Other Worlds : Insistent moments of mark making/subjectivity

Outpost 260622

CYANOTYPE SUN MAPPINGS/DRAWINGS

Jonathan Crary, Techniques of the Observer.

Adam Nicolson, Sea Room.

Rebecca Solnit, Wanderlust. A history of Walking.

Site/Regional Specificity/Local Memory. 

SKIN, SURFACE, SUBJECTIVITY.

Insistent moments of alienated encounter.

Harriet Katherine Riches.

MATTER AND MUTABILITY

PRERSENCE AND AFFECT

Jane Grant.

AFFECTIVE ABSTRACTIONS

INTERMEDIARIES

CONSTITUENT PARTS

SPILL

IMMINENT REVELATION

EXPOSURE

NAMING THE LIGHTS

AFTERWORD

Garry Fabien Miller, Ian Warrell, Richard Ingleby.

The solitary artist literally at the edge of his environment and in a state of profound meditation about our place in the wider cosmos.

As if seeing herself from the desolate distance of a star, Woodman looks back through the alienating photographic lens of displacement and memory, her print the surface upon which she conjures an impossible moment of beautiful fusion.

Those still involved in defining photography as an art are always trying to hold some line. But it is impossible to hold the line: any attempt to restrict photography to certain subjects or certain techniques, however fruitful these have proved to be, is bound to be challenged and to collapse.

For it is in the very nature of photography that it be a promiscuous form of seeing, and in talented hands, an infallible medium of creation.

ON PHOTOGRAPHY.

Susan Sontag.

SPAB.

Building Conservation/Casework Campaigning/Innovative Research/Immersive Training Programmes/Working Parties.

Climate Action/Built Heritage.

Jacqui Donnelly, Spring 2022.

Traditional buildings are defined as those built with solid masonry walls, single-glazed timber or metal framed windows and timber-framed roofs usually clad with slate or tiles.

One of the most effective ways of increasing the resilience of our historical structures and sites is the application of good conservation practices.

Traditional  materials and construction techniques allow for the natural transfer of heat and moisture and relied on the thickness of the walls to cope with atmospheric moisture. It is therefore essential that all materials and finishes, including mortars, renders and plasters, used on traditional walls are vapour-permeable to allow this movement of moisture to continue.

Proactive Maintenance

Repair Programmes 

Upgrading through repair and adaptation.

Mitigation

Courses in traditional rural trades and crafts, Weald and Downland Open Museum.

The SPAB has made sure that the project not only repairs the mill but integrates public access and education into the process.

The scaffold design has allowed public access visits for the local community and students, offering opportunity to view the work while underway.

Douglas fir weatherboards

Vmzinc roof covering

Insulating Render, Cornerstone.

Developing a scheme that endeavours to fit a three-bedroom house into the existing footprint of the mud cottage and adjacent outbuilding,with some overspill into a new circulation space that connects the structures whilst clearly retaining the legibility of the existing modest forms.

INHABITATION, the inter-dependence of mankind within socio economic frameworks. 

Vernacular Concerns/Folklore/Heritage and Fabric of Buildings.

TONALITIES

BUILDING MATERIALS

THE POETICS OF SPACE

Gaston Bachelard.

Italo Calvino, Mr Palomar.

The numbers 1, 2, 3 that mark the titles of the index, whether they are in the first, second, or third position, besides having a purely ordinal value, correspond also to three thematic areas, three kinds of experience and enquiry that, in varying proportions, are present in every part of the book.

Those marked 1 generally correspond to a visual experience, whose object is always some natural form; the text belongs to a descriptive category.

Those marked 2 contain anthropological elements, or cultural in the broad sense; and the experience involves, besides visual data, also language, meaning, symbols. The text tends to take the form of a story.

Those marked 3 involve more speculative experience, concerning the cosmos, time, infinity, the relationship between the self and the world, the dimensions of the mind. From the confines of description and narrative we move into the area of meditation.

Drawing Fields/Small Perceptions : Becoming BOUNDARIES AND JUNCTION POINTS.

 DSC_6111 Spatial Drawing/Speculative Site.

