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

Drawing/Image.

The Active Body : From Trace to  Hosting Permeability. 

The traced body becomes a field rather than a boundary. Cyanotype moves through the drawn figure, botanical traces enter its surface, and astronomical markings exceed the body that appears to contain them. Presence and absence begin to occupy the same material territory. The image becomes a body of traces—part registration, part seepage, part cartography—where what is gathered cannot remain entirely within its assigned limits. Read through the current practice, the work begins to open towards permeability: the body as a threshold through which other bodies, times and forces pass.

Speculative inquiry 190926

This is perhaps the most interesting question I would carry forward:

What happens when the trace is no longer evidence of a body, but becomes a body capable of carrying other bodies?

That moves the work from indexical trace → permeable body → ceramic body.

The old cyanotype already contains the proposition that the boundary of the body can be exceeded by material movement. The current ceramic practice could be understood as taking this further: permeability is no longer simply represented on the surface; it becomes materially constructed through aperture, porosity, chamber and firing.

That feels like a genuine correspondence rather than a retrospective explanation.

.

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.

More Speculation~Other Bodies.

A body appears, but it does not remain entirely its own. Botanical traces, photographic fluids, celestial markings and the drawn line gather across its fragile surface. The cyanotype seeps beyond the territory of the figure, while the astronomical markings seem to pass through it from another side. The body becomes a host for other bodies.

What happens when a boundary begins to host what exceeds it?

The question is not simply where the body ends, but what begins to happen when other matter(s) enter, pass through and alter its territory. The body becomes atmospheric: not an enclosure, but an immersive condition of correspondence.

Can an atmosphere be produced through the correspondence of bodies rather than exist around them?

Here, trace becomes more than registration. It becomes a movement between bodies—seed, paper, light, fluid, hand, image, celestial map, memory. Each leaves something behind while carrying something elsewhere.

The host does not simply contain. It is changed by what it hosts.

The figure is therefore neither wholly present nor absent. Its outline fixes a body even as the materials moving through it undo that fixity. What appears as a final marking becomes another opening.

Body-as-site becomes body-as-host.

And perhaps the host becomes something stranger still: an immersive atmosphere of corresponding bodies, a temporary spatialisation in which nothing is quite contained by the thing that carries it.

What is gathered is never simply contained. It reverberates.

That feels much closer to the spatial script you are describing.

The bold questions aren't really questions requiring answers. They are apertures in the text. They alter the direction of reading. The declarative phrases then become propositions, while the questions open them again.

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, channelled 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

The post is much more interesting for the current practice than its title initially suggests. The cyanotype, traced body, seepage, astronomical markings, date, absence/presence and cartography already bring together several things you are now calling body, trace, chamber, correspondence and futurity. The cyanotype is particularly important because the material does not simply stay within the traced body: it seeps across its boundary.

Drawing(s) on the sensate perceived and interiorities~affect of other bodies.

Outpost 090124

Indexical and Sensate Bodies

Drawing(s) on the sensate perceived and interiorities~affect of other bodies.

I am interested in the sensate nature and social interiorities that are surfacing through drawing.

Shivering Openings : The image is not an object but a process.

Changefulness. The Sympathy of Painted Light. 2025 

Ceramic 170mmW and 270mmW x 260mmH x 80mmD.

The Exhausted.

For Deleuze the point is the image doesn't define itself through the sublimeness of its content, but through its form, its internal tension or through the force it gathers to make the void or to bore holes. To loosen the grip of words, to dry-up the oozing of voices so as to disengage itself from memory and reason.

A little alogical image, amnesic, almost aphasic, now standing in the void, now shivering in the open.

The Tentative Trace ~ From Living Body to Ceramic Body

Moreton's Indexical Bodies as Spatial Research.

