Wayfaring Places : Studio Compositions~Immersive Cells of Inquiry.

Undisciplined small spaces, places of refuge and solitude. A physical space, where an atmosphere quietly echoes spatial metaphors of enclosure, interiority and the sited and situated condition of making.

Studio Environments : Reconstructions and Fictions. Studio spaces for speculative making.

Wayfaring Landscapes~Affective Aesthetics of Difference.

https://www.curatorspace.com/artists/russellmoreton

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

 

 

A collection of slab-built ceramic sculptures crafted by artist Russell Moreton.

These works are described as exploring themes of "making" and the metaphysical nature of architectural spaces.

The sculptures are intended to evoke the silence and tranquillity found within historical architectural settings.

Moreton's process often involves slab construction techniques and research into specific historical sites to develop these forms.

The research collage depicts a curated collection of materials focused on late 20th-century art and architecture, likely from a research board or publication. Jannis Kounellis: The large black-and-white image features an installation by Jannis Kounellis, a key figure in the Italian Arte Povera movement, known for using raw materials like iron and coal. Carlo Scarpa: A handwritten note identifies another part of the collage as related to Carlo Scarpa, a Venetian architect renowned for his masterful renovation of historic buildings and intricate detailing. Architectural Detail: The top-right image showcases a historic stone structure, typical of the locations Scarpa worked with, showing a sculpture placed inside a renovated architectural space. Art Montage: The overall composition functions as a visual research montage, contrasting structural, industrial forms with historical contexts.

The documentary image and pinhole photograph features text referencing Rodin | Beuys Working Practices and includes a photographic portrait of a man reminiscent of artist Joseph Beuys. The collage incorporates elements that resemble technical drawings or maps of buildings, possibly related to architectural studies or documentation. This style of layering images with text overlays and handwritten annotations is consistent with artistic practices aimed at disrupting conventional viewing, similar to the "dynamic labyrinth" concepts explored in 1960s exhibitions.

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.

Site~Emergent~Ecologies~Landscapes : Drawing translations within/between the photographic document.

Site~Making~Fieldworks.

Borderlands.

Alternative Photography.

Enchantments and Crossings : Somatic Effects~Enchantments

Topologies, mappings and their correspondences (thinking~feeling) between here, there, and elsewhere.

Playing with 'phronesis' a poetics of a spatial encounter and its enclosure forming an immediate immersive environment.

Developing inquiry through a process of familiarization and not-knowing, being undone by theory where things emerge, are accumulated, and are nurtured into being through relations (Continuous~weather-world sites) with human bodies and spatial bodies.  

Archiving materials, sites and events, resulting in an incidental aesthetic gathering.

Outpost Studio 030222

Immersed in Matter(s) of an Emergent and Continuous Weather World.

Covehithe : Walking/Thinking/Physical Entanglements in the Landscape.

Walking into Emergent Landscapes : Covehithe Beach.

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

Walking was a means of personal myth-making, but it also shaped his everyday longings:

Edward Thomas not only thought on paths and of them, but also with them.

To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,

Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

Shadows Gathering around Objects, Causality, Art Ontologies : Correspondences in Drawing/Watching/Walking/Reading.

 

Outpost 071022

The Quadruple Object.

There are two kinds of objects and two kinds of qualities, real and sensual in both cases.

Real objects and qualities exist in their own right, while sensual objects and qualities exist only as the correlate of some real object, whether human or otherwise.

I am not saying that a work of Art reveals the secret of life and being to us.

A work of Art affords the peculiar pleasure, an aesthetic performance in which the inwardness of things, their executant reality is opened to us.

Ortega.

Giacometti.

Created a visual lexicon of nothingness and being, of community and isolation.

Making fleeting visions, interactions between the modelling object and the space within which it exists. Concentrating, extracting a female nude from the atmosphere of a city, creating a space that oscillated with their shared community and isolation.

There is no direct knowledge of anything only relations-on-knowledge.

The real object withdraws inaccessible from the scene, as the new object generated by metaphor takes over the situation.

The real objects at stake in aesthetics are ourselves.

It would be more accurate to say that in Art the part of the image which looks towards the object is always subordinated to our efforts, because as basically Thespian beings we become the new object generated by metaphor.

Object-Oriented Ontology.

A New Theory of Everything.

Graham Harman. 2018

Aesthetics Is The Root Of All Philosophy.

Robert Mangold.

Creating a new mysterious real object with new sensual qualities.

Compound Objects

Assemblages

The Quadruple Object.

