Making as an Ecological~Intimacy : Trace~Drawing/Preservation and Movements in Media.

Outpost 230824

Human Thicket : Matter(s) of Composition~Connectivity~Decay

Life Outside the Circle of Architecture.

A Hut of One's Own.

Ann Cline.

The Importance of The Hut in Contemporary Society.  

For Ann Cline the ostensible subject of this inquiry is the primitive hut, a one room structure built of common or rustic materials. She gracefully weaves together two stories: one of primitive huts in times of cultural transition, and another of diminutive structures in our own times of architectural transition. From these narrative strands emerges a deeper inquiry: What are the limits of architecture? What ghosts inhabit its edges? What does it mean to dwell outside it?

Of Huts.

An ecological intimacy, a return to veering towards both humans and nonhumans.

When we study attunement, we study something that has always been there, ecological intimacy, which is to say intimacy between humans and nonhumans violently repressed with violent result.

Tuning, Timothy Moreton.

Architecture In Abjection.

Bodies, Spaces And Their Relations.

Zuzana Kovar.

The Raveningham Projects.

On the nature of crafting sheltering social spaces.

Site specific experiences on making/building/using.

A primitive attunement/dwelling, a return to the affective power between things.

A creative site specific study on 'dwelling, occupancy, and  hosting' through studying speculative architecture with its boundary conditions and formative structures. 

Simple 'undesigned' places valued for their timelessness and authenticity.

Philosophia/Socrates.

Philosophical love of wisdom rather than the possession of it.

A Philosophy of Solitude.

In Defence of Sensuality.

John Cowper Powys.

The Mythical City of Orion.

Storytelling through ceramics and explorative site markings, this sculptural intervention plays with archaeology, ceramic artefacts, and astronomy.

Sensing Self/Marking Realities.

Trace Drawing/Preservation and Movements in Media.

Territories/Borders/Boundaries.

Art-Workings.

Being able to work with and appreciate ambiguity.

An aesthetic timbre of the inter connective causal perceptual qualities of things.

You don't know why you should care about this, isn't that what we are all feeling when we experience something beautiful/wonderous.

Care/Love as an ambiguous spectral aesthetic around ethical decisions.

Being/All Art is Ecological, Timothy Morton

The Working Drawing.

Critical Body Contour/Outline.

The Fossil Line.

A primitive gestural drawing underpinning a Palaeolithic idea on an inter-connective, causal perceptual aesthetic force that invokes and engenders a phenomenological and hermeneutic philosophy.

Spectral Aesthetics, OOO. 

A line of energy flowing around the extremity of a formed space.

The reserve of a papers surface retains both its former presence and its continuing absence held captive simultaneously.

The Figurative/Experiential Flatness between seeing and sensing self.

The remembered, reconstituted spatial dimensions rendered attractively into volumetric flatness.  

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Making Correspondences : Anthropology Alongside Visual Art Materialisms

 

Visual Art Archive : Russell Moreton

russellmoreton.com

Making : Anthropological Objects~Fabrications on Humaning.

Tim Ingold.

Ceramics~Fired Clay.

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

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.

Assembled 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.

Russell Moreton Saatchi Artist.

Waiting Room Installation 2007 : Visual Art Winchester School of  Art.

Outpost Studios, Gildengate House. Weather world correspondences, stained glass, plastic tape.

Textual Readings~Documents in Movement~Thought.

Changefulness : Clay inscriptions carried through to fired clay. 

The Sympathy of Painted Light (detail). 2025, Ceramic, 170mmW and 270mmW x 260mmH x 80mmD.

Fired Clay Books~Folded and fabricated interiors. 

Making~ Developed from earlier craft based methodologies of working in ceramics, glass and construction. My practice now embodies professional studies in visual art, spatial practice, interior design and teaching art in education.

https://axisweb.org/artist/russellmoreton

For Bachelard : Reverberations~Conduits between philosophy~poetic writing relations of human and spatial bodies.

The artwork featured in the image is titled "Apparatuses: A Litany of Echoes~Resonances" by the visual artist Russell Moreton. 

Artist's Practice: Russell Moreton is a visual fine artist who explores themes surrounding "making," architectural space, and the interplay of materials like clay to demarcate and construct environments.