In Moreton's later ceramics, the gathered interiority of reading and spatial collage begins to become unstable. The opening emerges not simply as an aperture within an object but as a force~middle: a material event through which accumulated relations can escape their enclosure. In Shivering Openings: The image is not an object but a process, the ceramic is understood through changefulness, painted light and the force gathered to make voids and bore holes. 

Here the image is no longer understood as a representation of a ceramic object but as another stage of its becoming. The photographed ceramic enters a further process of reading, where surface, light, opening, withdrawal and spatial tension produce another body of correspondence. “Shivering” names the instability of this threshold: an opening between interior and exterior, image and object, memory and forgetting, language and its exhaustion.

The ceramic consequently gathers and releases at once. It is a chamber, but also a perforation; an interior, but also an escape; an alluring body that simultaneously withdraws from possession. What has been gathered through years of reading, collage and spatial research does not finally become a unified form. It becomes a material force capable of generating further openings.

And perhaps the most concise proposition emerging from this particular work is:

Moreton gathers bodies until the material needs to open.

That feels very close to what we have been circling around.

The force~middle isn't simply where things meet.

It is where what has gathered becomes too alive to remain contained.

The opening shivers.

The image becomes process.

The ceramic withdraws.

And the research, rather wonderfully, escapes again.

Different chambers of the same spatial research.

How can a spatial condition gather bodies sufficiently for something to happen between them, while allowing what happens to remain partially unknown?

That question seems to be present in the 2010 chamber, the spatial collages, the Scriptorium, the reading archive, the ceramic chambers and now your institutional propositions.

And perhaps this gives us an even stronger definition of Moreton's interiority:

Moreton's interiority is the space generated when a body enters an apparatus of correspondence and leaves something behind that another body can encounter.

The trace, the collage, the ceramic, the archive and the institution are therefore not different subjects.

They are different chambers of the same spatial research.

Drawing/Poetry/Images.

Sensing/Drawing Energy.

Water/Clay/Fire.

The mental energy of engagement in drawing and how 'markers' of an action translate the murmurings of the mind.

Empirical evidence carries emotional connections, through a synthesis/reciprocity of reverberations of matter and its mental movement.

Gaston Bachelard illustrates how images bridge the sensate perceived world and the interior affective life.

Bachelard's seminal philosophical and phenomenological interests are always connected to matter. To what he calls the psychology of the familiar, the rapprochement with real objects, and the friendship of things. 

Matter sparks inner images which in turn imbue matter with memory and values. He creates an ever renewing reciprocity of the reverberations between inner and outer qualities, which obliterates any absolute separation between objective and subjective experience, a perspective recognized by modern physics. Bachelard explodes the potential imprisoned in an image. It is the quality of the 'livingness' of the flame that triggers Bachelard's musings of correspondences.

Joanne H. Stroud.

 

The Flame of a Candle.

Student Work.

Charcoal on paper.

Drawing Course, Michael Grimshaw. 

Winchester School of Art. 2003.

 

Drawing The Line.

Affirmations from a Primal Site.

Corollaries between being and becoming.

The Mirrored Self.

Coded Imprints.

Invented Bodies.

Chronicling Space.

The Moment/Instants of Engagement.

The conditions of making where the image was not a priori to its making.

The Simultaneity of Effects.

A 'Graphism' In A Corporeal Field.

I am concerned with the movement and process of articulation, of marking and sensing of things across the works surface/duration. I would definitely identify drawing with the infinite space of sensation, both the sensations of the body and the sensations of the mind.

So what is it that one actually makes in such circumstances?

For Newman, it seems to me that the thing made becomes like a temporal spatial/sensate matrix, composed of a continuous repetition and elaboration of individual, but similar inscriptions, and that the series of thoughts and judgements connected to those separate acts, are only subsequently reflected on the image. Marking  the image, these marks suggest an endless repetition and while also existing as a series of relations. The marks suggest the thing could fall apart at any moment. 

Acts Of Inscription.

Drawing on Bodily Impulses.

Images from the mind.

