Wanderlust : Visual Feelings of Anarchism and Beauty

Wanderlust : A History of Walking, Rebecca Solnit.

The Mind at Three Miles an Hour
This kind of unstructured, associative thinking is the kind most often connected to walking, and it suggests walking as not an analytical but improvisational act.

Land : Antony Gormley, Clare Richardson, Jeanette Winterson.

Temporary is human. We don't live long. Our ancestors lived less long. Graveyards and ruins remind us of the atom and jot of our span. Against the reality of temporary, humans stage heroic battles for permanence : Archives, museums, endowments, societies.

Wandering is "not purposeful". A lot of art is made while wandering about either in your mind or on foot, Its a necessary aimlessness.
Jeanette Winterson

Anarchism : A Very Short Introduction, Colin Ward.

It is possible to discern four principles that would shape an anarchist theory of organisations: that they should be voluntary, functional, temporary and small.

The Rings of Saturn : W.G.Sebald.

I pressed on to towards Dunwich, which seemed so far in the distance as to be quite beyond my reach. It was as if I had been walking for hours before the tiled roofs of houses and the crest of a wooded hill gradually became defined.


Inside Phenomena/Catching The Light
Layered drawing : Sensuality, Drawing and Astronomical Space.
Locality/Social Complexity- Works on Paper
An ephemeral structure built to house a poetic impulse : The Book of Tea/A Hut of Ones Own
Reading Into the Visual : Exploratory Images
Littoral Zone

Giving Sensations Place/Site/Raveningham Sculpture Trail : Subjective/Hypothesis/Bricolage/Tectonics/Working Scripts/Making Camps.

 

IMMATERIAL ARCHITECTURES MAKING IN THE LANDSCAPE.

RAVENINGHAM SCULPTURE TRAIL 2018/2020

STIMULATING TENSIONS.

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

Mediating/Architecting the experience of LANDSCAPE.

The building as nothing more than an exposition of itself.

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning.

SITE, the undoing of PLACE.

The House-sheds : Camping

There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.

Roger Deakin

WILDWOOD

A Journey Through Trees

Art Practice as a Speculative Spatial Practice.

A reflective building is an echo not a statement.

Haptic devices/seating/dwelling in the landscapes of the mind. Landscape assemblages and the significance of solitude.

The immensity/intimacy and its immediacy to the imagination. Immensity is within ourselves. Gaston Bachelard

The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.

The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.

SENSING AND SPATIAL PRACTICE.

Creating a new viewer, who has to look in two self contradictory/self annihilating directions at once. Darkest Spaces of Our Times, Therese Oulton, Jacqueline Rose.

CONTEMPORARY ART AND ANTHROPOLOGY : SPATIAL PRACTICE.

Making Place/Tools, cognitive enactments/materials and performativity/wellbeing.

Sociological aspects of the Arts

Archaeology, Anthropology, Architecture, Art, Tim Ingold.

A FIELD GUIDE TO GETTING LOST : Rebecca Solnit 

Experiential anthropology / Walking as 'being/becoming in place' 

Sensate, Sensing Sensuality, Otherness.

WHITEBOARD : PAVILIONS/RAVENINGHAM

Art as Contemplative Practice : An Applied Praxis/Inquiry

Expressive Pathways/Building/Making as an extension to the Self/Selves In Response : To Place/Site and “Dwelling/Hut”

Subjective Hypothesis Bricolage/Tectonics/Making.

Poetic Abstractions/ Components, Elements

Physical Experience/Experiential Phenomena ( Light/Gravity/Air) Sculptural Assemblage, Building/Making an Exposition of Itself

Smithsons, The Parallel of Life/Art the everyday/quotidian Grounding/Earthing/Dwelling/Home : Reflexivity/Reflection/Reverberations

Knowing Through Making/ Embodying Insights, Tim Ingold

MAKING : Deliberation/Awareness : Constructed Situations/SURFACES and TEXTURES SENSING, Sensorium/Embodied Experience, Sensate, Intra/Intervention

PLACES that transform Chaos into Cosmos, Karsten Harries

PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

 

Socializing a Sculptural Practice, Jack Robins 2015

Strange Tools, Art and Human Nature, Alva Noe 2015

Visual Tool, Post Studio, Daniel Buren

INDEXICAL, Traits/Traces and subjective narratives Situational/Relational Aesthetics, Victor Burgin, Nicollas Bourriaud

Handmade, Repetition, Empirical, Experiences.

