The Black Workbooks : Forces of juxtaposed areas.

Harleston 290623

Research Creation : Revisiting the image archive as an anachive for movements in material matters.

Perception, folds in an infinite play of foregrounding and backgrounding.

Eternal objects are nodes of relation for this elastic process of pulling in and out of experience's continuum. Perception moves-with these openings towards changes in nature occasioned by minuscule folds that are endlessly unfurling and bending on the edges of juxtaposed areas.

Erin Manning, Deleuze, Relationscapes.

Black Artist's Books

Visual Art, WSA 2007 

Like a mist or fog that makes their surface sparkle at speeds that no one of our thresholds of consciousness could sustain.

Deleuze, 1993.

Melancholy Landscapes : The Plague/Vermilion Sands

Film Collages, hybrid processes and temporal states
Liminality : Literature/Philosophy/Visual Art

Landscapes : entering/intruding/emerging (holga819)
Existential Gestures : Looking away from the sea
Ballard : Vermilion Sands  :  Speculative Fields/Spatial Practices

Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times

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

06/04/2020 

Postmodern : Contested Landscapes for Melancholy

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.

Melancholy And The Landscape
Locating Sadness, Memory And Reflection In The Landscape
Jacky Bowrin

Path : Analogue Film Process
St Catherine's Hill, Winchester

Anthrocene : Nick Cave and the Bad Seeds, Skeleton Tree.
Walberswick :  Beach Slides/Digital Pinhole

Covehithe : Walking/Thinking/Physical Entanglements in the Landscape
Walking into Emergent Landscapes : Covehithe Beach
The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:
 Edward Thomas not only thought on paths and of them, but also with them.”

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

Landscape : Entanglements of Affect

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,

Landscapes : entering/intruding/emerging
Pinhole Photography (Holga)

Landscape : Entanglements of Affect/Aesthetics

Nihilistic Aesthetic :  Bleached Cyanotype

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

Aesthetics and the Spatial : Sensual Things of Light and Gravity

Immaterial Architectures
Painting/Form for Reading Spaces/Intervals
Pattern and Chaos/Liminality/Tectonics
Architectural surface for a Library,  raw materials, light, silence and solitude.

Christopher Wilmarth ; Poetics/Duality of Light and gravity
Other Architecture
Constructing Metaphysical Space

Wilmarth's art reveals his essential concern with the mystical and physical properties of light, especially the ways in which light evokes reverie and generates sensations of space and containment.

The Architecture of Natural Light : Henry Plummer

EVANESCENCE
Orchestration of light to mutate through time

Intensity and integrity of Wilmarth's practice/vision.

PROCESSION
Choreography of light/moving eye

VEILS OF GLASS
Refraction of light/diaphanous film

Wilmarth made possibly his strongest, most beautiful works on paper, exploring a new level of expression while retaining continuity with past work.

ATOMIZATION
Sifting of light/through a porous screen

These drawings also contain allusions to the human presence. Their haunting, foreboding quality is prefigured in the grave, austere tones of some of the glass and steel structures.

CANALIZATION
Channelling of light/through a hollow mass

The duality of light and shadow and contrasts between abstraction and representation continue to be central concerns in his final drawings.

ATMOSPHERIC SILENCE
Suffusion of light with a unified mood

Wilmarth's sculptures from the early 1980's are influenced by the poetry of Stephane Mallarme.To affirm Mallarme's emphasis on the spiritual, the artist used a simple ovoid form, evoking a multitude of symbols, including the human head. These ovoids were made of blown glass, which Wilmarth viewed as "frozen breath". The artist pursued this figurative impulse into the mid 1980s, combining the anthropomorphic ovoid shapes with the larger abstract forms of his earlier sculpture.

LUMINESCENCE
Materialization of light in physical matter

Wilmarth composed with planes of delicate colour and light, placing plates of blackened steel behind translucent sheets of etched glass imbued with a luminous, greenish cast.

"He employed a painterly technique that emphasized the tactility and fichness of his materials, which like an alchemist he persistently sought to transform. He continually examined the concept of duality: contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality  and ethereality, form and spirit are repeatedly presented; the synthesis of geometric with organic forms, the range between abstraction and representation are constantly explored."
Laura Rosenstock, catalogue essay.


White Noise : Nocturnes of Silence