The Psychic Gaps In Drawing.

Primary Forces : Marks of no particular visibility.

Drawing on the sensation of seeing and sensing that always seems to register the endless repetition of remaking, as such drawing constitutes the space of anxieties. 

I understand the page to be a mobile space in the physical presence of its weightless surface and as such it is a place of time and movement. The evokes the consciousness of that limitless space that is embodied in the reality of the white page. Which I would say is a place of fragmentation that has since Modernity been an interminable potentiality, symbolically the dreadful place of boundlessness.

In a drawing the page keeps open the gaps between the marks. It refuses closure and is an active participant in conjunction with the mark. It is part of a negotiated reality of void and presence. The limitlessness white space of the page disperses the notion of its body as substance, its body is phantasmic and intangible space/surface.

The notion of the white page as being boundless, also alludes to that space of our inner reality, where the immaterial world of dreams/imagination and the mental impressions that run through us and evaporate into other thoughts. They dissipate in the fragmented world of our senses and defy any totalizing.

Avis Newman 

Mark Making : On the fascination and the fear of the white page.

For Avis Newman, the paper is an undifferentiated space in that it references the primitive undifferentiated space of the infantile body that has to be claimed by the self.

Drawing is a site in which one enacts differentiation, as soon as a mark or sign is made, it changes the non-ness and establishes a place of action, as soon as that act occurs the paper becomes something, it moves towards, moves with its potentiality into language.

Could we state that one aspect of drawing tends to be more linked to the bodily impulse and the other to the mind?

Catherine de Zegher

The image that Antonin Artaud conjures when he says 'There is a mind in the flesh, a mind as quick as lightning,' situates it well for me. I have the impression that the act of inscribing opens a fissure through which some staged psychic event, operations of consciousness, take existence. They are primary forces with no particular visibility.

Avis Newman.

Marks both coded and uncoded originate in an urge from a space of uncertainty to participate in language. The potentiality of even a blank page is in itself the unbounded space of language. Drawing is both a system and a method of a sensing inquiry. To draw is often a paradoxical act in which two extremes of practice can exist in the same space.

When we come to look at another's markings in the world. We see an extraordinary event. We see attempts at articulating the unbounded space that momentarily binds that aspect of us that is eternally fragmented. Essentially in the very act of drawing we have a wish to externalize thought and communicate existence.

Avis Newman.

From Life : Extending The Speculative Drawing Process.

Bodily Boundaries : Transactions between body-intimate and the social body image.

Organism-Person-Environment.

Body-Fragmented-Memory-Architecture.

Propulsions/Propositions into and through the visual.

In drawing some marks escape their visibility, because there is no dynamism to underpin the possibility of internal cohesion. There is no pressure from the outside inwards;  in drawing, it is all pressure from the inside outwards.

Conduits of perpetual potentiality.

The articulation of marking thoughts, which by definition are open-ended, in a state of flux in which things can pass through and are suggestive of a perpetual potentiality.

Some marks are seeing, some are feeling, some are for thinking, some are from memory, others from a blindness when seeing.

Gestures and Acts.

Conversation/Correspondences.

Drawing is thus not to do with perceptual illusionism, but with the infinite space as mental possibility. Is the drawing itself, the ground, a space of transience?

In drawing, the space is open-ended and unframed, while the marks are articulated over time and in time. Can you elaborate on this different notion of boundary?

Catherine de Zegher.

The physical structure of a drawing is always conditional to the boundary we project onto the work. When one looks for example at the drawing by John Latham, One-Second Drawing (17' ' 2002) (Time Signature 5: 1) the work itself defies any possibility of framing because the action is embedded in the pure sensation of time. We are left with only the effect. So the idea of framing as a way of 'confirming' the space, this is not part of drawing's language. The condition of boundaries is that they are dissolvable.

Avis Newman.

