Sensing Spaces : Working Assemblage~An extended phenotype of creativity.

13/10/24

Painting/Assemblage/Ceramics.

Ceramic Vessels on Site Specific Ground.

On the sensorial nature of creative inquiry

Indexical markings into the aesthetic realm between objects.

Making With Clay.

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

Relationscape between organism-person-environment.

Architectural Body.

Arakawa/Gins/Manning

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Indexical Trace/Drawing : Anthropocentrism/Hospitality.

Outpost 14082

Figurative Anthropocentrism in the Visual Arts/Humanities.

Organism-Person-Environment

Architectural Body.

A figure in congress with its environment.

Attunement is a living dynamic relation with another being, it doesn't stop.

De-constructivist Drawings.

Causal Matter Remains.

Reclaiming the papers reserve, its infinite space, through the reclamation of mark making.

Drawing/Veering towards things.

All lines as vectors of movement, situated to have immediate phenomenal values.

Seeking out, a line that searches for a corporeal congress.

Immediate primal territories of making/tuning differences.

Marks of attunement and adaption that we can own and explore.

Indexical Trace/Butades, definitive space/body of a boundary of sensation. 

Bodily inclusion, a drawing hidden yet revealing its presence intimately to the papers total surface. 

A lines movement, its attunement/demarcation to the body, of the body, creates the flow of sensation, simultaneous lines make explicit the absence of the matter into form.  

On the manner of attunement, since a thing cannot be known directly or totally, one can only attune to it with greater or lesser degrees of intimacy. Nor is this attunement a 'merely' aesthetic approach to a basically blank extensional substance. Since appearance can't be peeled decisively from the reality of a thing. 

In Art As In Life.

What would it look like if we allowed more and more things to have some kind of power over us?

There is an excessive intensity to the energy of things that can't be contained efficiently. This can produce a type of restricted economy, that is an economy in which the dominant theme is efficiency.

Living in a society based on principles of restriction and efficiency, a modern life that is tight and restrictive and full of all kinds of police and policing, of policing pleasure, of keeping lifeforms alive. In the end any style of efficiency is going to be stifling and uncreative, not allowing for malfunctions and accidents.

Art is a place where we get to see what it means to be human or whatever, which is why what I do is called humanities, which contains a lot of different temporal formats, realising this is what ecological awareness is all about. It's the equivalent to acknowledging in a deep way, the existence of things that aren't you with whom you coexist. Once you've done that you can't un-acknowledge it. There's no going back.

All Art Is Ecological/Tunings. Timothy Morton.

Painting adds perspectives of emotions through colour.

An idea for a painting is a way of seeing inquiry/nurturing it/gathering an idea for exploration between interior-exterior. 

 

Leylines : Drawing frame, lead strip and drawings.

Leylines : Drawing frame, lead strip and drawings., a photo by Russell Moreton on Flickr.

25/10/2012 

Star Atlas/Cyanotype Drawings : If you want to understand function, study structure.

 https://butdoesitfloat.com/If-you-want-to-understand-function-study-structure

https://twitter.com/butdoesitfloat

If you want to understand function, study structure

Photographs by Russell Moreton
Title: Francis Crick

Spatial Agents/Local Materials : Kilquhanity Free School/The Yard and Link Gallery, Winchester.

Camera Obscura : Kilquhanity 2011

Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011

Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive."

Site drawing from "a pathway between sunrise and sunset" staged at Kilquhanity, Scotland 2011. This research has led to notions of architectural "interventions" and " footprints" through the direct observational mapping of celestial alignments and movements as they pass over the landscape.

Thoughts relating to Spatial Practice as a site of operation in which to locate my practice. Use of spatial correspondences (place, identity gesture and resonances) as a means of mapping the diversity of human presence and passage into architectural space. 

Possibilities of using methodologies and aptitudes gained from visual fine art and experience with glass and ceramics as architectural interfaces to instigate situations and promote a sense of an interactive spatiality through the role of the viewer becoming an active interlocutor into the dynamics of the site.

Artist Statement, re Galloway/Kilquhanity excursion Easter 2010.

My work utilises simple scientific phenomena and by appropriated registering apparatuses ( chambers to act to become placed in relations to place, this placement is in effect an act of intervention and place becomes site, a proposal is delivered through this action. This proposal is in the form of a relational device/threshold that attempts to fold into the place, a site of creative intervention around a paradoxical inquiry, into objectivity and abstractions, between embodied knowledge’s and findings. These

“working Sites” attempt to engage the interlocutor on their own theoretical and subjective relations and to reveal and form their own singularities from the experience of becoming placed. This immersion into the objective, the philosophical, and the poetic, could be seen as trying to create a “metaphor around dwelling/becoming." A subjectivity enlightened by theorising around issues of the production of space and the notion that time is both a structure and an event. The interlocutor (the

view/relation of others present) becomes brought into “place” becoming as it were a ’’guest” of place through this placing inquiry, place can become ones own familiarity of space.

The Yard Studios, Winchester.

Multi-disciplinary practice, drawing on a long association with Art, Craft and the Building/Construction industry. Working mainly on drawing/mapping with local materials ( Arte Provera), alternative photographic processes and architectural interventions/installations that explore our sense and experience of place. Interested in the intimacy and mobility of “Artists” books and journals as a device to accompany the experience of place. My work commands and demands a need for a reflective solitude, a sense of dwelling amongst absences, that have themselves been transposed into another physicality. Interested in using drawing and materiality as a site of exchanges, traces formed into inclusions within its own experimental field of experience. The practice is continually informed by contemporary practitioners such as Roni Horn, Melanie Counsell, Christopher Bucklow. My work sets out to contains its own sense of a consolidation of time through ephemeral processes and reflection. The use of elemental mobile photographic devices is being investigated as a means of “registering” durations of human occupation continually superimposed amongst the agencies of “Place” and “Time”. The use of the human body as a trace allows my drawings a direct spatial encounter of absence. This method of working directly with the body is a direct result of earlier sculptural works in concrete and clay.