Materiality: His work frequently investigates the imprint of the artist and the metaphysical, immersive nature of his chosen media, often utilizing processes that evoke construction and the physical manipulation of materials.

Architectural Inspiration: Moreton is notably drawn to the solitudes of libraries and the sounds of construction, often using his practice to engage with the concept of architecture as tranquility.

This item is a sculptural work by fine artist Russell Moreton. It is a slab-built ceramic piece, often exploring themes of architectural space, silence, and materiality. The artwork is part of his practice involving the investigation of interior spaces and constructing space through clay. 

Erin Manning for Brian Massumi : Sylvian & Fripp - Every colour you are (live '93)

Relationscapes

Erin Manning

Movement/Art/Philosophy

For Brian Massumi

The self is only a threshold, a door, a becoming between two multiplicities.

Gilles Deleuze and Felix Guattari, A Thousand Plateaus.

Spatial Practices/Forms of Enactments : Speculative Vocational Learning Processes

Archive 2012

Teaching Academy/Brockwood Park School.

Undone-Without-Unfitting-Entangled

Performativity/Practice/Assemblages

Responses perceived as the enactment to make something as yet non existent.

‘The crisis is not in the economic world, nor in the political world. The crisis is in consciousness. I think very few of us realise this.’

—From the book THE NETWORK OF THOUGHT 

Krishnamurti

Outpost 021222 Thinking Forms/Haptic Collisions

 Outpost 021222

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

Lo-Fi

Alternative Construction.

Contemporary Natural Building Methods.

Lynne Elizabeth, Cassandra Adams.

Earthbag.

Experimental earthbag structures at Cal-Earth.

Nader Khalili.

The beauty of the earthbag technology lies not just in its low cost, but in its freedom of form.

The use of soil-filled sacks (earthbags) for construction has received growing interest as a natural alternative building technique. Earthbags are textile or plastic casings packed with soil, and sometimes sand or gravel, used to construct foundations, walls, and domes. The technique is essentially a flexible form variation of rammed earth construction.

Earthbag construction is one of the most inexpensive building methods on the planet. It uses locally available site soil and common sacks. The technique requires few skills, is significantly faster than earth building methods such as adobe or cob, and unlike equipement-intensive modern rammed earth, requires few tools other than a shovel.

Working Cyanotypes/Vectors/Clusters of Movements.

Spatial Verbs/Durations.

Drawing on a light mediated surface.

Abstracted notations on the verge of visibility.

Traces on the canvas.

The Inclusion of Absences.

Mapping surfaces, from transparency to occlusion.

Abstract Circulation Diagrams.

Diffractive Intermediaries in Architecture.

Alternative Photographic Processes.

Subjectivity in forsaken spaces.

Resistivity/Photographic Decay : Inclusions in the order of time.

Theory, Placemaking, Trigg

Francesca Woodman, Deborah Turbeville.

Photographic Collages.

Place Studies.

Locating practice/inquiry.

In the darkroom with the flesh of the film.

Building on the impossibility of the specific. 

Everyday correlations, living with making place.

The recording apparatuses spatial practice.

Learning with phenomena, presentia the light in its moment. 

Spatial cyanotype drawings and exposures. 

Daylight weather observed and recorded.

Red Gas Kiln, external dimensions, 1.2m x 1.2m x 1.0m, plus stand 0.5m.

Joseph Beuys, clay accumulator and table, Tate Modern.

Joseph Albers.

Karen Barad.

Intra-Activity, Performativity, Bodies.

Colour Intermediaries, induce spatial relations between objects and processes, they create, set in motion diffractive phenomena.

The Mind's Eye.

Bridget Riley.

SPAB, Working Parties.

What Remains.

To preserve something from the continuum of time.

Materials bounded by contact and context.

Plastic Architecture/Lime and Flintwork.

Linking built surfaces to the aesthetic experience of place.

Asperity, in materials science, is defined as unevenness of surface, roughness, ruggedness, that can create frictional interactions between the relationships of materials. 

Site is a temporal undoing of place.

Architecture taken back into the domain of  building. 

Scaffolds for learning, access, practices and preservation. 

On Reading.

Cell-Court-Domain.

Apokatustasis.

Jim Jarmusch

Jozef Van Wissem

John Cowper Powys.

