Evidencing Atmospheres/A Calling To Think.
Reading diffractively through reimagined patterns/atmospheres that penetrate the body-text-space-time compositions.
Spatial blueprints/propositional and emergent diagrams on speculative readings from The Order of Time by Carlo Rovelli.
Apparatuses and Intermediaries.
Everyday Practices, Harleston. 2022
Studio Apparatus/Scriptorium
Matter in Space : Passages in Sculpture.
The Sensing Of Spatial Agency.
Working Notes 2018/19
Curatorial Architectures/Assemblages
Speculative Spatial/Curatorial; Practices in Fine Art and Architectures
The Studio is no longer a retreat but it now integrates.
It is all exterior.
Ways of Curating, Hans Ulrich Obrist
Constructing active research material that becomes transactive through interventions and installations of display.
Blurring art and the everyday rituals of creative enterprise and survival.
Seeking to create innovative and immersive exhibition formats/situations that seek to engage a discursive and informed audience.
Building Relationscapes
Movement, Art, Philosophy
Sensorium
Embodied Experience
Technologies and Contemporary Art
Erin Manning
Caroline A, Jones
Playing with INTERTEXTUALITY
Setting the Stage MAKE SPACE
Immersive
Alienated
Interrogative
Residue
Resistant
Adaptive
Interactive Workshop
Exhibition
Presentation
Open Texts
RESPONSIVE ENVIRONMENTS
ARCHITECTURE, ART and Design Interiors
URBAN FALLOW (10 Days in the Laundry)
THE CURSE OF THE CONTEMPORARY
OPERATIVE DESIGN
CONDITIONAL DESIGN
ON MAKING SPACE
THE FEELING OF WHAT HAPPENS
BODY, EMOTION and the Making of Consciousness
Art Practices : the chaos of subjectivity and the organization of self
DRAWING, line, shape, volume, light.
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Studio Bookcases : Sociological Registers
Installation/Intervention of six research bookcase as diffractive elements in the studio space.
Outpost 090222
Architectural Body/Procedural Architecture
Organism/Person/Environment
Earth, House, Hold, Dwelling Places.
Unlike the sense of sight or hearing, only the sense of touch can discern space and time at once.
The skin as the harbourer of a subjects sense of touch.
Skin/Subjectivity becomes as flesh a connective tissue which both unites and divides.
The skin can judge time less well than the ear, and space less well than the eye, but it is skin alone that combines the spatial and temporal dimensions.
Maternal Skin/Subject Formation, Anzieu.
A Field in England : On the nature of Photography.
Between Art and Information.
Brought to Light : Photography and the Invisible.
The Visible/Invisibility between the potential of things.
The Photograph and The Lacanian Mirror.
In which identity is constantly shored up and broken down, but also as a persistent space invested with the paradoxical qualities of intimacy and alienation, of proximity and utter detachment all through which an offer of an encounter is held out in invitation.
Inter-Subjective Encounters, a space in which the subjectivities of the artist and the spectator might meet and mingle.
The skin is the surface through which self and other are mediated.
The mutuality of touch itself is echoed by the skins structure, it both touches and is touched and this duality is reflected in the way the skins surface is exposed to the outside world, whilst also protecting and containing the unseen interiority of the body.
Harriet Katherine Riches, 2004.
Light and Spaces of Intersubjectivity.
Tactile Light.
The photograph holds out the promise of an encounter through its carnal medium.
For Riches, the self-representational photograph becomes a kind of veil or mask, a displaced surface whose skin-like relationship to the subject is always suspended, and perpetually deferred. It frames a space of contact and a fantasy of union with the original subject, the photograph's skin-like quality also enables it to be imagined as an inter-subjective space of exchange.
Light creates the spatiality/transitions that passes beyond subject/object relationships.
Skin/Surface/Subjectivity : Movements in thinking through Spatial Agency
Skin becomes a site of symbolic acts of aggression/gesture.
Surfaces of suggested pain/experience through which subjectivity is created.
Conduits of colour specificities and counterpoints
Relationscapes : Movements, created through colour temperature and spatial contact.
The phenomena of things being brought into perception/focus.
Through a body every colour creates movement and has its own/creates its own perspective/its mapping/layering/extension of spatial temporal material.
Analogies/Difference : Spaces created through mimesis,wavelengths intermingling with the spatial.
Glass/Lead/Filtered Light.
Glass Slide/Subjectivities brought into the light
Colour Subjectivities, the appearance/experience of mattering material.
