IMMATERIAL
ARCHITECTURES MAKING IN THE LANDSCAPE.
RAVENINGHAM
SCULPTURE TRAIL 2018/2020
STIMULATING TENSIONS.
BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.
Mediating/Architecting the experience of LANDSCAPE.
The building as nothing more than an exposition of itself.
Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things.
A subjective hypothesis, a drawing developed into an objectivity for experience/learning.
SITE, the undoing of PLACE.
The
House-sheds : Camping
There's
more truth about a camp than a house. Planning laws need not worry
the improvising builder because temporary structures are more
beautiful anyway, and you don't need permission for them. There's
more truth about a camp because that is the position we are in. The
house represents what we ourselves would like to be on earth:
permanent, rooted, here for eternity. But a camp represents the true
reality of things: we're just passing through.
Roger
Deakin
WILDWOOD
A
Journey Through Trees
Art
Practice as a Speculative Spatial Practice.
A
reflective building is an echo not a statement.
Haptic
devices/seating/dwelling in the landscapes of the mind. Landscape
assemblages and the significance of solitude.
The
immensity/intimacy and its immediacy to the imagination. Immensity is
within ourselves. Gaston Bachelard
The
site a Raveningham offers the spatial practice of a social event and
the opportunity to playfully engage with architectural forms, fine
art surfaces and textures.
The
sensing space, a sculptural assemblage created at Raveningham is an
inquiry into 'making' and 'reflexivity' amongst a social landscape.
SENSING
AND SPATIAL PRACTICE.
Creating
a new viewer, who has to look in two self contradictory/self
annihilating directions at once. Darkest Spaces of Our Times, Therese
Oulton, Jacqueline Rose.
CONTEMPORARY
ART AND ANTHROPOLOGY : SPATIAL PRACTICE.
Making
Place/Tools, cognitive enactments/materials and
performativity/wellbeing.
Sociological
aspects of the Arts
Archaeology,
Anthropology, Architecture, Art, Tim Ingold.
A
FIELD GUIDE TO GETTING LOST : Rebecca Solnit
Experiential
anthropology / Walking as 'being/becoming in place'
Sensate,
Sensing Sensuality, Otherness.
WHITEBOARD
: PAVILIONS/RAVENINGHAM
Art
as Contemplative Practice : An Applied Praxis/Inquiry
Expressive
Pathways/Building/Making as an extension to the Self/Selves In
Response : To Place/Site and “Dwelling/Hut”
Subjective
Hypothesis Bricolage/Tectonics/Making.
Poetic
Abstractions/ Components, Elements
Physical
Experience/Experiential Phenomena ( Light/Gravity/Air) Sculptural
Assemblage, Building/Making an Exposition of Itself
Smithsons,
The Parallel of Life/Art the everyday/quotidian
Grounding/Earthing/Dwelling/Home :
Reflexivity/Reflection/Reverberations
Knowing
Through Making/ Embodying Insights, Tim Ingold
MAKING
: Deliberation/Awareness : Constructed Situations/SURFACES and
TEXTURES SENSING, Sensorium/Embodied Experience, Sensate,
Intra/Intervention
PLACES
that transform Chaos into Cosmos, Karsten Harries
PERCEPTUAL
psychologist, J.J. Gibson departs from 'the classical approach to
depth or space' in favour of an ECOLOGICAL approach to VISUAL
SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting
point.
Socializing
a Sculptural Practice, Jack Robins 2015
Strange
Tools, Art and Human Nature, Alva Noe 2015
Visual
Tool, Post Studio, Daniel Buren
INDEXICAL,
Traits/Traces and subjective narratives Situational/Relational
Aesthetics, Victor Burgin, Nicollas Bourriaud
Handmade,
Repetition, Empirical, Experiences.
Metonymy,
Cristina Iglesias ( Metonymic Thinking Processes)
Architecturally
Speaking, Practices, praxis between art .architecture and the
everyday. Visual Perceptions/ The Image
Surrealist Techniques, Collage, Photograms. Decalmania, Frottage. Assemblage,
Brutalist/Modemity/Intervention
Minimalist/Drawing/Painting
ARCHAEOLOGY : Mark Dion
Agency/Nature/Subject
Matter. Collection of Finds, Metaphors/Interpretations for the lived
experience. AN ANTHROPOLOGY OF LANDSCAPE :
Taskscapes/Relationscapes
Anarchism,
everyday Aesthetics/The aesthetics of everyday LIVING Pragmatist
Aesthetics/Interpretation of Concepts
Materiality,
material makes more than one language possible, excess of material.