 BOUNDARIES AND JUNCTION POINTS

The theoretical object as a concept to express the force and feeling of inquiry.

The Stick Thing, Canterbury School of Architecture/Spatial Practice/Oren Lieberman. 2009.

Raveningham, speculative array of simple objects in the landscape.

Lefebvre, The Production of Space.

Lefebvre in his chapter on Spatial Architectonics makes reference to the relationships established by boundaries and the relationship between boundaries and named places. These relationships promote significant and specific conditions or features to a space. This in turn results in various kinds of space. Lefebvre states that “every social space, then, once duly demarcated and oriented, implies a superimposition of certain relations upon networks of named places.”1

It is this superimposition of space that can within it demarcate other thresholds of experiences, within an existing demarcated space that interests me.

The act of “blocking in “ the dimensions of another space onto the floor of another create a temporal junction between a host space and a site within this host, a guest. This sets-up the notion of a temporal double occupancy held by the demarcation of a boundary and a site of proposal. This basic and temporal site marking could be said to have affinity towards some sort of anthropological marking, a territory. (Lefebvre defines anthropological marking as being at the stage when demarcation and orientation begin to create place and its social reality in archaic cultures)2. This activity also has associations with nomadic and agricultural-pastoral societies as they use paths and routes as spatio- temporal markers or determinants.

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through “which without colliding would produce the establishment of places (localities made special for one reason or another).”3Within my practice drawing is used to form sites which contain visual information, evidence of temporal activities and traces of actual objects. These territories within other territories create fields from with boundaries form material relations, differences. My drawings are inside the temporality of site I have instigated and yet they propose a territory and a surface of light years which could accommodate the temporality of terrestrial space.

Interestingly Lefebvre comments “there is no stage at which ’’man” does not demarcate, beacon or sign his space, leaving traces that are both symbolic and practical.”4

1 Lefebvre, The Production of Space, (London: Blackwell, 1991) page 193.

2 Ibid.,page 192.

3 Ibid.,page 192.

4 Ibid.,page 192.

The World is Blue : Evoking an inner room in the Mind/Consciousness

Walking In My Mind, Stephanie Rosenthal. Hayward Gallery 2009

At last we could talk about and investigate mental imagery, subjectivity, imagination and creativity. At last scientists could tackle the mystery of consciousness without being laughed at.
Mysteries Of The Mind, Susan Blackmore.

Between The Microcosm And The Macrocosm, Mami Kataoka.

A Field Guide To Getting Lost, Rebecca Solnit.
The Blue of Distance

The world is blue at its edges and its depths. This blue is the light that got lost. Light at the blue end of the spectrum does not travel the whole distance from the sun to us. It disperses among the molecules of the air, it scatters in water. Water is colourless, shallow water appears to be the colour of whatever lies underneath it, but deep water is full of this scattered light, the purer the water the deeper the blue. The sky  is blue for the same reason, but the blue at the horizon, the blue of land that seems to be dissolving into the sky, is a deeper, dreamier, melancholy blue, the blue at the farthest reaches of the places where you see for miles, the blue of distance.

This light that does not touch us, does not travel the whole distance, the light gets lost, gives us the beauty of the world, so much of which is in the colour blue.

Celestial Crater

Digital Dye : Blue
Photogram

Blue Spaces : White Absences #2. Silence/Void : Gap/Reveal

DSC_6772 Absence/Potential  of Dialogue : Raveningham
Cyanotype, paper negative on used canvas frame

DSC_6761 CELL COURT DOMAIN FIELD

Intermedia : Articulating Sensory Thought. Yard and Metre Event

 Cyanotype Project/Poetry Reading : Winchester College

Shroud

Richard Stillman

Yard and Metre Event, Winchester

As the marks resonated, did they sound true? 

Could we tolerate margins of error or latitude? 

Is there strength in that built by blue ink?

It is hard to see without certainty.

Why have they flown, gathered, shrouded? 

Is the date significant? A memorial?

Or is it white noise reverberating, 

striking parallels, refusing focus, insisting?

