Thursday, 5 February 2026
Tuesday, 27 January 2026
Drawing/Building Scripts : Collage/Photography
Thursday, 22 January 2026
The Body and Spatial Boundaries~A Spatial Inquiry into Skin, Surface and Subjectivity.
Outpost 280122
The World on Edge
The Body and Spatial Boundaries.
Tim Ingold.
From science to art and back again: The pendulum of an anthropologist.
https://ojs.unica.it/index.php/anuac/article/view/2237/2055
Merleau-Ponty, intertwining of vision and movement into an embodied knowledge.
The body and space are reflexive/diffractive and interdependent, we need spatial contexts/entanglements for our physical bodies and the intangibles of our inner beings.
The un-doing of place/sites of making
Responses to place and interventions on temporal space.
A spatial practice cannot be divorced from its response to the specificity of place.
Acts of exploratory dissection, in which one is un-making/making into a space with new realms of sensory engagement.
Architecture comes from the making of a room, a room is not a room without natural light.
All spaces need natural light, That is because the moods which are created by the time of day and seasons of the year are constantly helping you in evoking what a space can be if it has natural light and can't be if it doesn't. Artificial light is a single tiny static moment in light and can never equal the nuances of mood created by the time of day and the wonder of the seasons.
Louis Kahn, 1959.
Light forms a real presence in empty space, and even within/between physical things, its vibrant intensity stemming from a complex interaction of light with matter and the way in which solid volumes could throw attention to the flowing energy they trapped and displayed.
The Architecture of Natural Light, Henry Plummer, 2009.
She rarely used artificial lighting and instead relied on the often sharp geometries of a room's natural daylight.
He created new openings, that welcomed new infiltrations of light, sound and smells all revealed through the previously unseen materials and their structural layers.
It was the urgency of the forthcoming demolition that Matta-Clark inserted himself in order to artistically deconstruct, while also reconstructing to produce radical spatial interventions.
Beyond privileging her body as subject and ruinous spaces as sites, Woodman made certain methodologies and technical approaches characteristic aspects of her spatial practice in furthering the effects of the body and the space it encounters.
Spaces to be activated by her performative body, offering new photographic carnalities of flesh, taken from imprints of the bare, textured concrete walls of the factories interior.
Exploring the surfaces and movements of her own body, by transferring traces of the surrounding architectural material onto her skin by pressing her skin into the wall.
Francesca Woodman's work, although performative, is explicitly photographic, her work is not only informed by a history of photography, but it is also actively engaged with addressing some of the medium's limits and possibilities.
The relationship between self and objectified image through a re-staging of the drama of the photographic medium process on her own skin.
Skin, Surface and Subjectivity
Harriet Katherine Riches, 2004.
A generation of young photographers were becoming more and more interested in how the photograph sees than what it sees. Woodman's method of exploring and exposing the process of image making itself also resonates with the critical framework in which photography was being interpreted at the time. Her work is a critique on the way in which the photographic medium is itself a means through which meaning is fixed, identity lost and subjectivity de-formed.
Woodman's work could be read as a post-modern project of appropriation and de-familiarisation.
Woodman draws attention to the way in which the subject always evades the frame/framing of the photographic representation.
Using the terms of the medium, to draw attention, to evasion or disappearance, to using and re-situating the cropping edge onto her body, and ultimately diffusing her image by the light on which the photographs visualisation depends.
Movements/thinking, staged within photographic moments of capture, producing, entangling and amalgamated, overwritten subjectivities presented on the photographic surface.
By frequently configuring the photograph's relationship to her body as one that is tenuous or fragile, fleeting in which a subject is captured in flight, as if slipping from its surface reality, its situation.
Tuesday, 25 November 2025
Photography/A Fragmentary Whole : The Temporal Flow of Things
Postmodern : Ever Changing, Fleeting, Positive, Nihilistic,
"There are no simple concepts. Every concept has components and is defined by them.
It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity
is conceptual...
Not only do Descartes, Hegel, and Feuerbach not begin
with the same concept,
they do not have the same concept of beginning...
Every concept has an irregular
contour defined by the sum of its components,
which is why,
from Plato to Bergson,
we find
the idea of the concept being a
matter of articulation,
of cutting and
cross-cutting.
The concept is a whole because it totalizes
its components, but it is
a fragmentary whole.
Only on this condition can it escape the
mental chaos
constantly threatening it, stalking it, trying to reabsorb it."
-- Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16.
“Philosophy is really homesickness,” says Novalis: “it is the urge to be at home everywhere.”
Literary cartography is not a literal form of mapmaking, after all; rather, it involves the ways and means by which a given work of literature functions as a figurative map, serving as an orientating or sense-making form.