LANDSCAPES for an excess of Interpretation/Politics
EXPLORING
THE LANDSCAPE, through/with the CORPOREAL EXPERIENCE of OTHERS
A
STRUCTURE INTERPOSED between the sunlight and the interior space it
encloses. Poetic abstractions/Physical experience
Soft/Blurring
boundaries between art and the everyday making/becoming REFLEXIVITY /
TRANSLUCENCY surfaces into an architectural presence TEXTURES
ILIMINALITY on the absence of material
STATIC
ENVIRON I ANIMATED THROUGH THE BODY
THE
ARCHITECTURAL SKIN / SURFACE. Blurring, revealing, masking,
filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /
VISUAL
TOOL / POCHOIR, hand coloured through stencils
SCULPTURAL
ASSEMBLAGES, towards Speculative Forms/Expression
TECTONICS IN
MAKING, and the tectonics of immateriality/traces hidden by building.
Concerned
with bringing the material from its physical form into the
meta-physical world.
PAVILION
FUSELAGE
THE
CAMP/HUT
represents
the true reality of things, Deakin.
MOBILITY
MOVEMENT
TEMPORAL
CONSTRUCTED SPACE
A
building component, scaffold, joists and fixings, a surface of
absences and the movement of others come together.
MAKING,
from form to programme.
WAVENEY
VALLEY SCULPTURE TRAIL 2018 RAVENINGHAM
AUDIT
OF NOTE FRAGMENTS 27 August 2018.
Archive
as a generative form/membrane Tarlaton, mesh, paper, liquid light,
Presenting,
Creating, Synergies, that further explore site embodiments. The
Politics of Things
Diffractive
Practices : Agential Cut, Barad, Learning Spaces,
Brockwood
Park School. Reimagining Education
In
The Cave/Canvas of the Cave
ART.
began with the questioning of the involuntary, trace of a human hand,
an otherness.
Moments,
Nowness, The Instant, Actuality,
Habitus
of Difference
Robert
Mangold text on painting/drawing minimalist interrogation into the
spaces around perception Minimalist Works / Working Processes
represent fields of energy/causality within our experiential
perceptions.
Drawing
is the experience of seeing made visible/manifest Rhizomic feedback
and flow, Deleuze
Research
Horizons,
Culture
drives growth, wellbeing, social enterprise and community
Lines
of intervals, linerality, chains of codes, intersections, utilities,
interventions Causality and Chance of ideas, creative acts,
art,nature, becoming, the everyday,
Quotidian/Everyday
Interests, Complexities of Contemporary Life. Ambients, Phenomenas,
Objects, Subjectivities,
Everyday
aesthetics, heuristic practice,
Photography,
Social pathology of traces layered into ecologies (Anthropological
localities of desire)
Photography,
The Body, Life, Death, Flemish Painting, Vivitas, Domestic Life,
Nature on reclaiming the void left by the death of the mind
Walking
creates its own feedback loop, The Journey, The Return,
The
specific, Here and Now
Psychogeography,
Dossier, Forensic Study, Inquiry.
Spatial
Abstractions : Reflexivity on Reflection. Embodiment on Experiential
Subjectivity LANDSCAPES Constituted by creative practice
Walks
as erasures, sedimentation, (Gardiner)
Getting
Lost, Walking whilst deep in thought/embodiment in the environment
Working
Towards a Secular Retreat in the Landscape
Between
PLACE and SITE.
Art Making Agency/Spatial Agency.
Art
Poverva, Materiality, Agency, Making, Nesting Building,
NASCENT
FINDINGS
Encoding
DATA, LANGUAGE
Entanglements
of Visual Data and Abstract Language
CATHEDRALS OF INTELLIGENCE
The
Urban Documentary,Text, Sebalt,
The River : The Colour of Light
Albers/Colour
Perceptions
Vernacular
Architectures, Building/Making beyond the design
Footings,
Voids, Roof Structures, Cavities, Between Walls.
Sensing Spaces in
the very making of the building.
The
Architectural plan/model and its proposal became the real virtual
space for architectural energy and innovation.
TRANSACTIVE
MEMORY Texts, Contents, Particulars, Process,
Working
through ideas with things/devices/apparatuses Cognitive Landscapes
/Relationalities ? Possible Worlds Subsumed by the causality of
relationships/culture
Mies
van der Rohe
The
Art of Sculpture
Moholy
Nagy
The
New Vision Abstract of an Artist
Light
brings the moment in time to us
Presence,
Praesentia, exactitude of light on place and time.