In Drawing : One is not so much looking at the thing itself, as at its suggestion, at the possibility of a formation that has yet to occur. In that sense, drawing is both fugitive and embodies a lack, it is implying qualities of incompleteness and that which conjures to be only a trace of a thing.

Drawing/Corresponding to a mobile field of properties that only during the process of marking is a cohesion found, a somewhat precarious frame constructed, almost as a byproduct of the articulation of marking thoughts.

Drawings are beyond the conceptual anxiety found in connection to the frame of painting.

In drawing the surface maintains its separate existence. There is an ambivalence of status between the mark and its support, consequently the lack of integration has always been more complex, corresponding as it does to a mobile field of properties. 

Drawing as a site, a meditation of a self regarding consciousness. Where consciousness is understood/expressed as a process that 'figures/thinks' a state of existence. Drawing and the drawn become a site of inquiry, response and invention, and in that sensing space it becomes a philosophical activity.

Drawing, even in the most fragmented of forms there is a recognition of our sense of self and our history as we mark. It is not only the functioning of perception that interests me, but also the activity of sensation. The fractured, open-ended, and incomplete that are inherent characteristics of drawing practice seem very pertinent as materializations of our present experience of the world.

It is that space of anxiety and fragmentation in contemporary practice that offers a potential of infinite diversity. Drawing is a record of the working of thought, that we see embedded in the drawn.

Conversation, Avis Newman. Catherine de Zegher.

The Stage Of Drawing : Gesture And Act.

Speculative Gestures of Agencing Attention : Template and Form/Enchantments and Insights between materials

Making Objects : Of a critical and theoretical nature.

Clay : Atmospheric Interpretations.

Ceramics~Abstract Painting : Re-Consolidations/Abstract Vessels.

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

THE BODY AS A TERRITORY IN RAW CLAY

Developing Formative Histories/Indexical and Involuntary Markings 

Observational essay/account whilst work is resident in the Yard,

Pastoral Space: Material, Inquiry and Craft

Temporality. The state of existing within or having some relationship with time. A clay form with its pre-performative drawing used as a template.

These distinctively different yet closely related works are arranged with the clay piece on its custom made trolley with its calico material that acts as a sheet on which the clay work rests. The drawing is placed behind it fastened to a wall with the drawings bottom edge just making contact with the floor adjacent to the castors that grant the clays supportive trolley mobility. The clay work has a direct relation to this adjacent drawing, the drawing is revealing the traced female that is just discernable on the surface of the clay. On closer inspection of the drawing it is just possible to see a rubbing taken from the periphery of the clay form. Both the paper and the clay seem to be in some reflective mode of mutual intimacy, marks transferred between one another during the manufacture of both are subtly replicated on the form of one and the surface of another. The pierced clay slab (vessel) is the first visible casualty of the entropic process of shrinkage. A significant crack separates the clay vessel into two separate but unique entities that share the same defect as if they were still whole. This division through the continent of the body has been subtly marked by the raised furrow of silica deposited when the clay bodies were in closer proximity. The calico has also rendered a new visual territory around the entire periphery of the form, created by the deposited silica sand and the resultant shrinkage that is taking place. There is the sense of this form moving in two dimensions, creating an extended footprint of previously covered territory whilst continuing to shrink bodily within the details and markings on its surface. This phenomena seems to give the piece a strange complexity of both temporality and a duration on which that temporality is directly charted, the calico is instrumental in registering this perception. The agencies of both the silica sand and the calico sheet between them regulate and guide our understanding of the observation of the clays infinitesimal shrinkage. The compression of the clays structure due to its shrinkage increases its density and visually alters the arrangement of the piercing that are mapped over its surface, the concise circles and holes cut through the clay have now blended into the overall tension imparted by shrinkage, there is a sense that precision of the marks, their machined appearance which contrasted to the locality to the clay around them has been lost, reclaimed by the inner natural torsions taking control of the piece as a whole. The clays surface with its sandy granular deposits whose particle size has become visually larger at the expense of its hosts shrinkage now auger for a territory, a land mass devoid of water, the sense of this territory becoming anhydrous, giving rise to thoughts of thirst and fragility, even the once precise holes give the impression of barren watering places isolated within a landscape in a state of drought. The once visible markings are now obscured by the action of the shrinking territory and its granular coating as it now gains in its ability to obscure features. The traced and drawn female form is still harboured somewhere under this obscuring sand. Yet she now resides as a brittle uncompromising inscription of her former self, the plasticity that once gave her a sensuality into the yielding and pliable surface has succumbed to the unstoppable internal shrinkage of the clay particles starved of moisture. The clay is acknowledging the atmosphere of its given surroundings, our environment.