Metonymy, Cristina Iglesias ( Metonymic Thinking Processes)

Architecturally Speaking, Practices, praxis between art .architecture and the everyday. Visual Perceptions/ The Image

Surrealist Techniques, Collage, Photograms. Decalmania, Frottage. Assemblage, Brutalist/Modemity/Intervention

Minimalist/Drawing/Painting ARCHAEOLOGY : Mark Dion

Agency/Nature/Subject Matter. Collection of Finds, Metaphors/Interpretations for the lived experience. AN ANTHROPOLOGY OF LANDSCAPE :

Taskscapes/Relationscapes

Anarchism, everyday Aesthetics/The aesthetics of everyday LIVING Pragmatist Aesthetics/Interpretation of Concepts

Materiality, material makes more than one language possible, excess of material. LANDSCAPES for an excess of Interpretation/Politics

EXPLORING THE LANDSCAPE, through/with the CORPOREAL EXPERIENCE of OTHERS

A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses. Poetic abstractions/Physical experience

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES ILIMINALITY on the absence of material

STATIC ENVIRON I ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE. Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL / POCHOIR, hand coloured through stencils

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression 

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.

Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION 

FUSELAGE

THE CAMP/HUT

represents the true reality of things, Deakin.

MOBILITY MOVEMENT

TEMPORAL CONSTRUCTED SPACE

A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.

MAKING, from form to programme.

WAVENEY VALLEY SCULPTURE TRAIL 2018 RAVENINGHAM

AUDIT OF NOTE FRAGMENTS 27 August 2018.

Archive as a generative form/membrane Tarlaton, mesh, paper, liquid light,

Presenting, Creating, Synergies, that further explore site embodiments. The Politics of Things

Diffractive Practices : Agential Cut, Barad, Learning Spaces, 

Brockwood Park School. Reimagining  Education 

In The Cave/Canvas of the Cave

ART. began with the questioning of the involuntary, trace of a human hand, an otherness. 

Moments, Nowness, The Instant, Actuality,

Habitus of Difference

Robert Mangold text on painting/drawing minimalist interrogation into the spaces around perception Minimalist Works / Working Processes represent fields of energy/causality within our experiential perceptions.

Drawing is the experience of seeing made visible/manifest Rhizomic feedback and flow, Deleuze

Research Horizons,

Culture drives growth, wellbeing, social enterprise and community

Lines of intervals, linerality, chains of codes, intersections, utilities, interventions Causality and Chance of ideas, creative acts, art,nature, becoming, the everyday,

Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,

Everyday aesthetics, heuristic practice,

Photography, Social pathology of traces layered into ecologies (Anthropological localities of desire)

Photography, The Body, Life, Death, Flemish Painting, Vivitas, Domestic Life, Nature on reclaiming the void left by the death of the mind

Walking creates its own feedback loop, The Journey, The Return,

The specific, Here and Now

Psychogeography, Dossier, Forensic Study, Inquiry.

Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity LANDSCAPES Constituted by creative practice

Walks as erasures, sedimentation, (Gardiner)

Getting Lost, Walking whilst deep in thought/embodiment in the environment 

Working Towards a Secular Retreat in the Landscape

Between PLACE and SITE.

Art Making  Agency/Spatial Agency.

Art Poverva, Materiality, Agency, Making, Nesting Building, 

NASCENT FINDINGS

Encoding DATA, LANGUAGE

Entanglements of Visual Data and Abstract Language 

CATHEDRALS OF INTELLIGENCE

The Urban Documentary,Text, Sebalt, 

The River : The Colour of Light

Albers/Colour Perceptions

Vernacular Architectures, Building/Making beyond the design

Footings, Voids, Roof Structures, Cavities, Between Walls.