LAND, LANDSCAPE,
CLAY
Pot,
Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial
Perspectives
Light/Dark
Room : Towards a new Interior Experimental Vision : Research Collage
Aesthetics
of the Everyday Creative, Human Praxis
Supportive
Material/Texts/Cyanotype Drawings from found objects
SITE
/ COLLAGE COMPONENTS working/walking, developing a creative spatial
syntax
AFFECT
SENSATION
/ CAUSALITY LIVING
THINKING
LOOKING
DRAWING
and THE LAW OF STRATIFICATION, the inevitable results of the working
of GRAVITY STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD.
A
Land, J Hawkes.
FACTORING
THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness.
PERCEPTUAL
psychologist, J.J. Gibson departs from 'the classical approach to
depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE
PERCEPTION, which take SURFACES and TEXTURE as its starting point.
COLOUR
AS CONDUIT.
PERCEPTUAL ENVIRONS / CRAFT MEDIA /IMPROVISATION
PIERCED /DAPPLED NATURAL LIGHT
DIFFERENTIATED
SHADOW /SURFACE
EXTRAORDINARY
MATERIALS.
TECTONICS AND TEXTILES.
INDEXICAL /GESTALT / VISUAL
PERCEPTION
NETWORKS
/ RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE
/ POCHE solids of a building/architectural plan
ABSENCES
/ INTERSECTIONS I GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY
IMMATERIAL
/ REPETITION / SINGULARITY ENCLOSURES / ITERATIONS / THINKING FORMS
MINIMALIST
SPACES / INTERVALS, tuning objects to construct environments A child
'concretizes' its existential space.
Dwelling,
Reverberations, Epiphanic Instant, Gaston Bachelard.
Tidbury
Ring, field drawings with cyanotype liquid on paper.
A Hut
of Ones Own. Heidegger for Architects.
Immaterial
Architectures.
SENSING
AND SPATIAL PRACTICE
EXPLORING
THE LANDSCAPE
Soft/Blurring
boundaries between art and the everyday making/becoming REFLEXIVITY /
TRANSLUCENCY surfaces into an architectural presence TEXTURES /
LIMINALITY on the absence of material.
STATIC
ENVIRON / ANIMATED THROUGH THE BODY
THE
ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking,
filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /
VISUAL
TOOL
SCULPTURAL
ASSEMBLAGES, towards Speculative Forms/Expression.
TECTONICS IN
MAKING, and the tectonics of immateriality/traces hidden by building.
Concerned with bringing the material from its physical form into the
meta-physical world.
PAVILION
/ FUSELAGE
THE
CAMP / HUT
represents
the true reality of things, Deakin.
The
building as nothing more than an exposition of itself.
A
subjective hypothesis, a drawing developed into an objectivity for
experience/learning.
SITE,
the undoing of PLACE. (Casey)
BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self
constructions, becomings, mind forming explorations.
DWELLING
/ MOBILITY / MOVEMENT IN THOUGHT
TEMPORAL
CONSTRUCTED SPACE
TETHERED
FOLLY against a fabric of time.
ART
AS INDETERMINATE, able to arrest perceptions into different states
(becomings) Stone Worlds
Narrative
and Reflexivity in Landscape Archaeology Architecture and Ritual, how
buildings shape society.
Bought
to Light
Photography
and The Invisible 1840-1900
CURATORIAL
/ DEVICE / BENCH / INTERLOCATOR
Jannis
Kounellis, Theatre, stage crew shifting actors during a performance.
Interconnected, between contexts, opening places between the social
fabric.
Making
spaces, expanding vision to create spaces 'between' in which to write
ourselves.
CONTEXT
AND CONSIDERATIONS :
ART
MUSEUM CULTURE
THE
CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW.
MUSEUM
DIRECTOR, CURATOR, COLLECTOR, ARTIST
None
of that means anything anymore. Artists are now more DIVIDUALISTIC.
They discover themselves not by securing a role within the historic
narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE
ECOLOGY that involves not only making art, but also putting on shows,
publishing, organizing events, teaching, networking.
THE
STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL
EXTERIOR. THE NETWORK places the artist as a ’like' ITEM within an
INTEGRATIVE
INVENTORY
or DATABASE.
Immateriality/Temporal/Transitions
material and movement/Human agency
A
Species of Spaces.
Construction/Making/Collage
Forming,
slowness and repetition, elements of painting
Assemblage,
sensation, surface, objects and spaces between them
gathered/thresholds
Sheltering/Weathered/
Exploring a fragility of a painting in the landscape
Robert
Mangold, Paintings and Architectural Forms
Fragments
from sketchbooks.
Ephemeral
Architecture
Canvas
as spatial verb
Yellow
Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails.
Canvas
as folded construction/shelter/place
Operative
Design, A Catalogue of Spatial Verbs.
