Makings~Silent transformations~translations from the continuous weather-world.

Translations~Places of Inquiry.

russellmoreton.com

Interactions and correspondences wayfaring through the weather-world of clay and texts.

Continuous Readings~Translations : Weathering and the Passage of Air.

14 Weather-world.

'Can man live elsewhere than in air?' asked the philosopher Luce Irigaray.

The Life of Lines

The Life Of Lines.

Tim Ingold.

Russell Moreton : A visual fine artist is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is interested in developing collaborative and speculative making spaces where craft, theory, art and architecture can come together.

A site-based practice that further develops into speculative learning, creative propositions for knowledge production through Spatial Practices.

Moreton's site-based practices using clay as his principle material further develops his inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased.

His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.

Assemble forms are then divided into several spatial interiors, in which the use of piercings are used through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.

For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His finished fired constructions could become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s).

Interior Design MA, UCA Farnham. Spatial Practices MA, Canterbury School of Architecture. Visual Art BA Hons, Winchester School of Art. Ceramics HSND, Epsom School of Art and Design.

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

Wayfaring Forms : Living Architectures beyond Function.

 

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Living Architectures/Wayfaring.

Environments formed/experienced through Movement and Attention.

Lines.

Tim Ingold.

Numinous Odyssey : Raveningham

Spectral Affinities : Architectural Constellation

Processual Bodies.

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

Art's Use of Architecture: Place, Site and Setting.

Artists in 'Psycho Buildings' explore architecture's psyche, through the production of places, sites and settings, sites and settings, which engender spatial experiences that connect the viewer psychically, as well as perceptually and conceptually, to broader social issues and cultural phenomena.

Art and architecture are frequently differentiated in terms of their relationship to 'function' or 'use'. Unlike architecture, art may not be useful in pragmatic terms, for example in responding directly to social needs, providing shelter or somewhere in which to perform open-heart surgery, but we could say that art provides a place for other kinds of function – self-reflection, critical thinking and social change. If we consider this expanded version of the term function in relation to architecture, we realise that architecture is seldom given the opportunity to consider the construction of critical concepts and spatial relations as its most important purpose.

Jane Rendell.

Processes/Processual Thinking that constitute entities.

Moving Attentively In The Field of Material Structure.

The Itinerant Library of Excessive Tendencies.

Heterogeneous matter driven by disparate parts and elements of assembly.

Bricoleur Performing Practices.

Discursive Inquiry/Reading/Making.

Abjection flows between bodies, it never solely concerns one body.

For Kovar, when abjection is one of those processes, a very particular assemblage manifests itself. Where boundaries are disrupted, connections made and zones of proximity that are otherwise absent, are reached. Abject(ion) causes an inherent schism on the physical and psychological levels.

It opens bodies, to one another.

It opens up bodies for 'exchange'.

Such that they are in a perpetual process of being made and unmade, unfinished bodies.

It is precisely because abject(ion) is not only psychological but also physiological that it straddles both genders and is not solely reducible to the feminine. Abject(ion) is both feminine and masculine.

Littoral Environments : Arts and Subjectivity (the making of things)

Text Extract/Inclusion. "Pure Presence"

The enchantment of modern life: attachments, crossings, and ethics : Jane Bennett 2001.

It is a commonplace that the modern world cannot be experienced as enchanted--that the very concept of enchantment belongs to past ages of superstition. Jane Bennett challenges that view. She seeks to rehabilitate enchantment, showing not only how it is still possible to experience genuine wonder, but how such experience is crucial to motivating ethical behavior. A creative blend of political theory, philosophy, and literary studies, this book is a powerful and innovative contribution to an emerging interdisciplinary conversation about the deep connections between ethics, aesthetics, and politics.

As Bennett describes it, enchantment is a sense of openness to the unusual, the captivating, and the disturbing in everyday life. She guides us through a wide and often surprising range of sources of enchantment, showing that we can still find enchantment in nature, for example, but also in such unexpected places as modern technology, advertising, and even bureaucracy. She then explains how everyday moments of enchantment can be cultivated to build an ethics of generosity, stimulating the emotional energy and honing the perceptual refinement necessary to follow moral codes. Throughout, Bennett draws on thinkers and writers as diverse as Kant, Schiller, Thoreau, Kafka, Marx, Weber, Adorno, and Deleuze. With its range and daring, The Enchantment of Modern Life is a provocative challenge to the centuries-old ''narrative of disenchantment,'' one that presents a new ''alter-tale'' that discloses our profound attachment to the human and nonhuman world.

The making of things and discovering relationships.

Constructing site and situation based methodologies.

Playing out in the public realm, exploring through spatial engagements the "virtues" of courage, caution, confidence and risk.

With The Drawing Board : On the transitiveness of going along with things.

