Ceramic Deconstructions of Hidden Architectural Interiors : Spaces/Surfaces/Interiors on Solitude/Sensuality

Sensing Architecture : Movements of  Human Bodies/Spatial Bodies.

Thinking/Making within gestures of drawing spatial speculation.

https://www.flickr.com/photos/russellmoreton/53757637955/in/dateposted-public/

Materials as Leaky Things/The Correspondences of Surfaces  : For Tim Ingold.

A Philosophy of Solitude.1933

In Defence of Sensuality.1935

John Cowper Powys

Exploring the space of solitude, to explore ideas and thoughts with a public. The hermit as a proto-performance artist displaying qualities of spirituality, intelligence, artistry and sensuality.

Anne Douglas.

The Hermit Project.

The Follies Journal. 2003

The House Fifteen Foot Square.

The proposed Hermitage at Cadland (drawing).

Interior Spaces.

The Alchemy of Imagination.

In the dead linen in cupboards I seek the supernatural.

Joseph Rouffange.

The wardrobe is filled with linen, there are even moonbeams which I can unfold.

Andre Breton. 1932

The Permanence of Childhood.

On Poetic Imagination and Reverie.

Gaston Bachelard.

While the child was dreaming in solitude, he experienced a limitless existence. His reverie was not merely an escape. It was a reverie of flight. Dreaming of childhood we go back to the den of reveries.

All the ideas that I want to put forth in this chapter tend to establish the persistence in the human soul of a nucleus of childhood. Of a motionless but enduring childhood outside of history, hidden from others disguised as history when it is narrated, but having real existence only in its moments of illumination which is to say in its moments of poetic existence.

Chamber Music/Reverberations.

Constructed Space/Ceramic Forms.

On Silences, Surfaces, Interiors and Depths.

Wardrobes with their shelves, desks with their drawers and chests with their false bottoms are veritable organs of the secret psychological life, indeed without these 'objects' and a few others in equally high favour, our intimate life would lack a model of intimacy.

They are hybrid objects, subject objects, like us, through us, and for us they have a quality of intimacy on the shelves of memory and in the temples of the wardrobe.

But the real wardrobe is not an everyday piece of furniture, it is not opened everyday and so like a heart that confides in no one, the key is not on the door. Many a time we dreamed of the mysteries lying dormant between its wooden flanks.

Rimbaud designates a perspective of hope, what good things are being kept in reserve in the locked wardrobe? This time it is filled with promise, it is something more than a family chronicle.

Exaggeration is always at the summit of any living image, and to add fantasy to linen is to draw a picture, by means of a volute of words off all the superabundant blessings that lie folded in piles between the flanks of an abandoned wardrobe.

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

Corpus/Borderlands : A Society in Excess, Marc Auge.

Corpus : Photographic drawings from human outlines

Borderlines : Cley 19, speculative submission for exhibition

ANTHROPOLOGICAL NOTIONS AROUND ISSUES OF SPACES, ORIGINS, SOCIAL RITUALS AND TABOOS.

CREATING CREATIVE ANTHROPOLOGY INTO TEMPORAL SITES, between the concrete and the spatial.

Utilising processes and strategies and terminologies. 

Demarcation, set the boundaries or limits.

Acculturate, assimilate to a different culture.

Ethnology, the study of the characteristics of different peoples and the differences and relationships between them.

NON- SPACES, Introduction to an anthropology of super modernity. Marc Auge. My working practice intuitively reflects and responds to what Marc Auge considers to be the condition of Supermodemity, briefly his defining parameters on the idea of Supermodemity are.

Overabundance of events. 

Spatial overabundance.

The individualization of references. A SOCIETY IN EXCESS.

My creative practice attempts to reconstitute spaces from this condition of Supermodemity into temporal sites, places from which to solicit a sense of a mobile anthropology, a dwelling that is both intimate and public and promotes solitudes and subjectivity.

Marc Auge states the twenty-first century will be anthropological, not because the three figures of excess are just the current form of a perennial raw material which is the very ore of anthropology, but also because in situations of supermodemitiy the components pile up without destroying one another.1

Contemporary Practitioners like anthropologists will attempt to make sense, they will attempt to resolve, to make or rather remake meaning through the processes of observing the phenomena of acculturation. 