The shape of the cross is still distinct

but opening out, refusing definition,

never quite caught as an intention, 

pinned on dimensions it wants to refuse.

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral 2011.

When objects or atmospheres collide energy is transferred, a new force may be created. And, as forensic scientists can attest, when objects touch they exchange traces, each leaves something of itself with the other.

This is why artists enjoy collaborating. Working with another artist can give a jolt of inspiration, a spark of creative thinking, a surge of new skill, the stimulus for a new work. And the experience will leave its mark in some way on each individual’s practice.

The specific ‘collision’ may also result in a work which has its own integrity, which does not belong’ to either party and where their particular contributions merge indistinguishably - in effect fusion takes place.

This is the thinking behind 10 days | Creative Collisions and for The Yard artists  and Hyde Writers it was the ideal excuse to come together, to let the shockwaves flow and see what new possibilities emerged. As with all the best creative practice, in science or in art, this has been an experiment, it involved risk, trust and open minds. Whether or not the outcomes are fully resolved they will be filled with potential - and with potency.

Stephen Boyce

The Hyde Writers

The writers  revelled in a close engagement with artists  and their work. Rather than respond to emailed images, the writers could immerse themselves in the artist’s world. Writers  could examine the artist’s  studio space, watch the artist working and feel with their own hands  the materials  in use. They  could smell the turpentine, feel clay under their nails  and trail their fingers  over the rippling textures of paintings. Some writers took artists’ work home, so that they could live with the work. Naturally some artists provided a response to the writer’s work and the non-verbal feedback was unusual and exciting.

Writers  faced a dilemma over which aspect of an artist to focus  on. Some writers  found inspiration in the personality of an artist and others were entranced by a part of the artist’s  process. The art itself, of course provided a rich source of creativity. Writers  found that the artists’ studios  and individual objects  within them were inspiring. A fractured shell of a first world war helmet might suggest several stories. Writers  could see familiar techniques, such as  collage being used by  the artists, but they  could also understand the strange dictatorship imposed by  physical materials. The materials  are often tricky  things  that impose their own rules  and can bring uncontrollability  into a process.

It was  an experience that changed the writers. For ever afterwards a small part of us will be noticing the world from a different viewpoint, such as  that of a painter or a sculptor.

Hugh Greasley

The Hyde Writers are a group of poets, novelists, script and short story writers  who meet every  first and third Monday  in the Hyde Tavern, Winchester.

Founded in 2007, the group aims to produce high quality, challenging writing across a diverse range of genres.

The group acts as a workshop to facilitate the development of an individual writer’s works through rigorous yet supportive critical comment

Our members  include prize winning novelists  and short story  writers, published poets and broadcasters, as well as young writers developing their craft.

The Yard Artists

When the studio management group discussed how to represent The Yard in 10 days Creative Collisions, we could not have possibly  envisaged the quality  and ambition of the project. Several months  later, following a successful proposal, speed dating event and BBQ, two thriving creative communities  in Winchester have collaborated, partnering artist with writer, and produced twenty  six  ‘creative collisions’ of new and innovative work. These projects  have been prepared for an evening of projection, performance and poetry  at Winchester College.

As  a collective, Yard and Metre fuses  traditional with contemporary, the analytical with the intuitive, the tangible with the abstract, in a collision of observation and enquiry. The breadth of subject and concept, as well as  the standard of work  produced, is  testament to the dedication and enthusiasm of those participating in the project.

Thanks  to  Beatrix  Kovacs,  this  beautifully  designed  publication  documents  the  collaboration  between The Yard artists and Hyde Writers and pays tribute to the significance of the event.

Jane Price

The Yard is a working studio environment in Wharf Hill, Winchester, established in 2007 by a group of local artists with the assistance of Winchester City Council. It provides affordable studio space within a vibrant, supportive community for up to twenty five artists and aims to promote contemporary fine art in the Winchester district

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral 2011.

The Arts : The inherent finality of the human condition is concisely and eloquently measured and mapped.

.

Russell Moreton  Spatial Practices MA, UCA Canterbury.