The Draught, J G Ballard 

The Woman in the Dunes, Kobo Abe

The Disposition of the Body, Peter Greenaway (The Draughtsman’s Contract)

The clay suffers, dehydrates as its moisture is absorbed by the surrounding atmosphere, giving up its plasticity and its almost inhuman sensuality and tactility. Presented amongst us, it is rendered into a state of its own homogeneity Conversely the working drawing which has evolved from being a simple template to aid the registration of celestial information within the territory of the body. Has itself become involved in its own creation as an art object. On completing its initial purpose, the task of transferring details onto the surface of the embryonic clay form. It has now become embroiled and entangled as it were with the creative issues of the clay form; “they” have become members of the same intuitions the same creative flux, sisters. The drawn “sister” contains the origin of their shared inscription, the originating female trace. The gesture and act still remains, visible only by physical impression of transference; which is left proud, raised and projecting passed the original flatness of the paper. These material read together render insights into superimposed temporalities shared by the art object, they question and reveal the reverse side of origins, of the work or its working drawing, they all underline the complexities and multiplicities of contemporary art practice.

The Drawing strangely or ironically displays values in a state of stasis, now lost with its sister. The cyanotype “sea” with its fluidity bleeding into the porosity of the news print. The “ streams” of residues washed from other areas are now deposited into the interior space where they have collected finally to evaporate leaving their watery remains. Only the clarity of the “permanent” marker pen remains untouched by any entropic activity. Objectively the drawing materials has slowed down to the point when one might grant it a measure of completeness. Its particular temporalities now exist within the interactions it can manifest from others, other things, other situations that are drawn into its proximity, its particular field of intuitive reverberations, its unique dwelling place.

The clay form seems to have gathered up its history of temporal acts that culminate in its present form. This presented object, with temporalities marked on site has become a vehicle, a vessel for its own entropic voyage, another temporality that itself adds a spatial dimension. This object for me appears to be totally contingent yet relational to aspects of space and time, it exists uniquely “once” in the present, presence it creates with its observer. The result of this contingent object is that “we through it” are constantly travelling away from its point of origin, we as a result feel the passage of the entropic value of time through the human condition. Whereas the drawing does refer to a now and a past, an elsewhere ,it seems locked between these two comprehensions.

The clay form has clearly an entropic element which seems to give rise to phenomenologically driven inquiry which in turn helps to creates our sense of a spatiality. Uniquely formed between observation and our own movement, we are in effect made to sense that the object heralds our own becoming.

Material Agency : Carl Knappett, Lambros Malafouris

Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Art and Agency, Alfred Gell 1998)"

"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."

Some Stimulating Solutions, Andrew Cochrane.

Drawing intervention and speculative sculptural environment. 

Speculative Learning Environment : Russell Moreton.

Re- Imagining Education, Brockwood Park School. 

Teacher Education Manual

Insight-Bohm-Krishnamurti. 1979

David Bohm, Are we saying that insight is an energy which illuminates the activity of the brain, and that in this illumination the brain itself begins to act differently?