A Philosophy Of Solitude.

Reading Powys one finds no belief, no system of dogmas or doctrines, just an insight gathered from experience.

He  is a walking philosopher, who develops his thoughts on the character of solitude, the walker formulates his words out of an inner heuristic development. A preparation in order to be able to relate to other people. 

A Field Guide to Getting Lost.

Rebecca Solnit.

The wonderlust of learning for profound and complex inquiry.

The creative, hopeful philosophy of emotions that colour, illuminate our worlds.

Terminus/Fields/Landscapes of Inquiry : A Spatial Practice/Between the Silence

Outpost 010223

Harleston 010723

Terminus.

Taking form always begins with the terminus. 

The terminus is not an end point, but the energy of a beginning. 

The terminus kick-starts the process of articulation. 

There is no causal finitude here: 

We never know what becomes of a beginning.

The terminus is a force of thought towards articulation.

Erin Manning.

The Apparent Chaos of Stone (8.36)

Moonchild (5.40)

Travis and Fripp

Between the Silence.

Theo Travis : Alto Flute/Soprano Sax.

Robert Fripp : Guitar/Soundscapes

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

A Spatial Practice.

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

Art/Ontology/Education/Philosophy.

Creative practice is a meshwork of what shall I do next?

Tim Ingold.

Things in general, like the mind-leak.

Iteration, following the forces/flows.

Organism-Person-Environment

Gins/Arakawa.

Improvisation is to join with the work or to meld with it, one ventures from home on the thread of a tune.

Lines of Flight

Lines of Becoming

Critically these lines do not connect.

A line of becoming is not defined by the points it connects, or by the points that compose it.

On the contrary it passes between points, it comes up through the middle.

A becoming is neither one nor two, nor the relation of the two.

It is the in-between, the line of flight running perpendicular to both.

Deleuze and Guattari.

Brockwood Teaching Academy. 

Back To Free School, Kilquhanity.

Curriculum Making, education for improved human-environment relations.

For to live we must dwell in the world, and to dwell we must already relate to its constituents.

Meaning inheres in these relationships.

Raveningham Sculptural Array

Solargraphy/Land Markings.

Performative Intraventions

Hungate 

Water

Site-specific research and artworks.

Water : A Phenomenal Lens

Steven Holl.

We start from the fluid character of the life process, wherein boundaries are sustained only thanks to the flow of materials across them.

Life is all about relations that hold a being in place, an erotic ecology of matter and desire.

Outpost Gallery

Mentorship Programme.

Art and Architecture : Anselm Kiefer/architectural creation/art/hermeneutics/history

 

Art and Architecture : Anselm Kiefer and David Chipperfield at the RA

VITRINES : Art Spaces/interiors/interventions. 

Anselm Kiefer : 

In the Annenberg Courtyard

Velimir Khlebnikov: Fates of Nations: The New Theory of War

Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).

After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.

Keywords: Anselm Kiefer architecture art hermeneutics history

The Architectural Lessons of Anselm Kiefer's La Ribaute

Stephen Wischer.

This article examines the architectural significance of Anselm Kiefer’s situated art practice, exploring how relationships of poetry, history and culture, presented across all of his work, provide vital lessons for architectural thinking and doing. Kiefer’s creation of La Ribaute, outside Barjac, France, is particularly well suited to the study of a hermeneutic approach to architectural creation, since the reinterpretation of historical and mythical themes across painting, sculpture, earthworks and architecture critically situates modern creative practice within the larger continuum of human culture and knowledge.

Stephen Wischer is an Associate Professor of Architecture at North Dakota State University, where his teaching of history/theory seminars and design studios emphasize interdisciplinary relationships between art, architecture, writing and philosophy. His artwork and architectural investigation involve intensive process-based explorations which have been exhibited in both Canada and the United States. His doctoral research at McGill University in Montreal, Quebec, explores hermeneutic readings of artistic creation and historical texts in relation to architectural praxis.

Earthbound : Alternative Processes/Art/Archaeology/Philosophy

 The Archaeological Site : Speculative Fields/Spatial Practices

What are we? Art/Archaeology.

Contact Photography.

Historical Presence #4

Figuring it out.

What are we?

Where do we come from?

The parellel visions of artists and archaeologists.