Since objects cannot exist without qualities and vice versa, there are only four possible combinations.

In Object-Oriented Ontology real-sensual objects and qualities always come together.

Object Relations

Potentiality/Receptivity

The Theatricality of Metaphor.

Art makes explicit the tension between qualities that are experienced in the real/sensual object.

I myself am the sole real object in all experience, encountering any number of sensual things.

Every objective image, on entering or leaving our consciousness produces a subjective reaction.

Art is primarily theatrical in nature, since the spectator becomes a sort of 'method actor' a theatrical actor acting out the structure of metaphor. 

Ortega, An Essay in Esthetics By Way of a Preface. 

Ontology is the branch of philosophy that deals with ultimate questions of what reality and real things are.

Bruno Latour, defines modernism as the view that there are two permanently distinct kingdoms, known as nature and culture and that it is the task of modernity, to purify these two domains from each other.

Metaphor is not knowledge about a pre-existing object, rather it  brings about the production of a new object.

All we are saying is that the real object at stake in metaphor is neither the absent cypress-object to which we never gain direct access, nor the human being who takes note of it. But rather the new amalgamated reality formed from the reader who poses as a cypress-object and the qualities of the flame.

The successful metaphor much like the successful joke, will occur only when the reader or auditor is sincerely deployed in living it.

The metaphor is theatrical, in the same sense as one is living one's role on stage.

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

The Social : Catching The Light/Architectural Apparatuses/Spatial Methodologies

It would probably not be wrong to define the ex­treme phase of capitalist development in which we live as a massive accumulation and proliferation of apparatuses.

To recapitulate, we have then two great classes: liv­ing beings (or substances) and apparatuses. And, be­ tween these two, as a third class, subjects. I call a sub­ject that which results from the relation and, so to speak, from the relentless fight between living beings and apparatuses. Naturally, the substances and the subjects, as in ancient metaphysics, seem to over­ lap, but not completely. In this sense, for example, the same individual, the same substance, can be the place of multiple processes of subjectification.­

 I shall call an apparatus literally anything that has in some way the capacity to capture, orient, determine, intercept, model, control, or secure the gestures, behaviors, opinions, or discourses of liv­ing beings.

What Is an Apparatus? Giorgio Agamben 2009.

Alternative Photography : Photography and Architectural Space.

Photogram, a numinous construction, spaces amongst and within other spaces

Catching The Light.

The Entwined History of Light And Mind. Arthur Zajonc

PROXIMITY OF SPACE 

INTIMACIES IN SOCIAL SPACES 

SCRIPTORIUM

THREE STAGE METHODOLOGY (Kikutake) Mitsuo Taketani 

KA ‘ESSENCE’

KATA ‘SUBSTANCE’ 

KATACHI ‘PHENOMENON’ 

Characteristics of an architect

CHI ‘BLOOD’

TACHI ‘TEMPERAMENT’ 

KATACHI ‘EMBODIMENT’

The Phenomenology of Reading. GLAS, Derrida Literature and Language. 

The Stride of The Mind

Reading Rooms. Figuring Space. Text/Fumiture/Dwelling Reading with Paths

The Production/use of Space into Places to engender Societies.

A site specific induced inquiry into dwelling and building through/by way of an attentive awareness (anthropological) to people and place.

‘What I am post interested in now is inverting the structure of a culture that is centred around the city.’

‘The richness and strength of that (their) culture cannot be understood until one has worked with the people who live their- until one has eaten their food, drunk their sake, talked together with the craftsmen and made things with them.’

Kengo Kuma, Complete Works, (preface) 2012 

Relativity/Relationality through Walking and Thinking. Subjectivity. Space - Politics - Affect

Waverley Abbey. Cistercian Monastery

The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre- spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.

The Aesthetics of Decay, An Uncanny Place. Dylan Trigg 

Immaterial Architecture : The Glass Observatory

Photograph (132) Cyanotype Alternative Photography

Documents from research archive

Tracing Light: Petworth House, West Sussex 2000 David Alan Mellor, Garry Fabian Miller.

Light And The Genius Loci

For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in 'a certain history of the relationships; earth/sun in the system of perception'.

Mutations Of Light

Petworth Window, 6 July 1999 Light's Windows And Rooms

Passing towards the Invisible.

The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent theme in William Henry Fox Talbot's early speculations.