Sensing Spaces in the very making of the building.

The Architectural plan/model and its proposal became the real virtual space for architectural energy and innovation.

TRANSACTIVE MEMORY Texts, Contents, Particulars, Process,

Working through ideas with things/devices/apparatuses Cognitive Landscapes /Relationalities ? Possible Worlds Subsumed by the causality of relationships/culture

Mies van der Rohe 

The Art of Sculpture

Moholy Nagy 

The New Vision Abstract of an Artist

Light brings the moment in time to us

Presence, Praesentia, exactitude of light on place and time.

LAND, LANDSCAPE, CLAY

Pot, Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial Perspectives

Light/Dark Room : Towards a new Interior Experimental Vision : Research Collage

Aesthetics of the Everyday Creative, Human Praxis

Supportive Material/Texts/Cyanotype Drawings from found objects

SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax  

AFFECT

SENSATION / CAUSALITY LIVING

THINKING LOOKING

DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD. 

A Land, J Hawkes.

FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness. 

PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

COLOUR AS CONDUIT.

PERCEPTUAL ENVIRONS / CRAFT MEDIA /IMPROVISATION

PIERCED /DAPPLED NATURAL LIGHT

DIFFERENTIATED SHADOW /SURFACE

EXTRAORDINARY MATERIALS.

TECTONICS AND TEXTILES. 

INDEXICAL /GESTALT / VISUAL PERCEPTION

NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan

ABSENCES / INTERSECTIONS I GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY

IMMATERIAL / REPETITION / SINGULARITY ENCLOSURES / ITERATIONS / THINKING FORMS

MINIMALIST SPACES / INTERVALS, tuning objects to construct environments A child 'concretizes' its existential space.

Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard. 

Tidbury Ring, field drawings with cyanotype liquid on paper.

A Hut of Ones Own. Heidegger for Architects. 

Immaterial Architectures.

SENSING AND SPATIAL PRACTICE

EXPLORING THE LANDSCAPE

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES / LIMINALITY on the absence of material.

STATIC ENVIRON / ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL 

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression. 

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building. Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION / FUSELAGE

THE CAMP / HUT

represents the true reality of things, Deakin.

The building as nothing more than an exposition of itself.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning. 

SITE, the undoing of PLACE. (Casey)

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

DWELLING / MOBILITY / MOVEMENT IN THOUGHT

TEMPORAL CONSTRUCTED SPACE

TETHERED FOLLY against a fabric of time.

ART AS INDETERMINATE, able to arrest perceptions into different states (becomings) Stone Worlds

Narrative and Reflexivity in Landscape Archaeology Architecture and Ritual, how buildings shape society.

Bought to Light

Photography and The Invisible 1840-1900

CURATORIAL / DEVICE / BENCH / INTERLOCATOR

Jannis Kounellis, Theatre, stage crew shifting actors during a performance. Interconnected, between contexts, opening places between the social fabric.

Making spaces, expanding vision to create spaces 'between' in which to write ourselves. 

CONTEXT AND CONSIDERATIONS :

ART MUSEUM CULTURE

THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW.

MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST

None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.

THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR. THE NETWORK places the artist as a ’like' ITEM within an INTEGRATIVE

INVENTORY or DATABASE.

Immateriality/Temporal/Transitions material and movement/Human agency

A Species of Spaces.

Construction/Making/Collage

Forming, slowness and repetition, elements of painting

Assemblage, sensation, surface, objects and spaces between them gathered/thresholds

Sheltering/Weathered/ Exploring a fragility of a painting in the landscape

Robert Mangold, Paintings and Architectural Forms

Fragments from sketchbooks.

Ephemeral Architecture

Canvas as spatial verb

Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails.