Colin Renfrew.

Do you live as Humans in the Holocene or as Earthbound in the Anthropocene? (50.37)

Dr. Bruno Latour on climate change and the "Anthropocene": Wall Exchange, Fall 2013

Studio Practices

Silver Gelatin

Cyanotype

Drawing

Liquid Light

Atmosphere and Surrounding Objects : Loose Assemblages/Living Emotions/Theoretical Gaze

Paintings being living emotions. Mark Rothko

The atmosphere of a work of art, what surrounds it, that 'place' in which it exists - all this is thought of as a lesser thing, charming but not essential. Professionals insist on essentials ... not understanding that everything we use to make art is precisely what kills it. This is what every painter I know understands. And this is what almost no composer I know understands.

The Music of Morton Feldman, reprinted from his essay  "The anxiety in art"

OUTPOST STUDIO  July 2021

Loose Assemblages : The Movement of Ideas and Feelings

Touch and materials as a normative support/exploration for the theoretical gaze

Bento's Sketchbook : John Berger

Existence appertains to the nature of substance.

A substance cannot be produced from anything else: it will therefore be its own cause, that is its essence necessarily involves existence, or, existence appertains to its nature.

Ethics, Part 1, Proposition VII, Proof

Conscious minds arise from establishing a relationship between organism and an object-to-be-known. Damasio

Architectural Body

Organism-Person-Environment

Drawing is a  form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.

The Human Body through drawing and philosophy

Berger/Spinoza 141

Matters of a discursive consciousness are explicit and explainable, and the line between discursive and practical consciousness is fluctuating and permeable, both drawing on the other in the act of agency/making social.

The defining point of agency is namely its potential to transform the given.

Generative energies, entanglements, sensorial diversions from an open studio window overlooking Anglia Square

Improvisations/choreographed with the music/ambient noise are exploratory encounters  between flesh and sound

A hut of ones own (within and bounded by others), crafted and organized around simple processes and interactions within a fallow site given over to creative ecology of energies and enterprise

Vibrant yet curiously passive form of  urbanism

Affectivity as a mimesis of lively transfers between things, humans and non-humans

Human subjectivity : Mimetic Encounters/Explorations

Art works by gathering up forms and materials for affective experimentations in subjectivity

Corporeal unconscious animated by sensitivities/sympathies, a putative affinity (haptic) between certain things including bodies and organs which makes them liable not only to be similarly affected by the same influence, but more especially to affect or influence one another. 

Intentionality/Sympathy/Sentiment/Difference

Inducing a particular set of ethical/political/social responses in actor/social audience 

Mimesis : Paradox or Encounter. Jane Bennett

Calling a sympathy/subjectivity between coloured cloth/wallpaper/display cabinet and human flesh

Francesca Woodman

Mimesis and suggestion in the social,enacted through layers of mediation surrounding humans, objects and non-humans.

Camouflage. Neil Leach

Mimesis

Sensuous Correspondence

Sympathetic Magic

Mimicry

Becoming 

Sensations in Space and Time (the experience/entanglement of phenomena and idea)

Agency/Foraging/Making/Gathering

Subjectivity is relational (always in process)

A Species of Making Spaces

Tentativeness, attentive to situatedness 

A diffractive methodology enables a critical rethinking of science and the social in their relationality, moving beyond separate entities, separate sets of concern. 

Karen Barad 

Organism 

Person

Environment

Arakawa and Madeline Gins

For Merleau-Ponty, Experience can only be understood between the mind and the body or across them in their lived conjunction.

The mind is always embodied, always based on corporeal and sensory relations.

Elizabeth Grosz.

Richard Serra : Verb List Compilation

Actions to Relate to Oneself, 1967-1967

Drawing in its frameworks and dimensions/presence and absence/its here and elsewhere

Exploring the fragility of a painting in the landscape

Canvas as sheltering construction, Raveningham Sculpture Trail

Diagram-Map-Chart, is a symbolic depiction emphasizing (mapping) relationships

Diagrams For The Imagination : Arakawa

Apokatastasis : Jim Jarmusch, Jozef Van Wissem

Litany Of Echoes : James Blackshaw

New Music, for old instruments : Paul Metzger, Jozef Van Wissem

Brilliant Trees : David Sylvian

Body As Cultural Product

Both psychic and social dimensions must find their place in reconceptualizing the body, not in opposition to each other, but as necessarily interactive.