Visual artist who currently uses simple descriptive gestures and processes drawn directly from the human body. His practice continues to explore issues around "Spatiality" and the "Postmodern Human Condition." The use of site specificity and materials "at hand" are employed to further underpin the practitioners sense of place, memory and dwelling. His descriptive working narratives are in effect physical working ideas, spatial  entanglements between the relations of  life and art.  

Drawing.

Installation and Working Sites

Architectural Glass and Ceramics

Liquid Light and Pinhole Photography

OUTLINE

Drawings by sculptors that place the relationship of the line derived from the body on the same field as material/media residues. These configurations give rise to conceptual associations and meanings. This contemporary approach is in evidence in a number of artists work where the per formative aspects of drawing are the key issue. To put it simply there is a growing awareness of the gesture of drawing as the work, and not just simply the representational merit of recognition that has previous acquainted skill and draughtsmanship. I am talking about the authentic gesture of inscription, the combination of both the trait and trace that the trait has circumscribed. This almost primal visual rendering from a sensation of blindness is captured succinctly in the myth of butades, or as it has come to be known "the birth/origin of painting” This myth preserved through the device of its very nature contains an irony trapped, almost withheld until the contemporarily of its content could be recognized. It is my aim to expand on these issues using the situation of my own practice as a bridge to attempt to illustrate some of the complexities unearthed.

Analysis of a drawing.

Crafting the mind : Human Inhumation/Containment

Julian Stair

Quietus/The Body Politic

Morality

Jonathan Sacks

Jozef Van Wissem

Grand Central Confessional

Nature Boy

He said that in the end it is beauty

That is going to save the world, now

Nick Cave and The Bad Seeds

THE PHYSICAL

THE EMOTIONAL

THE CONCEPTUAL

First Intension (noun) Medicine the healing of a wound by natural contact of the parts involved.

Fecundity, Fertility, Creativity, Inventiveness, Fruitfulness, Productiveness. What response within ones subjectivity created the desire and its necessity to be

embodied, to be brought into the realm of things? CREATIVE POST-MORTEM 19.08.2010.

Outline of a female body on light-weight Chinese paper, life size, laid out as if in the process of making passage through a fluid. The body stance seems tensioned with arms outstretched and together above the head, as is it is being propelled, or conversely the feet together might signify the body is sinking into a space occupied by a fluid. The body seems to be caught in some sort of stasis, between sliding back or diving head first. This outline has been in places in filled with a blue photographic material ( cyanotype).This material that displays a floral print caused by the displacement and actuality of seed heads having been placed directly in contact with the paper. This floral marking occupies only part of the territory which was once occupied by the body. There is evidence that this fluid substance (blueprinting of a fecundity) has transgressed, seeped through the boundaries of the traced form. It has done so through the cyanotypes fluidity and the absorbency inherent in the structure of the paper. Within the territory of the body, there are spaces void of the cyanotype material, these appear as barren areas, unfertile yet they seem to suggest an infinite space which gives the cyanotype surface its ability to both record an actuality and suspended it. This appears to question the spatio-temporal aspect of the relations between the application of the fluid and the drawing of the trace. What is apparent is that they have become superimposed and strangely contingent. There exists a sense of transition between fluidity of the cyanotype and the fixed “registration” of the hand drawn trace this creates different senses of temporalities on the same surface. The residues left over from the cyanotype process are still clearly visible, channeled into a flow which is delivered to a reservoir at the foot of the trace. The outline in what appears to be black marker pen preserves a permanence against this flow. This same marked permanence records an intervention of two back slashes which tags a closure of performance of the trace with a date simply stated across the foot. One might be tempted to consider if this marking and its proximity might have associations that reference the labelling of the mortuary corpse. The inclusion of this precise date marking, renders other material traces some sort empirical touchstone, an observation point clearly defined from which to see other phenomena present. This observational mode of inquiry is perhaps promoted by what appear to be astronomical markings that are only "‘present” within the territory of the body, curiously they appear to have been inscribed from the reverse side of the paper. They appear akin to body markings, tattoos or some other form of writing information on the body. These marks suggest some sort of cartography which can only be read by others, this information is clearly “hosted” for the benefit of others, a message that might contain an augury. The host body might be a vessel for these speculations, but it is clearly not their author in fact the astronomical details place their own authorship right through the vessel of this un-gendered female form. Given that the astronomical markings have been assigned to a human form, a form of mobility the knowledge of these marks therefore exceeds the temporality of the host form, in the literal sense this is already confirmed by an existence only recorded by its trace, its absent presence. This terrestrial being with its absent presence marked and dated is further appropriated into a territory containing celestial mappings and traces from its own host planet. The inherent theme of fecundity and fragility supported by the inherent finality of the human condition is concisely and eloquently measured and mapped. Like a shroud this work is delivered to reaffirm the body as a site.

