Showing posts with label performance. Show all posts
Showing posts with label performance. Show all posts

Thursday, 27 July 2023

Drawing Fields/Small Perceptions : Becoming BOUNDARIES AND JUNCTION POINTS.

 DSC_6111 Spatial Drawing/Speculative Site.

 BOUNDARIES AND JUNCTION POINTS














The theoretical object as a concept to express the force and feeling of inquiry.

The Stick Thing, Canterbury School of Architecture/Spatial Practice/Oren Lieberman. 2009.

Raveningham, speculative array of simple objects in the landscape.


Lefebvre, The Production of Space.


Lefebvre in his chapter on Spatial Architectonics makes reference to the relationships established by boundaries and the relationship between boundaries and named places. These relationships promote significant and specific conditions or features to a space. This in turn results in various kinds of space. Lefebvre states that “every social space, then, once duly demarcated and oriented, implies a superimposition of certain relations upon networks of named places.”1


It is this superimposition of space that can within it demarcate other thresholds of experiences, within an existing demarcated space that interests me.


The act of “blocking in “ the dimensions of another space onto the floor of another create a temporal junction between a host space and a site within this host, a guest. This sets-up the notion of a temporal double occupancy held by the demarcation of a boundary and a site of proposal. This basic and temporal site marking could be said to have affinity towards some sort of anthropological marking, a territory. (Lefebvre defines anthropological marking as being at the stage when demarcation and orientation begin to create place and its social reality in archaic cultures)2. This activity also has associations with nomadic and agricultural-pastoral societies as they use paths and routes as spatio- temporal markers or determinants.


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).”3Within my practice drawing is used to form sites which contain visual information, evidence of temporal activities and traces of actual objects. These territories within other territories create fields from with boundaries form material relations, differences. My drawings are inside the temporality of site I have instigated and yet they propose a territory and a surface of light years which could accommodate the temporality of terrestrial space.


Interestingly Lefebvre comments “there is no stage at which ’’man” does not demarcate, beacon or sign his space, leaving traces that are both symbolic and practical.”4


1 Lefebvre, The Production of Space, (London: Blackwell, 1991) page 193.


2 Ibid.,page 192.


3 Ibid.,page 192.


4 Ibid.,page 192.

Wednesday, 12 July 2023

Fake Fish, The Theater of Kobo Abe : Nancy K Shields. 1996





















Themes and Techniques: 

 Thinking into an Object
 Cities and Nomads. 

 Space-time.
 
 Creativity and its Discontents. 

 Neutral Position.

Saturday, 23 June 2012

The human drawn amongst residues, equations filled with unknowns.



Human form (detail) rendered from performance, outline and sedimentation. Drawing on paper with wax and liquid rust residues from obsolete machine parts. Material sourced from the artist's own biographical accumulations.




Saturday, 26 May 2012

Aerial.Winchester Cathedral 2011.

Drawings and mapping strategies created whilst participating in "Space for Peace in Winchester Cathedral 2011". Cyanotype process on paper, amongst this document there remains evidence of both human occupation and the surrounding architecture that framed the event.

Saturday, 19 May 2012

Camera Obscura : Kilquhanity 2011. #1

Camera Obscura : Kilquhanity 2011. #1

Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011

via artreview.com
Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive".