Sensing Places : Dwelling/Making/Attention/Environments

Russell Moreton

Artist Statement 2023

Spatial practitioner employing a  speculative site based practice linking visual fine art, education, architecture and philosophy. Interested in duration and experience, repetition and improvisation, together with intuitive working methods that are local and quotidian. 

Architectural Body

Organism/Person/Environment.

Awareness that repetitions and rituals can give meaning to existence.

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

Dwelling.

Giving Sensation Place.

An Education Of Attention.

Creative Curriculum Making.

Developing a creative inquiry and its presentation through generative art based methodologies.

Re-imagining learning through site based education, art practices and philosophy.

The construction of working drawings/sites that are themselves habitable and that capture insist moments of mark making and subjectivity.

Installing a creative practice as a 'place driven site' for subjective experience, gathering things and personal inquiry from which to present 'findings' into the social environment.

As a contemporary practitioner operating within the Arts and Architecture, I am interested in social apparatuses and agents that explore the possibilities of place based relations. 

For Tim Ingold, life is the very process wherein forms are generated and held in place.

And dwelling means that the forms people build, whether in the imagination or on the ground arise within the current of their involved activity in the specific relational contexts of their practical engagement with their surroundings.

Tim Ingold, Lines. 2007

 

Key Words: Site Based Inquiry, Post Studio Practice, Education, Fine Art, Spatial Practice, Philosophy, Presentation, Exhibition, Workshops, Research Led, Exploratory Processes, Curriculum, Placemaking, Sensing, Architecture, Circulation, Subjectivity, Relationscapes, Dwelling, Inhabitation, Environment, Landscape, Person, Organism,

Drawing passages in the ecology of experience : Disappearances opposed by assemblages of evidence

Outpost21022

Drawing passages in the ecology of experience.

The Silent Room.

Silence/Intimacy/Reading.

Drawing is about following/keeping up with a form/becoming in life.

What shall I do next?

The entwining of ever extending trajectories.

I was asking you: where are we when we draw? The question seems to be expecting a spatial answer, but mightn't it be a temporal one? Isn't the act of drawing as well as the drawing itself, about becoming rather than being? 

Isn't a drawing the polar opposite of a photo? The latter stops time, arrests it; whereas a drawing flows with it. Could we think of drawings as eddies on the surface of the stream of time?

From each glance a drawing assembles a little evidence, but it consists of the evidence of many glances which can be seen together. On the one hand there is no sight in nature as unchanging as that of a drawing or a painting. On the other hand, what is unchanging  in a drawing consists of so many assembled moments that they constitute a totality rather than a fragment. The static image of a drawing or painting is the result of the opposition of two dynamic processes. Disappearances opposed by assemblage. If, for diagrammatic convenience, one accepts the metaphor of time as a flow, a river, then the drawing, by driving upstream, achieves the stationary.

John Berger 1926-2017.

Improvisation is to join with the world or to meld with it. One ventures from home on the thread of a tune.

Deleuze and Guattari.

Points are not joined so much as swept aside and rendered indiscernible by the current/energy as it sweeps through.

Life is open-ended, its impulse is not to reach a terminus, but to keep on going. The plant, the musician or the painter in keeping going, hazards an improvisation.

Tim Ingold.

Moments of shared physical and bodily intensities in the enactment of constructions, activities and inhabitatations.

Drawing/movements into transitions articulated with gaps and spaces for improvisation and the incorporation/corporeality of the quotidian and the unexpected. 

Francis Bacon, The Human Figure.

Figuring it out, Colin Renfrew.

The assemblage/collaged/choreographic object works to keep us attentive and entangled/engaged in the world.

LiAi:

Laboratory of immediate architectural intervention.

The workshops/laboratory demonstrated how architecture could be about encounters in space, sensitive material tectonics and social urban exploration, engagement and transformation.

Dwelling in Brockwood/Kilquhanity : Drawing isn't a matter of tools but perception-a form of engagement.

Outpost 140223

Matters of Concern.

Starting conditions for responsible and curiosity driven engagements with the world. 

Creative entanglements in a world of materials.

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

Improvisation is drawing.

Drawing isn't a matter of tools but perception-a form of engagement.

Roni Horn.

Kilquhanity Free School.

Mission statement to enjoy childhood.

Kilquhanity promotes a playful difference amongst the locality.

Back To Freeschool : Drawing Out Of The Archive.

At Freeschool I turned a dwelling place into both a site of introspection and a social construction.

By living together as a social group, learning by the practical 'doing' from which to extract a sense of practical wisdom.

Useful work, promotes a sense of being amongst the social group, of an equality of joined forces for the benefit of Kilquhanity.

Kids encouraged to build camps around the grounds, personal and inter-personal temporary structures that reinforce our sense of 'passing through'.

Kilquhanity seems to suit the individual with confidence and those with good social skills, Architects, Film Makers, Craftspeople, others have found it difficult to rejoin society.

Brockwood Park School

Our consciousness is not actually yours or mine, it is the consciousness of humanity evolved, grown, accumulated through many, many centuries, when one realises this our responsibility becomes extraordinarily important.

J. Krishnamurti.

Projective Speculations, through questioning and research, asking ourselves, how are our intraventions capable of generating previously non-existent possibilities or ideas?

How can architectural projections become tools for engagement in the actual transformation of the world, and to what extent can they be tools for thinking as well as for the articulation, interrogation, and challenging of discourse.

Intraventions in live situations are the main form of engagement, we take part from the inside, in the construction and articulation of 'sites'. We do this by using expanded conditioned, ecologies, localities and actors within a phenomenon in which we operate 'an architecting' as responsibly as possible.

Oren Lieberman, Alberto Altes.

Raveningham Site Visit/Walking in the Landscape.

Ephemeral-Site-Drawings.

The Choreographic Object in The Lanscape.

Land/Demarcations/Spaces/Occurrences with others

Filtered light pieces/land markers

Field Studies/Gathering/Dwelling/Reading/Light/Time/Media

A Phenomenal Lens.

Water/glass dishes/construction, floating/submerged objects/.Cyanotype Print.

Sculptural Array/Sky Watcher/Imaginative Spaces.

Apparatus for Solargraphy.

Mast/Conductor/Transponder,

Hungate Study Day.

Corporeal Annotations.

Reading/Materials/Substances/Phenomena

Water/Light/Architecture/Vessel/Place/Canvas/Filtered Light/Ceramic/Clay

Undercroft Norwich.

Plaster/Slab Components/Assemblages/Forms