There is no authority in the gesture, it is an act of reassurance, he is fixing reality. James Salter

Architectures within the photographic process : Intermediary Surfaces of Information and Affect

 AWKWARDNESS. 

I work from awkwardness, by that I mean I don’t arrange things. 

If I stand in front of something instead of arranging it. 

I arrange myself.

Rem Koolhaas, S,M,L,XL.

Working Practice

Possible Strategies/Tools/Agents/Abstractions for "working sites" that occur within a site/field of practice. Interested in the abstraction of information, its collection/registering, its wrapping/framing, and un-wrapping/transmission to inform others, and its relation to embodied knowledge.

A spatial practice that unavoidably inserts the role of the observer into the language and function of "working situations" and to participate in the analysis of "the objective statement" and its subjectivity around "sites activities".

INFORMATION, THE NEW LANGUAGE OF SCIENCE. Baeyer.

Ockham's Razor,(economy of expression) Briefer is better. "The philosophical principle that values simpler, briefer explanations over more complex ones."1 Interesting notion that this could be used a device to "prune the proliferating set of primitive entities, and reduce the number of a priori assumptions that must be fed into a theory." 2

Fechner's law, on the magnitude of a sensation being proportional to the intensity of the stimulus. Today regarded as a historical curiosity after serious departures from it in the 1950s, but it is still emblematic of a profound relation. "If the intensity of the material world is plotted along the horizontal axis, and the response of the human mind is on the vertical, the relation between the two is represented by the logarithmic curve."3After this illustrative definition Hans Christian von Baeyer posits a speculation and retires with this rather enchanting question to his reader.

Could this rule provide a clue to the relationship between the objective measure of information, and our subjective perception of it?

Boltzmann interpretation of entropy. The term entropy invented by the German physicist Rudolf Clausius as a theoretical counterpoint to energy, defined mathematically, entropy is heat divided by temperature. It does however have a peculiar quality not shared with energy. When entropy (heat from a cup of tea) is left out in the ambient and open condition of the surrounding air, the two entropies combine to give an entropic state that will always remain constant or increases, what it cannot do is to become diminished. It displays a one-way set of relational coordinates.

Entropy can be used as a simple additive quantity as in "combining two identical volumes of gas , and you get twice the mass, twice the energy and twice the entropy of one vessel".4 What Boltzmanns interpretation of entropy was able to supply was firstly a mechanical model which supports the traditional values of entropy, with something that was entirely new to physics. Entropy now gained a strange subjective quality imparted by the number of ways in which a system or more "specifically the number of rearrangements consistent with the known properties of the system."5

Entropy by this interpretation is not an absolute property of a system, but rather it displays a relational component with is wholly subjective to the amount of "information" that is available.

Boltzmann goes further with these connections, he makes them specific. By "pointing out that since the value of entropy rises from zero , when we know all about a system, to its maximum value when we know least."6 Hans Christian von Baeyer interprets and theorises this as illustrating that entropy was actually measuring "our ignorance about the details of the motions of the molecules of a system,"7 Which can be interpreted and appropriated to mean that entropy can register our lack of information about a system through the possibility and probability of what occurs and what might not occur in that system.

This intersection of the "relational" both empirical and subjective is an interesting site in which to stage a per formative element with empirical phenomena. This offers up to the "work site" a duality and a paradoxical sense of resonance.