1  Marc Auge, Non-Places, introduction to an anthropology of super modernity. (London: Verso, 1992) page 41.

Submission Guidelines

All proposals must be for new work that addresses the brief, artists are encouraged to experiment, be playful and push the boundaries of their practice.

BORDERLINES

Artists translate cultural moments and offer responses to their environment, whether geographical, political or spiritual. Inviting artist's to respond to the theme Borderlines as it requires an inquisitive approach to the site that surrounds them and to the climate in which we live.

Geographical Environmental Landscape

Terrain

Migration (Wildlife/Humans) Transmigration

Socio Political Departure

Borderlands

Borderlines

Borders

Lines

Spiritual Embodied Walking

Wandering 

Wanderlust 

Movement

Borderlines, simultaneously both boundary and threshold.

Visible, Existential, Imaginative, Porous, Contingent, Reflexive, Nowness, Un-Knowing, Awkwardness, Liminality, Territory, Subjectivity,

Concrete Collage : Raku fragment, clay form/photograph, drawing, handwriting and painted surfaces.

 Ancient Lights : Abstract Painting and Constructional Drawing for Architectural Glass. 

Anthropological Landscape : Drawing from archaeological dig, liquid light, field chalk, charcoal. 

Cley, St Margaret's South Entrance : Collage, Sketchbook, working ideas for small glass panels. 

Cell, Court, Domain, Field : Layered paper, paint, and absent objects.

Architectural Concerns : Collage ,drawing, installation, blue prints, historical building plans. Scriptorium : Architectural model for a reading space within a pastoral landscape or community.

Working Notes/Extracts and Fragments from site visit. St Margaret's Church

Silence and stillness, social/historical shelter from/within the landscape

A place acting through our sensate/spiritual world, a space crafted by the specificity of its making/usage. 

An interior sensing space of a protected and defended/fortified silence, affirming beliefs and community.

Subtle and muted, stillness, embodiment from the patina of use. Bleached woodwork, lightness, dryness and the humidity of absences.

Empty and eroded stone mullion windows/ancient lights, architecture framing its un-making worn, broken and repaired flooring surfaces, ceramic and stone.

What does Borderlines mean to you? Boundary and Threshold

Visible, existential, imaginative, porous, contingent, reflexive, nowness, un-knowing, awkwardness, liminal, territory,

Material Process/Inquiry, Praxis, Content, Context

Form, Existential Qualities/Values AGENCY

Mindfullness of the brief to discover things through the inquiry and engagement with the site. 

Develop Inquiry

Documentation, Artist Book, and other media mixed media painting

Small series of glass panels ceramic tiles/facades

Photographic material/photograms, drawings/hangings on Chinese paper

Melancholy Landscapes : The Plague/Vermilion Sands

Film Collages, hybrid processes and temporal states Liminality: Literature/Philosophy/Visual Art

Landscapes : entering/intruding/emerging (holga819) Existential Gestures : Looking away from the sea

Ballard : Vermilion Sands : Speculative Fields/Spatial Practices Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modem type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'

Shusha Guppy, Sunday Times

Walking into Emergent Landscapes 

Walking/Thinking/Physical Entanglements in the Landscape

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

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

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.”

Interactions of Colour and Bodies : Rothko/Neri/Kundera/Schiele, subjects alone in a moment of utter immobility.

Manuel Neri

Milan Kundera

Josef Albers

Mark Rothko

Egon Schiele

The use of the word 'immobility' recalls an article that Rothko wrote in the 1947

"For me the great achievements of the centuries in which the artist accepted the probable and familiar as his subjects were the pictures of the single human figure - alone in a moment of utter immobility."

p84, Possibilities , 1, New York, 1947

The world is overloaded/the nature of things : Peter Zumthor, Jean Baudrillard

The world is overloaded of signs and information, representative of things that nobody completely understands, because they are in turn nothing but signs representative of other signs.

The real thing remains hidden. Nobody can ever see it.

Peter Zumthor

The nature of things cannot be discovered by analyzing them according to their functions, by labeling or categorizing them but by understanding their relationship to people, their behavior and emotions which caused creation of these objects.

Jean Baudrillard