Persistent Bodies ~ Reading, Clay, Ceramic
Confessional : Vessel, Sculpture or Fiction.
A Troubling Interiority. 300926
A Propositional Setting for a Spatial Practice.
Confessional : Vessel, Sculpture or Fiction?
Other Bodies~Other Propositions
Gatherings For Speculative Bodies.
Confessional and Conversational Spaces.
Study Spaces~Research Creation : Seating with Cabins.
Confessional Spaces~Spatial-Situationist Apparatuses : A Line of Flight, Vessel, Sculpture or Fiction.
Interior Social Places : Perforated Inner Spaces~Intervals~Interiorities
Pigeon Houses/Dovecotes for Philosophers.
What do I know?
Michel de Montaigne.
A house for confessing animals.
Michel Foucault.
A "line of flight" (ligne de fuite) is a core concept developed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus. It represents an act of escape, a sudden rupture, or a creative vector that allows a rigid system to break down and transform into something completely new.
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Clay-Ceramic/Thinking Architectures/Interior Places.
2024. Ceramic. 260mmL x 350mmH x 160mmW.
The ceramic is therefore not a conclusion to making but a speculative body within its continuation: a sensate chamber in which material, spatial and philosophical relations can gather, weather and begin again.
In troubled times they all sought to experience life away from social definitions of success or failure. From there, these primitive huts marked personal, original inquires into the ever-mysterious nature of human existence.
Anne Cline. A Hut of One’s Own
Life Outside The Circle Of Architecture.
Collages.
Spatial and Reading Apparatuses.
Making Spatial Research Creation.
Pink Cosmos~Panopticon : Research Collage~Diffractive Inclusions and Annotations.
Body, Personal Relations and Spatial Values. Yi-Fu Tuan, Space~Place~Perspective of Experience.
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Reading does not remain outside making. Its soundings pass between bodies of thought, images, materials and places, sometimes surfacing as propositions, sometimes withdrawing into the material conditions of a work.
The reading body moves between these correspondences without requiring them to converge. Ingold, Manning and Barad remain distinct within this gathering, their differences continuing to resonate through the movements of spatial practice. Clay encounters these soundings otherwise. Through making and firing, propositions acquire another condition of existence: a materially persistent body whose interiority remains open to further encounter.
What persists is not an idea preserved intact, but the possibility of its becoming otherwise.
Reading~clay~ceramic: persistent bodies already enduring their weather~~world, carrying relations forward into situations not yet known.
What is gathered is never simply contained. It passes between bodies, withdraws, and remains~in~play.
The Reading Body ~ Correspondence Without Convergence
The reading practice brings Ingold, Manning and Barad into correspondence, not to reconcile their thinking, but to allow their differences to remain active within the work. Each becomes a distinct sounding within a wider field of inquiry, offering ways of attending to movement, material relations, touch and the emergence of bodies. Their thinking is neither applied to the ceramic nor secured within an explanatory framework. It enters the movements of making, where it may be taken up, resisted, altered or carried elsewhere.
The reading body acts as an intercessor within this gathering. It moves between texts, images, materials and architectural situations, allowing propositions to pass between them without determining their final destination. Sometimes a correspondence surfaces explicitly, finding expression in a written proposition or a material decision. At other times, its sounding withdraws, becoming less immediately recognisable while remaining active within the ceramic's spatial and material relations.
Reading, in this sense, becomes a practice of ambiguous inhabitation. The reading body dwells within the relations between ideas and things, neither standing outside them as an observer nor dissolving into their differences. It keeps these relations available~in~play, allowing them to acquire other conditions of existence through making.
The ceramic body becomes one such condition. What has been encountered through reading may persist there, though not necessarily as a recognisable idea or an identifiable influence. It may surface as an aperture, a chamber, a resistance of material, an uncertain interior or a relation between bodies. The correspondence has changed its condition without exhausting its possibilities.
The reading body carries the soundings forward, allowing them to surface, withdraw and enter other bodies. Its work is not to preserve an idea intact, but to sustain the possibility of its further becoming.
The ceramic becomes materially persistent, while the propositions that have passed through its making remain available~~withdrawn for futurity.
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