Volatile Bodies/Chaos-Territory-Art : Elizabeth Grosz

Spatial Asperity/Mesh, Membrane and Gauze, Möbius Strip, Pattening, 

Actuality : Robert Mangold

Paintings around the particles/flows of things/boundaries/intervals of presence and absence

Induction/Capacitance/Encapsulated Layers

Drawing and its attempts to map out/make visible contingent things

Contingency, is what remains, as it comes up against causality/constantly passing through

Objects/Things conceptualized by the exploration of drawing (intervals of blindness)

Linking Surface to the Aesthetic Experience of Space.

Experiences incorporating interests with environmental textures into Art.

Points of Contact/Confluence of Circumstances

Materials bound by contact/canvas

Patina, absences, gesso, textile wrappings, field chalk, exhumed oyster shells, yellow ochre,

A philosophy of Reading/Matter/Rooms, 

The Lake of The Mind

Stochastic Thinking, Steven Holl

Solitude/Libraries : Cell/Court/Domain

Capacitance, relationships between intensities and movements

Clay, Waxed Surface, Liquid Rust, Calico,

Sensate Bandages/Windings/Armatures : Corporeal Landscapes/Assemblages/Things

Flesh, elementary pre-communicative, subject and object develop.

Making as Growth : Tim Ingold

Social Architectures/Anthropologies/Imaginary Projects/Interfaces/Screens

Timothy Morton : Realist Magic

The elasticity of sensation, affective and wonderous

Sally Mann : Matter Lent/Collodion wetplate negatives

Corpus, liquid light, flesh, spirit, trace, outline, human body, performative,

Paintings/Enactments : Canvas as a spatial verb

Espace-Milieu, painting as environment/entanglements and situations

Ceramic/Process and its theoretical objects 

As a series of practices, making reality by bringing things together or separating them into their singularities, or making machines/desiring machines

Desire can be seen as an Actualization

Gathering Notations : Bernard Tuchumi  

Both presence and absence are coupled in this framework

Deleuze/Guattari

Glass/GLAS : Resistivity/Inclusions, A Field in England.

Translucent aesthetics, beyond the opacities of the sensible the rational.

An image that adequately expresses both the efficacy and the temporariness of the phenomena ( joining a diffused/invisible flow of energy, a breadth that wends its way ceaselessly through the world). Animating it as it goes.

Vital Nourishment, Departing from happiness, Francois Jullian.

What is a body capable of -  

Spinoza

Building/Making, into the theoretical performative object (that does theory)

Albers/Clarke : Interactions, Counterpoints, Intervals between colour/forms, 

Membrane, Discursive, Diffractive, Sensory, Layered and Filtered Light,

Body, Movement, Mind, Assemblages, Exploratory, Speculative, Choreographic,

Deleuze/Guattari, understand the body more in terms of what AFFECTS it is capable of, instead of the consequences of having a body.

Peter Zumthor : Thermal Baths

Human Agency/Temporal transitions between matter and movement.

Immaterial/Concrete/Water : Bodies in contact/the corporeal social human body

Manifolds/Theory of Temporality/3 Synthesis of Time

Memory     Past Preserved                    Condition

Present       Habit Instants                     Agent

New           Future, actual/virtual          Creation of The New

 

Multiplicity, purality of contemplating souls.

Asymmetries between particular past and general future.

Temporality involves multiple interacting processes.

 

Architecture becomes Spatial Agency

We all make space : Jeremy Till

Paintings, space, volume, surface, passages, actualizations, claddings/camouflage 

One conceives and reads a building in terms of sequences, both phenomenological and filmic, reading a space by its depth of field, its thickness.

Turbulence House, New Mexico, Steven Holl.

Aesthetics/Asperities : Resultants that incorporate the friction (asperity) of their trajectories through a medium. Tilt-up concrete construction, Chapel of St, Ignatius, Seattle. Steven Holl.

Navigations and Vectors/conduits/intervals and traces between discursive practices.

Wrapped Silences : Assembled Sectional Elements/Thresholds

Surfaces on Mourning/Samsara, a beauty fed on emptiness