Enchantment and Sites of Sensual Engagement : Periphery/Boundaries and their limits.

Outpost 140323

Wonders On The Periphery Of living.

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

The Wonder Of Minor Experiences.

A Brief Phenomenology of Enchantment.

Enchantment entails a state of wonder, and one of the distinctions of this state is the temporary suspension of chronological time and bodily movement. To be enchanted, then, is to participate in a momentarily immobilizing encounter; it is to be transfixed, spellbound.

Jane Bennett.

The moment of pure presence within wonder lies in the object's difference and uniqueness being so striking to the mind  that it does not remind us of anything and we find ourselves delaying its presence for a time in which the mind does not move on by association to something else.

Philip Fisher.

The dialectical principle of the intertwining of the world and the self.

My body is made of the same flesh as the world, this flesh of my body is shared by the world and the flesh of the world or my own is a texture that returns to itself and confirms to itself.

The Intertwining-The Chiasm.

The Visible and the Invisible.

Merleau-Ponty.

The Concept Of Sculpting Invisible Materials.

Intervals/Sequences/Iterations : Between Drawings/Templates/Prototypes.

The Eyes Of The Skin.

Critics of Ocularcentrism.

Juhani Pallasmaa.

Merleau-Ponty speaks of the ontology of the flesh as the ultimate conclusion of his initial phenomenology of perception. This ontology implies that meaning is both within and without, subjective and objective, spiritual and material.

Richard Kearney.

Sculptural Spacings/Bindings.

Creativity, materials/matters of concern caught around the creative act of a self amongst others.

Temporal Interrelations.

Adaptive Bridging Strategies.

Playing with materials, to bring forth the synergies of thinking/making/imagination.

Working so as to form or 'seed' gaps amongst the process of exploration.

The display of agency, of un-learning perspectives, discontents, alterity and literal landscapes.

Sites of sensual engagement through alternative forms of individual and social participation.

Energies, entropic to living things.

Natures/Intellectual Spaces.

Indexical Traces/Flows of Energy.

Artists/Makers on the process of material transformation, mobility, thought, body, through an embodied/subjective/multisensory experience. 

Raveningham, allows the thinking of the existential qualities of natures materials in an intimacy/nowness with the natural world. An enmeshed world, working on natures terms, of movement, change, life, growth, and decay.

For Olafur Eliasson, the practice sets out to examine the way an embodied sense of a place can be restructured as a function/site of a sculptural spacing that questions ideas around embodiment, perception, architectural programming. 

The landscape without objects/without hylomorphic thinking.

Tim Ingold.

The Periphery. 

Frontiers and their Disappearance.

Borders and Limits.

Wim Nijenhuis.

Individuation, the process of 'becoming something' and the 'being there' of 'something.'

Modern information theory claims that both the clay and the mould are engaged with matter and form. The clay is in a metastable state that possesses potential energy, unevenly distributed, but capable of effecting a metamorphosis. This quality of the clay is the source of its form. The mould places a limit on the expanding form of the molecular organisation of the clay as it fills the mould. The mould does not form the clay passively, but communicates a resonating action throughout the clay that alters the clay's molecular organisation.

Paul Virilio, distinguishes two orders around the frontier, that of place, characterised by a stability of form, and that of speed, characterised by the fading of form.

Primarily the city is formed and informed by heterogeneous speeds, by the difference between inertia and traffic, the form of the city is thus finally an unstable effect. The city exists through traffic in all its forms.

Keywords : Vectorisation, Distinctive Oppositions, Hylomorphic Schema, Form-Matter-Model,  Place, Speed, Inertia, Traffic, 

New Figure/Grounds.

Geometric marks, vectors across a surface that might suggest some opaque system of musical notation, of points/notes connected forming a constellation of lines and angles. Workings on and between that are synonymous with the field/environ of the canvas, in such a way as it is no longer possible to speak of the classical figure ground relationship.

The Luminescence of Space.

Towards a more delimited spatial conception, a loss of centre.

Charles Maussion.

Rethinking, gestural, expressionistic, lyrical abstractions, atmospheric figuration. 

Keywords : Colour Field Painting, Lucio Fontana, Mark Rothko, Orhon Mubin, Spatial Conception, 

A Body Of Relations : Knowledge Production/Creative-Embodied-Practices

GILDENGATE HOUSE

*STUDIOS UPDATE*

Due to redevelopment of the area, OUTPOST Studios will be closing in February 2025. Founded in 2010, we are thankful for 15 years in this fantastic space! Home to 90+ artists at any one time, hundreds of artists have benefited from studio space over this timeframe.

