving.

Field Studies.

A Philosophy of Solitude

John Cowper.

The Poetics of Space

Gaston Bachelard

Space can be poetry.

To receive a new poetic image is to experience a quality of inter-subjectivty.

A felicitous space.

Poetry possesses a felicity of its own, above that of the actual experiences of the poet.

On the origins of a thought.

Not knowing is not a form of ignorance, but a difficult transcendence of knowledge.

The poetic image places us at the origin of the speaking being; after the original reverberation we are able to experience resonances, sentimental repercussions, remainders of our past. But the image has touched the depths before it stirs the surface.

The house, as an entity for a phenomenological study of the intimate values of inside space, its unity and complexity.

Inquiry focused on the house, its interior places and its outdoor context.

The house, from cellar to garret, the significance of the hut.

The soul comes and inaugurates the form, dwells in it, takes pleasure in it.

The page possessing a sonority.

A poet's word, because it strikes true, moves the very depths of our being.

Contemporary painters no longer consider the image as a simple substitute for a perceptible reality. By the swiftness of its actions, the imagination separates us from the past as well as from reality, it faces the future, a function of unreality.

If we cannot imagine, we cannot foresee.

Everyday Enchantments : Playing with Constructed Situations

Research Collage, Reading Rooms/Waverley Abbey

Cyanotype, blueprint  with notes/formulae/string on paper

Reading Rooms : Waverley Project

The Ruin/Paper Cups

Lead,photographic ( pinhole) and inkjet visual material from flickr stream, fixing tapes, cyanotype on tracing paper,pierced and re-positioned elements on paper.

Drawing on the snow, a field in Hampshire.
Enchantments between materials, snow and paper.

MAPPING : Ritual, fire and stone : Human Filament
Astronomical data with outline of human form,candles,string and stones on paper.150cm x 240cm

Working Practices
Drawing.
Installation and Working Sites
Architectural Glass and Ceramics
Liquid Light and Pinhole Photography