In much the same way in which Democritus understood that all empirical evidence found in science is "collected" through and "mediated" by the senses, “working sites” could help to usher-in this gesture of analysis. This gesture of "sense experiments" creates and affirms and gives insights into our relational reality.

“We are all observers, equipped with both senses and intellects and whilst trying to understand the universe we are trying to understand man. We work from a theoretical objective (not absolute) reality from which we proceed to an understanding of the human senses and its consciousness."7 The work is in-effect using the notion of the "logarithmic curve" of Fechners law as the route of experiences encountered by interlocutory aspects of the "guest" as they are registered by the "axis's" of the architectural installation and its laboratory like situation.

Strangely and with some irony as in all scientific theories and break-throughs we inevitable end up learning more and simultaneously knowing less. This duality which contains, a theoretical state of reflection with its exactitudes and phenomena's held captive on one hand; whilst reflecting our own "un-captiveness" (or perhaps we are captive through un-captiveness) our being constantly temporal and momentary with all relations having to be applied/registered through a human subjectivity. 

This interrogative compound of the theoretical and the temporal sensuality of being, of becoming relational to self/other/others and its/their placement in worlds forms the main-spring of my practice.

We live in worlds that are in effect part of a "participatory universe" according to John Wheeler(dean of American theoretical physicists).In worlds in which "the observer cannot be redacted out of the picture".8As such the observer must therefore set-up some sort of apparatus were the subjectivity of its information also quantifies the effect of the observers presence and perspective. Unfortunately the choice of apparatus, even if freely made will partially determine the possible answers to the question at hand. The apparatus fundamentally makes things "knowable" through its ability to formulate a measurement (in the world of things) in the context/inquiry of a particular question.

What if this apparatus which gives measurement was situated not to give evidence to a context of questioning criteria, but was allowed to record/register without relevance to any specific question or questions, but just to record a empirical condition or occurrences, perhaps a sensor more than an actual apparatus, something that doesn’t produce information, which is already already positing a value, a recognition of a question. If the abstractive data information from this sensor was "without determination" other mechanics could be "framed up" so as to allow a relational space frame to render-up a temporal subjective perspective and hence give a relational enactment of being. 

Being in the atomic perspective of the universe.

1 Hans Christian von Baeyer, Information, The New Language of Science (London: Weidenfeld &Nicolson, 2003) page 17.

2  Ibid., Page 40.

3  Ibid., Page 85

4  Ibid., page 96

5  Ibid., page 97

6  Ibid.

7  Ibid.

8  Ibid., page 13

Working Spaces/Sites of Inquiry and Dialogue. Canterbury 2010

Mechanisms Of  Seeing/Architectures and Images

Perception is in the “condition” of an interruption. 

Rehearsal is the creative part of any performance.

Interested in the speculative nature of work-sites that contain a narrative intervention via a device that registers and records the documentary and its rehearsal.

Work as revealed into a final sequence of superimposures on a surface created from the collective transparency of the text.

Thresholds that reveal the interspace between the Human and its condition/environment.

MAKING SPACES PARTIAL to the material flows and currents of sensory awareness in which IMAGES and OBJECTS reciprocally take shape/meaning.

The Poetics of Space : The house, from cellar to garret. 

The significance of the hut.

"He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to the cellar carrying a candle. 

But the unconscious cannot be civilized. It takes a candle when it goes to the cellar."

Gaston Bachelard.

TRANSPARENCY AND THE DIALECTICAL IMAGE AS AN ARCHITECTURAL SURFACE.

A “PLAY” CONSOLIDATED INTO BOTH SURFACE AND PROJECTED FORM. 

Temporal issues in and around activities of “SITE” and its Performativity/drama of encounter and residency.

Notes from introduction/Allegory, Montage, Dialectical Image. 

Between ART and ARCHITECTURE. Jane Rendell.

A way of thinking about temporal issues of SITE/Situation and event. 

VISUAL

MATERIAL 

SPATIAL REGISTERS

Allegories are, in the realm of thoughts what ruins are in the realm of things. Benjamin on the origin of German Tragic Drama.

DRAMAS- sadness at the transience of life, represented as nature petrified in the form of fragments of death, and as civilization disintegrating as ruins of classical monuments and buildings.