Artists Information & Material For

Interfaith-Group-Show: STRONG VOICES part of Hyde 900/2010

Co-organised & curated by Stephen Cooper & Arielle Klobusiczky

Russell Moreton

Process  &  Materiality:  mirror  arcane  symbols  ranging  from  science  - humanity spiritual -pagan mythology & Christianity

Symbol & Vision: 3 Layers containing a portable space of vision/ thought 

Binding Factor : Layers & Locality (Non places)

Layer I

Lyrical  intervention  with/&/or  of  Space  particular  Non  spaces 

Tracing activity contain in suspended materiality placed in space

Layer II Consolidation of Time

Capturing  notion  of  time  bound  process,  performance  and  procedure 

Documentation of resulting absence from ephemeral activity

Layer  III 

Surface & Traces

Sense  of  Equilibrium  between  matter  and  process  material  &  activity  paused 

Haptic Tactile resonance

Locality

Site Specific

response to space, architecture and surroundings including work 

of others issues of frontality versus experiencing 3d work over come by designing samples/glimpses of concepts II!

Material & Process: all include water/moisture/ and light 

Blue, Cyanotype ( Blue Print)

Off White, China Clay & /or Chalk 

Negative Image, Pin Hole Camera 

Orange/Brown, Rust

INTERFAITH GROUP SHOW AT THE LINK GALLERY 2010 

Artist Statement

Spatial Practitioner using a multi-disciplinary art practice to explore relations in Architecture, Fine Art and Performance. Interested in the production of spaces that are relational and collaborative to both the practitioner and the visitor/interlocutor. My work utilizes simple indexical strategies to engender interest and perhaps a con spiritual enchantment for the everyday. These resultant correspondences “trace strategies” are open, active and present in-situ; they become “placed geographies around human relations.” Previous workings have used the agencies of natural light in both photographic apparatuses and projection through transparency and clay both as a material from which to retain impressions of mobility through its material memory and its analogy to the “Promethean myth" and its use of clay to fashion mortal man. This particular event invokes for me the notion of a shared humanity, a mutuality that could be understood as reflexive through simple material relations and collaborative gestures. Art space can promote these working intimations that are in the realms of beliefs.

Working Notes for Proposal

Notion of a shared hospitality/threshold that excepts diversities through a simple gesture. Explorative/relational surface or device to register and contextualize spatial relations produced by the participation of this event and its reception.

Artist Statement, re proposal for “Strong Voices”.

It is my intension to utilise the ambiguous and strangely intimate nature of a continuous line around a human being to act as a site for the viewer to inhabit an engagement with the work. I am interested in utilizing the “open space” the territory within the traced outline as a sort of vessel for the temporary thoughts and reflections of others. This space hopes to set up a condition, a place that allows a dispassionate observer or thinker time to find and form their own thoughts. The use of material residues left from enactments seems to concur a metaphysical presence to that of the inner trace. The use of simple materiality (clay, chalk, rust) invokes a notion of a shared simple relation, to the human form; these sensibilities are reflected in artists like Giuseppe Penone and other Arte Povera artists. The use of light sensitive materials, liquid light and cyanotype brings the representation of worlds into proximity of a human absence. Photographic processes also bring with them a surface of compressed and superimposed time, an event through which time has left behind, like the trace we are left thinking and reflecting a loss that creates equilibrium in the present. To add a presence of temporality and nowness, water vapour has been sprayed onto the chalk creating moisture a breath around absences.

The Link Gallery , Winchester. Strong Voices, part of Hyde 900

Untitled 2010

Wax, field chalk and pencil on paper 230x150 cm

This work utilises the ambiguous and strangely intimate nature of a continuous line performed around a human being to act as a site for the viewer to inhabit an engagement within the work. I am interested in the performativity of this “open space” the territory within the staged trace, creates an outline as a sort of absent vessel for the temporary thoughts and reflections of others. This space hopes to set up a residency, a place that allows a dispassionate observer or thinker time to find and form their own thoughts.

Wax, Field Chalk and Pencil on Paper, focuses our attention on the vulnerability and finitude of the human condition through a representation of its absence given only in the traces of past gestures. Inviting meditation, the simplicity of the materials and their use, directly evokes an emotional register and aesthetic sensibility tied to the human form. In the open space performed by a continuous line, the work seeks to offer us a temporary haven for reflection, a quiet space of respite, shielded from the incessant press of events.

What is the aspect of Faith/Belief in this work? 

Personal Statement.

The work allows for me a space for reflection, however awkward its present location engenders. This drawing its manufacture and its materiality for me speak of the intimate space of a domicile, a domesticity and a sense of a proximity to material and geographical relations. For me there exists within its presence a space to ponder issues, some relevant to ones own intimate beliefs and observations. The poetics engendered by the materiality seek a sense of encounter harboured by territory of a human gesture. This encountered materiality is explicitly subtle, yet it is for me raw, open, unclothed and perpetually awkward. For me the confrontation of this awkwardness reveals the trace as being both vital and mortal. It is into this state of the vital and mortal I can begin to harbour my sensitivities and those of others.

Mesh/Material/Light : Cyanotype Process/Indexical Remains

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]