Canvas as folded construction/shelter/place

Operative Design, A Catalogue of Spatial Verbs.

Exhibition/Intervention/Civilizing Rituals : The Sensitivities of The Physical Self/Architectural Body

 Outpost Studio 130423

The Changing Culture of Display.

How things work in museums.

Body/Mind/Movement/Material/Craft

Dynamics of Display inside The White Cube.

Liminality of glass display cabinets, spatialities of object narratives, forms and materials.

Artist as 'interventionist' in specific settings, such as collections and places of distinctive architecture. 

The more 'aesthetic' the installations, the fewer the objects and the emptier the surrounding walls, the more sacralized the museum space.

A new generation of complex narratives and juxtapositions in museum displays has evolved as a challenge to the minimal installation.

Civilizing Rituals.

Inside Public Art Museums.

Carol Duncan. 1995.

The formal qualities of the 'objects' and their haptic qualities directly speak to the visitor.

Julian Stair.

Giving 'Pots' universal aims and characteristics/utilities.

Ceramics.

Philip Rawson.

In this land we placed baptismal fonts

And an infinite number were baptized

Americo. 

Patti Smith.

Refraction phenomena produce a particular magic in architecture that is adjacent to or incorporates water.

Parallax.

Steven Holl.

Site specific artworks/research responding to themes initiated by Water.

To explore 'water' as both a spiritual and corporeal source and vessel for artworks.

Gathering research and responding to the historical site of St Peter Hungate.

To further develop exploratory working ideas through site specific research using drawing, cyanotype printing, leaded glass, clay.

Hungate, Norwich. 2023

A child 'concretizes' its existential space.

Existence-Space and Architecture.

Christian Norberg-Schulz.

Architectural Body.

Organism/Person/Environment

Gins and Arakawa.

'Lever' 1989-92

Antony Gormley.

Indios Verdes No 4 1980

Manuel Neri.

Figure 2. Upright human body, space and time. Space projected from the body is biased toward the front and right. The future is ahead and 'up.' The past is behind and 'below.'

These objects are moving through time and space.

The temporal enactment/kinaesthetic relationship with how things operate/work through the body 

Key Words: Profane, Sacred, Past, Left, Right, Front, Back, Horizon, Future. Upright Human Body, Space, Time,

Experiential Values.

Responding to Quietus and the liminality that is created. 

The passage from life to death and the stillness and presence of the objects as generative of a particular kind of haptic and visual experience.

Making art that is the pivot for human behaviour.

Pots operate on so many levels.

When we appreciate/apprehend objects, touch them, hold them in our hand, somehow its a material reinforcement of our physical selves as we negotiate our way through life, both physically and intellectually. 

Pots can become invisible, so familiar that they disappear. 

My interest in pots is in making an art that one engages with, an idea of art operating in a social context, in which the experience of the everyday is important. I have come to realise is that I want to make art that shapes human actions, and is also like an active narrative through the body.

The Presence of Unglazed Clay.

Seeing Raw Material.

Working Vessels.

Quietus, 12 years in the making.

A 'Well Conceived Idea' an exhibition about pots and death.

In the mechanics of appreciation there is both the optic and the haptic.

I wanted to see if I could keep hold of that idea of a single stand-alone object that existed on its own, in its own space, form and surface colour, but on a larger architectural scale. So it was not just about holding a body, but about holding architectural space including outside areas.

I didn't even have an idea of what I was going to make. The making process is absolutely central to the evolution of the idea. If you sit down to work, in six months you can be in a totally different place, so that decisions are made in an incremental way.

Critical thinking/theory is really empowering to me, equipping myself with knowledge has enabled me to chart my way through the present.

Archaeology of an Exhibition.

Quietus-Reviewed. 2013

Julian Stair.

Russell Moreton Found Objects : Archaeological Photogram/Layered Landscapes

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

Layered Landscape

"Thus we cover the universe with drawings we have lived. These need only to be tonalized on the mode of our inner space."

Gaston Bachelard.

The Poetics of Space.