ALLEGORIES OF THE HUMAN CONDITION RUIN its relation to TIME

FRAGMENT as RUIN and on melancholia as an attitude of retrospective contemplation. 

DIALECTICS AT A STANDSTILL, a moment where the past is recognized in the present as a ruin that was once desired, allowing Allegory to be “understood” felt as a contemplative calm/equilibrium in the becoming and wrapping nowness of the  self/situation.

DIALECTICAL THINKING involves the clarification of ideas through DISCUSSION/CONTRADICTION.

WHAT REMAINS AFTER THE PROCESS OF DIALECTICAL THINKING? An initial THESIS IS OPPOSED by an antithesis then RESOLVED through a SYNTHESIS of the two terms, which can in turn become a NEW THESIS.

Proposal to use pinhole camera to capture/explore threshold space of image/architecture/environment

An architectural darkness is a silent solid, but light gives texture to its stillness

The camera obscura’s darken room becomes a stage and a cinema; a drawing black boarded room for making creative reciprocal social practices.

Draft Proposal/itinerary/Layout for “Forum Presentation UCA"

Move assembled group from lecture room to studio space to start presentation as a situation in which to arrange oneself, the group, the fieldwork and research.  

Work Experience/early art works and influences; note any traits that have remained faithful to ones formative years.

Closer analysis on the nature of SITE and its performative role in the Practice. Material Soundings, Drawing and Photography, Sculpture and installation in-situ work. 

Dialogues and Proximities in performative of making space recorded in-situ as a surface/membrane of the architectural structure.

Photographic surface of relational gestures becoming consolidated and simultaneously projected into what is now an altered reality. The architectural “text” remains as a collaborative custodian to the light entering the building.

Transparency as a “custodian value” and interface for the interaction of encounters and farewells.

Requiem of surface inscriptions that allows light to overwrite its projection in a visionary present.

Photographic surface of events, a visual entropy resolved as a history of consolidated exactitudes/enactments.

The photographic surface shows that which no longer exists, it concretizes contingences on offer into an image of irreversibility.

Double Occupancy , Dwelling with the critique and its realization of an uncovering event, criticism collides with and into the work. Deleuze, Baroque house (65).

DRAWING INTO THE READING ROOM

FLEDGLING ARCHITECTURE IN THE MAKING ISOTROPIC SPACE

SOCIALIZED SOCIABLE

INTERIOR ARCHITECTURE through a sensitive adaptation of place studies, and using materials and built spaces to form the container/scaffold/stage for an activity not its contents. Working spaces that can be given a multiplicity of tasks that can accommodate the humanities and the life sciences.

Architecture and landscape, together with the localised weather, and the sheltering buildings all contribute to finding the mental spaces for the retreat.

APPARATUSES DURATIONS EFFECTS

THINGS-MAKING-PEOPLE-IN THE WORLD

Heightening the experiential experiences of place. Ramps, stairs and passages as devices (movable) to examine and to create immediate architectural interventions. Notion of the observatory as being part built/part still under development through drawing, (monuments as instruments/astronomical, Japor, India).

Sun Prints : Blue Works/Drawings into the Photographic Surface

The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.

The Drowned World, JG Ballard.

Cell
Court
Domain

Botanical traces with leper graves

Drawing into the photographic process
Dynamic/Affective Cyanotypes

Biosphere (Ecology and Entropy)
Architectural Blueprint
Archipelagic Architectures
Blueprints : Anthropological Forms
Cyanotype : Architectural Drawing

Spatial Practice/Collage : Place Studies, Oxburgh Hall, Waverley Abbey.

MAPPING : Ritual,fire and stone : Human Filament

Astronomical data with outline of human form,candles,string and stones on paper.150cm x 240cm

Cyanotype Drawings : Works on paper

Terrestrial Movements :  #2  Solar Spore.

Drawing and Assemblage : Cyanotype process on watercolour paper with lead profiles.

Aerial Composition (movements inside the Cathedral) : Cyanotype and Sunlight.

P3228227a : Engineering Blueprint on Watercolour Paper.