CATCHING THE LIGHT

The entangled history of light and mind Arthur Zajonc

BROUGHT TO LIGHT

PHOTOGRAPHY AND THE INVISIBLE 1840-1900 Sight Unseen

Picturing The Universe Corey Keller

Invisible objects, penciled by nature's own hand.

In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the 'world itself.

The Social Photographic Eye Jennifer Tucker

Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.

An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand.

Invisible Worlds Visible Media

Tom Gunning

William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6x22.5 cm.

Techniques Of The Observer

On Vision And Modernity In The Nineteenth Century Jonathan Crary

The Camera Obscura and its Subject

Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject­ effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one's relation to the manifold contents of the now 'exterior' world.

UNDER THE SUN

By The Light Of The Fertile Observer

Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.

An Epiphany Of Light

David Alan Mellor

Christopher Bucklow, Guests Jeanette Winterson, Gut Symmetries

Matter is provisional and that includes me. If the physics is correct then we are neither alive or dead as we commonly understand it, but in different states of potentiality.

From The Adamantine Land

Variations on the art of Christopher Bucklow David Alan Mellor

Etienne-Jules Marey

A Passion For The Trace Francois Dagognet

Painting, Photography, Film Laszlo Moholy-Nagy

A Bauhaus Book

L. MOHOLY-NAGY:

DYNAMIC OF THE METROPOLIS SKETCH FOR A FILM

ALSO TYPOPHOTO OSKAR SCHLEMMER

MAN

Interaction of Color Josef Albers

The Elements of Color Johannes Itten

Pedagogical Sketchbook Paul Klee

The New Landscape in art and science Gyorgy Kepes

The Colour of Time Garry Fabian Miller

The Majesty of Darkness Adam Nicolson

The Unmade

The Pregnant

The Half Erotically Unmade

Camera Obscura of Ideology Sarah Kofman

An optical instrument, which used in drawing, allows one to see at the same time the objects being drawn and the paper.

I Am Not This Body 

Barbara Ess

Working Collages

Ann Wilde, Ulrike Meyer-Stump

A German Tradition of Photographic Typology

Collages made from contact prints from Blossfeldt's negatives, showing the isolation of particular motifs. The working collages were an archive, not for the negatives but for motifs.

The viewer is less interested in the subjects of the pictures, than in the effect created by the formal system subsuming them.

His photographic archive of plant forms is not a finished work, but material awaiting processing.

 

Enchantments and Crossings : Somatic Effects

Spatial Methodologies. Worlds and Thresholds.

The Fanciful and The Scientific.

The Playful and The Reverent.

The Material and The Metaphysical.

Tensions in built spaces.

Between Evanescence and Substance.

Between Illusion and Specificity.

Between Slickness and Tactility.

Today there is not even a single instant in which the life of individuals is not modeled, contaminated, or controlled by some apparatus, In what way, then, can we confront this situation, what strategy must we follow in our everyday hand-to-hand struggle with ap­paratuses?

What Is an Apparatus? Giorgio Agamben 2009.

Making Places where times and tastes, human fabrications and accidents of nature, all collide; in these situations under the shelter of a forming/becoming architecture these ‘spatial texts’ or ‘visual conversations’ of one sort or another are suggested and are manifested and explored through a praxis of inquiry and making.

Facility and retreat for cross-disciplinary inquiry (Humanities and the Social Sciences).

Repository and archive of artefacts, texts and objects.

Exhibition and making spaces, workshops and residential living spaces. Walled garden complex containing a reading pavilion and library.

Philosophy of Solitude, thresholds/spaces of serenity, a poetics of dwelling.

Relationships between Art, Photography, Craft and Building. Expanded through Exhibition, Performance, Teaching and Making.

Realized as a dialogue/delivery (Built Work) into Architectural Terms between Sites of Collection and Sites of Construction.

Art as Spatial Practice.

Catalyst Events/Situations to engender the experience of learning.

West Dean, Singleton. Residential courses in the arts, both the grounds and the house are fully utilised in the social activity of learning.

Kilquhanity,Scotland. Free School in country setting, used as a site for exploratory fine art practices(converted a pottery into a camera obscura and drew a garden from the movements of the sun across a specific terrain).

Brockwood Park School, Bramdean. Re-imagining learning, conducted a walk across a landscape with clay, and hidden curriculum in the library with objects and texts centred around philosophy and architecture.

Space folds : Containing "Spatialities around historicality and sociality"

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

"All that is solid melts into air"

Karl Marx, Friedrich Engels,

(Poetic observation concerning the constant revolutionizing of social conditions)

Posted 2018