Lukács’s Literary Cartography:
Spatiality, Cognitive Mapping, and The Theory of the Novel
Robert T. Tally Jr.
Path : Circular, Stonehenge
Transparency,time and matter #2
Camera Obscura : Kilquhanity 2011. #4
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".
Blue Spaces : White Absences #2
https://visualartpractices.wordpress.com/
Walking into Emergent Landscapes : Covehithe Beach
Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,
London/Millennium Bridge : Architectural Abstracts/Drawing Traces
Thursday, 17 July 2025
Shadow Theatre/Sculpting In Time : Visceral Compositions~Gatherings
A Resultant Complication of Agencement.
Shadow Theatre for a Performative Interior.
Enfolded Structures : On a sympathy of correspondence.
Sensing Places : Towards an Alchemy of Thinking.
This site based exploratory apparatus, part self assembly, and part crafted brings together components, materials and filtered light. Built around the involvement of making in the landscape, this event based intervention creates a fictional space articulated through the alchemy of built spaces that merge the poetic with the tectonic.
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Photographic Documents : Domain-Court-Cell : Research Collages
Spatialities and Interior Spaces~Apparatuses for Diffractive Thinking.
Science~Inside The Church : Spatial Documentation~Defractive Readings.
VISITORS : Collage/Waverley Project/Exploratory Practice 2015.
Cyanotype Process
Modern/Primitive
Collage/Fragment from Dom Hans van der Laan
Cell/Court/Domain
Visitors
Godfrey Reggio
Research collage with photographic document, MA Interiors, UCA Farnham.
Saturday, 11 May 2024
Christopher Wilmarth : Light and Gravity
Christopher Wilmarth delighted the world with light-filled sculptures of glass and steel that were deeply poetic in their moods and extraordinarily rich in their modernist heritage. But in 1987, at the peak of his career, a long struggle with depression ended tragically for Wilmarth. The internationally acclaimed artist committed suicide at age 44, and his work largely fell from the public view. Now, Wilmarth's legacy is recaptured in this beautifully written, richly illustrated book by art critic, historian, and poet Steven Henry Madoff. The first in-depth look at Wilmarth's extraordinary life as an artist, the book explores both the light and the darkness that underlie his work. Madoff offers a critical overview of the artist's career, examining the sculptor's response not only to historical masters such as Cezanne, Brancusi, Matisse, and Giacometti, but also to the art world of his times--particularly the dominant influence of Minimalism. Using the newly created Wilmarth archive at Harvard University's Fogg Art Museum, Madoff anchors this moving interpretation with the sculptor's own writings unearthed from journals, student notebooks, artist sketchbooks, and letters. Madoff draws as well from interviews, articles, and poems that Wilmarth published in his lifetime, along with the body of criticism covering Wilmarth's development over the years. Acclaimed biographer Nancy Milford contributes a poignant memoir of her years of friendship with the artist, and Fogg associate curator Edward Saywell offers a powerful selection of Wilmarth's writings. The sculptor's romantic outlook, his gorgeously light-infused art, and his dramatic decline into work of harrowing darkness are sensitively examined in a book that reintroduces Christopher Wilmarth's sculptures and graphics to the contemporary art audience.
Saturday, 10 February 2024
Lightness/Thresholds of loss and of inside spaces constituted by darkness.
Outpost 050224
Walking with Carlo Scarpa, Brion Cemetary.
Trust in the material and its 'spiritual incitement' that comes from the world.
The spatial dimension of this small building is a metaphor for the mental workings of meditation. The Pavilion is the place where we can enter the minds' empty space/stillness, where we can get away from all our passing concerns.
Thresholds, Carlo Scarpa/Ina Macaione.
Life Affirming Sentiments.
Light-Shade
Bitter-Sweet
Vital Nourishment.
Departing from Happiness.
Feeding the Body.
Feeding the Soul.
Francois Jullien
The Flame of a Candle.
Gaston Bachelard.
On the Loss of (Dark) Inside Space.
Constanze Kreiser.
Is inside space on the verge of disappearing?
Is it being hindered by constantly improved light technology which is causing one of its fundamental qualities – darkness – to dissipate?
And for what reason?
Is it for the benefit or more outside space?
Or for the benefit of a new spatial quality?
Questioning the way increased use of artificial lighting affects interiors, architectural designer and installation artist Constanze Kreiser opens a philosophical examination of the mediating effect of light. She observes how an enclosure is gradually made lighter in the sense of weight and mass through the addition of openings that emit or filter light. Her polemic on lightness and darkness raises questions of how light measures time, space and inhabitation and the temporal rhythms of everyday existence.
Light constitutes space in that it creates bright and dim zones, enabling the physical perception of a space.