OUTPOST STUDIO 181121

Organism-Person-Environment/Architectural Body, Arakawa and Gins.

Haptic slippages between subject and object, between what is alive and what is animate.

Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.

https://axisweb.org/artist/russellmoreton

https://www.anglianpotters.org.uk/members/russell-moreton/

Glass/Skin/Permeable/Translucent, Diaphanous and Wondrous.

The Sensation of Flesh/Skin, Surface and Subjectivity.

Material Thinking and the Agency of Matter.

Barbara Bolt. 2007.

Things and Bodies/Shifting Signs

The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.

Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.

Time is persistently liminal, a suspended, extended present.

Mattering/Mutability, Accident, Flux

Experience/Existence/Presence 

Life Drawing/Staging Oneself/Others

Body in Space/Resilience, Endures

An ecological view of cognition, knowledge of the world comes from engagement with things.

Rather than studying the world as an object, we  correspond with it in its own movement of growth or becoming. This correspondence sets up a relation with the world which opens up our perception to what is going on so that we can respond to it.

Tim Ingold. 2013.

Making as a process of thinking.

Making involves the socialised, skilled artist body labouring with materials, responding constantly to tactile, visual and emotional feedback from the emerging form. 

I am exploring emergent objects as landscapes, inhabiting them and of making sense through them.

Barbara Bolt. 2007.

Creative 'practice' and the embodiment of the 'social'.

The Life Class/The Artist's Studio.

Knowledge is emergent as the artist engages with the environments and processes of practice.

Adopting a conception of cognition as ecological assumes thinking and perceiving occur as an organism moves through its environment.

The artwork and the work of art produce a knowledge that is performed in the moving interactions of body, material, and social actors in space and time of which the artwork is a trace.

Tim Ingold. 2000.

Event Spaces, as an experience of distributed artistic subjectivity and shared art-of-inquiry. 

A Body Of Relations

Reconfiguring The Life Class

Yuen Fong Ling. 2016.

Intermediaries and happenings between my body and other bodies and their technologies, where their performativity is revealed offering new perspectives on the roles within the life class.

In my fixed physical position as the life model, the notion of the 'pose' reflects a union of the conscious and unconscious, instilled by the act of being looked at, and the ways to record this through optical devices and machines.

Modelling Subjectivities

Life Drawing, Popular Culture and Contemporary Art Education.

Margaret Mayhew. 2010.

Drawing is important because it delineates between elements in the physical, visual, psychological and cultural field, it also delineates between bodies and spaces, art and fashion, and present uncertainty verses timeless tradition.

The act of drawing itself involves considerable self control on behalf of the drawers, not only in mastering hand-eye coordination, but in concentrating on the present moment, the present action and in the immense discipline of looking at a naked body, culturally marked as sexually available, and not displaying sexual interest.

Margaret Mayhew. 2010.

The body is never isolated in its activity but always already engaged with the world. 

Merleau Ponty. 1999.

Through the configuration of the body as potentially transparent, against which the human being can only push with her hands at the limits physical and psychic geographies that are between inside and outside. 

Photography and the permeability of time evoking a physical experience of observing and examining other worlds.

Aesthetics of intimacy, photography and bodies of desire, the gaze of the passionate camera.

The intimacy and equivalences created through the photographic experience.

Her inert body both inside and outside the vitrine.

Potentially something dangerous about the  experiments with her body, with and into its layering and embodiment within speculative spacetime dimensions.

Here the viewer has the sensation of seeing through a double protective layer of glass and skin.

Art Practice/Building Distant Realities/Wonder

Like glass and within the glass, with the skin that separates the body from outer/other space as well as inner geographies and selves.

Written on the body, maps and navigations of interior spaces. Winterson/Woodman.

Her poetic image of a space that presses psychically on her from the outside.

The earthbound, partial female body, transgressions of the everyday limitations on the body.

The psychic geography manifested within frames of spatiality that becomes an inner space that flips outwards and defies limits.

Through and beyond the drawn/sculpted and painted body.

Site for psychic inner explorations, a corporeality for others rooted in the body's present moment of experience.

Diffracting Drawing and Painting.

Mattering as a reconfiguration of its own making, understanding and encountering.

Atmospheres : Architectural Environments, Surrounding Objects. 

Peter Zumthor. 2010.

Manuel Neri, Studio, Benicia, 1980

Francesca Woodman, Untitled contact sheet, Providence, Rhode Island, 1976