Krishnamurti, You are quite right. That's all-that is what takes place. That is -this flash has altered completely the pattern which the material process has set.

a thousand plateaus

Deleuze, Guattari

Assemblage

Becoming

Body Without Organs

Nomad

Rhizome

Smooth Space

State

War Machine

The book, as described above, is a jumbling together of discrete parts or pieces that is capable of producing any number effects, rather than a tightly organized and coherent whole producing one dominant reading.

The beauty of the assemblage is that, since it lacks organization, it can draw into its body any number of disparate elements. The book itself can be an assemblage, but its status as an assemblage does not prevent it from containing assemblages within itself or entering into new assemblages with readers, libraries, bonfires, bookstores, etc.

Leylines 2012 : Spatial Drawings on Paper and Glass. #14

Spatial Drawings on Paper and Glass. #14, a photo by Russell Moreton on Flickr.

Layered drawing/collage/stratifications/exactitudes : Drawing and the production of space.

Layered drawing : Sensuality, Drawing and Astronomical Space., 

Russell Moreton on Flickr.

18/10/2012

ITALO CALVINO

SIX MEMOS FOR THE NEXT MILLENNIUM

LIGHTNESS 

QUICKNESS 

EXACTITUDE 

VISIBILITY 

MULTIPLICITY

CONSISTENCY not written at the time of the authors death.

Pictorial Matter : Cyanotype Process and Conceptual Affinities

Surronding Objects

Material Supports

Perceptions from absence

Silence as an audible presence

Traces from the phenomenology of time

Vibrant Matter

P3228227a : Engineering Blueprint on Watercolour Paper.
Slumped glass panel " evolved " from a head gasket (Hillman Imp) and a note recording failing compression readings.

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

Terrestrial Movements  : #2  Solar Spore.

Space For Peace : Winchester Cathedral.

Making/Photography/Process and Aesthetics

Found Objects : Archaeological Photogram

When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.
—Thomas Ruff

Frameworks with Enclosures 6

Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a  project of the mind.
Tim Ingold 'Making'

The Mirrored Abbey :  The Photographic Aesthetics of Decay

Nothingness, Nostalgia and the Absence of Reason.
The Aesthetics of Decay, Dylan Trigg,

TRANSPARENT MEDIA : Form,structure, space, enchantment
Double Take
15 APR - 3 JUL 2016

A two-venue exhibition exploring the relationship between drawing and photography, taking place at Drawing Room and The Photographer’s Gallery, London.

Drawing and photography are each considered the most direct, ‘transparent’ media with which to engage with the world.  They share fascinating parallels:  the relationship to the indexical, the blank sheet of paper or surface, graphite and silver, pencil weight and aperture, the sense of an invisible ‘apparatus’ (the camera and pencil), the engagement with surface, light, negative and positive and the trace. Double Take seeks to explore the multifarious ways photography and drawing have been combined and mirrored to extend both practices into new arenas in modern and contemporary practices.

“… a freehand sketch diagram that was at the tangent between idea and imagination…if the parti – the first critical diagram – is not made well, it will be difficult for architecture to follow.  If there is no parti, there will be no architecture, only (at best) little more than the utility of construction.  Buried within their early sketches is the germ of a narrative or language.  The early diagrams are reflective conversations with the language of architecture.”

-  Alan Phillips, Brighton, UK

Mesh/Material/Light : Cyanotype Process/Drawing Place

Movements and Archaeology  : Traces and Piercings.
Cyanotype photogram from Winchester Cathedral with pinholes.

The Cathedral : Place Studies

Pastoral Space: Material, Inquiry and Craft.

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

Filament, drawing on lightweight paper.
Chapel Arts Studios, Andover.

Mesh/Material/Light, Cyanotype Process

Remote Sensing : Medieval Structures

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia

Seed Dispersal : Tidbury Ring/Indexical experimentation in photography

Mute utterences, air within the photographic experience

Studio Assemblages : Spatial Instant/Relationscapes

 Ever instant has a thousand memories : Henri Bergson