Space does not originate with the construction of a building, but exists in the act of marking a small unit from an infinite quantity. It is exactly this process which is achieved by sunlight: that which it illuminates is outside, shadowed surfaces forming inside.
Depending on whether lightness or darkness dominates, inside space is a dark space by day and a light space at night. Thus inside space is dependent on light, it is in constant contrast to the prevailing light conditions. Inside space at night has, however, existed only as of the invention of artificial means of lighting – from pine-torches to light bulbs. By day, inside space floats like a dark island in a sea of light.
Bodies and Mirrors.
Ann C. Colley discusses the correlation between physical bodies and their surrounding, particularly the space of nostalgia and recollection in Victorian literature. Working from the role memory plays in recalling our relationship to known environments. Her text through selected autobiographical accounts discusses the spaces of childhood through the invisible, aesthetic and ubiquitous body, and the proposal that the interior is not simply defined by objects within it, but by our movement and inhabitation around and among them.
Three distinct models of how the consciousness of one's physical being illuminates the interiors of home. John Ruskin text speaks of the invisible body, Walter Horatio Pater of the aesthetic body and Robert Louis Stevenson of the ubiquitous body.
They, Ruskin, Pater and Stevenson considered how their physical being had related to the walls and windows of childhood. Conscious of how this relation defines the sense of one's surroundings, they let their memories resuscitate the dialogue their bodies had once had with these interiors. They understood that it is the child's being that shapes and illuminates the interiors of home. Articles do not define interiors; bodies that move and feel their way among these objects do.
Intimus, Interior Design Theory Reader.
Their orientation anticipates those like Maurice Merleau-Ponty in The Primacy of Perception who argues that it is not through thought, absented from the body, that one knows one's surroundings, but through one's 'bodily situation' – that one is conscious through the body's position in space. This is taken further by twentieth- century architectural theorists such as Kent Bloomer, Charles Moore and Robert Yudell, who insist that one measures and orders the world from one's own body, and that the body is in 'constant dialogue' with the buildings surrounding it.
Body, Memory and Architecture.
Drawing Inscriptions/Spaces/Breaths.
Remaining in the simplicity of our origins.
A Breathturn.
A flow of energy that wends its way ceaselessly through the world, animating it as it goes.
Simple pots of simple thinkings/orderings and findings/feelings attained through the privilege/practice of the beginner's mind.
Sadhana, bearing the difficulties of existence.
Working Interiors for the making of the imagination.
Marking of a small subjective space from a infinite quality.
Ceramic Volumes/Vessels and Surfaces/Openings of Light and Dark.
On Drawing/Conversation.
Twombly/Artaud.
Corporeal Acts.
Documents and Sensation.
Images 'exist' in a domain of emotional and physical extremes.
.In drawing, acts of reading and perceiving are concurrent as a simultaneity of mental factors.
I am interested in the way the inter-connectedness between inscription and representation is 'grounded' in the primitive body. I an not speaking of the language of depiction and representation, but of what constitutes the mental energy of engagement, that is so evident in drawing. How the markers of an action translate the murmurings of the mind. For both drawer and viewer the mark and its imaginary space are encountered as a fact of existence as such it is the evidence of beingness, concerning those primitive, dark, and distant moments, etched in our psychic history that exist within the framework of the image that is now being invested in the work.
Avis Newman.
The Doctrine of Introversion.
The artist struggling to conform to the patterns of everyday existence.
I can't respond to the society I live in.
David Sylvian.
Placidity.
Condemned to the eternal silence of processes.
Zhuangzi.
INTIMUS.
Mark Taylor, Julieanna Preston.
Matrix Key/Components, clockwise.
Practical Issues
The Field of Possibilities.
The Organizing Matrix.
Date of Publication.
Time Period Discussed.
Disciplinary Orientation.
Wednesday, 3 January 2024
Art as Experience : Interactions of Color, Josef Albers.
Catalogue
32. Skyscaper 11
1929
Sandblasted flashed glass 36.2 x 36.2cm.
30. Skyscraper 1
1927/1929
Sandblasted opaque flashed glass 34.9 x 34.9cm.
28. City
1928
Sandblasted opaque flashed glass with black paint, 33 x 55.3cm.
Badley damaged with sections of glass missing.
Alber's numerical notations in white chalk or pencil are visible on the surface.
21. Frontal
1927
Sandblasted opaque flashed glass with black paint, 34.8 x 47.9cm.
https://ia800808.us.archive.org/9/items/glascoli00albe/glascoli00albe.pdf
Wednesday, 5 July 2023
The World is Blue : Evoking an inner room in the Mind/Consciousness
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
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