The Drawing Board, a photo by Russell Moreton on Flickr.

The Granary Studio, Brockwood Park, Bramdean. 2013

Form Giving Improvisations : Creative Entanglements in a world of materials.

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

Haecceity, a certain gathering together of the threads of life.

Deleuze and Guattari, A thousand plateaus. 2004.

Intermediaries : Inducing place between things and the process of practice.

The drama/performativity of encountering place.

Setting things in motion. 

Reading diffractive phenomena.

Bringing things to life, creative entanglements in a world of materials.

Life is all about relations that hold a being in place.

Tim Ingold, The environment without objects (EWO).

Graham Harman, Object-oriented ontology (OOO), a new theory of everything.

Steven Holl, Parallax.

Carlo Rovelli, Helgoland.

Penelope Curtis, Elective affinities.

Mark Burry, Jane Burry, Prototyping for architects.

Lynne Elizabeth, Cassandra Adams, Alternative Construction, contemporary natural building methods.

Bridget Riley, The minds eye.

Drawing Technicity : Lines/Choreographies for Potential Eventness.

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New Occasions of Experience.

Housing The Body.

Dressing The Environment.

Forcefields/Associated Milieu.

Individuations Dance.

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through which without colliding would produce the establishment of places, localities made special for one reason or another. There is no stage at which  human beings do not demarcate, beacon or sign their space, leaving traces that are both symbolic and practical.

The Production of Space, Lefebvre. 1991.

 

Durational play, crafting of the as yet unthought, where the microperceptual and the micropolitical meet to create new movements in the making.

We land/dance into the focus of an awareness that becomes us.

Objectiles thrown into the world and invitations to move-with.

Propositions are ontogenetic, they emerge as the germ of the occasion and persist on the nexus of experience to take hold once more through new occasions of experience.

The proposition I am seeing on the table is a hammer, the eventness of the proposition now persists in my hand, what moves a body, returns as a movement of thought.

Objects exist in the between of a proposition and its eventness, in so doing they are inciting co-constellations of movement-moving.

Technicity and its choreographies for potential eventness.

In this strange time-loop, what is lived is less the encounter with space pre-formed or objects pre-existent than a direct experience of relation.

William Forsythe/Erin Manning.

Making Divides Fluid.

Fielding Differences With Curiosity.

Kairos, the movement and its moment.

Being Alive, Tim Ingold.

Much of our thinking happens across various kinds of divides.

Choreographic Thinking.

Choreography has the capacity to craft an associated milieu of relations that extends far beyond the stage.

Experiencing environment as gradually taking form, using choreographic objects to help shift the everydayness of time, towards the durational time of play. The choreographic proposition begins with the folding of space more than the form-taking of bodies.

A Lure For Feeling.

Like his choreographies Forsythe's choreographic objects are created with very precise conditions for the movement experimentation. They insist on the precision of parameters for movement (technique) without divesting the movement of its potential for eventness (technicity). They are carefully crafted towards generating certain kinds of participation and yet unforeseeable in their effects.

Erin Manning.

An Attitude to History.

At Castelvecchio, Carlo Scarpa embarked on a much more far-reaching idea of not only cleaning the building but attempting to clarify and expose the layers of history by selective excavation and creative demolition. He attempted to cut and then disentangle one epoch's construction from another so that the building itself becomes a giant exhibit revealing its growth and change in nature.

Scarpa was primarily interested not in any concepts of restoration but an idea to do with historical clarity, making history visible by the co-existence of overlaying fragments of construction.

Ceramic Testing/Prototyping/Making

Hungate Glass Assemblages.

Drawing/Diagrams/Choreographies into the Architectural Body.

Relationscapes/Propositions/Organism/Person/Environment.

Arakawa, Gins, Manning, Forsythe, Irwin.

Shotesham SPAB.

Bayfield Hall Sculpture Trail.

Propositions into the Figural.

The Social/Private Body on Display.

The Physical Self, Peter Greenaway. 1992. 

As we draw the human figure we both reveal and hide ourselves and it.

The Life Room is a peculiar place and Life Drawing is a bizarre activity.

How you draw is contingent on why you are drawing.

What you bring to the Life Room defines you.

Before embarking on a program of Life Drawing, you need to ask yourself how and why you are doing it. Your answers to these two questions should qualify each other.

We do not dispute that Life Drawing is an important aspect of an art education. But if it is to be significant, it must extend into the rest of life and begin to touch upon things that matter to you, otherwise it is an empty activity, the development of a skill with no purpose.

Peter Stanyer, Terry Rosenberg. 1996.

What is the occasion and purpose of the drawing?

We need to be aware of what it is we need to reveal.

Is the nude as a form of art still valid?

The curious and uneasiness of the psychology of nakedness.

The practical and theoretical issues of the confrontation with the the unclothed human form.