Assemblages of Event : Visual Art+Spatial Practices/Human Bodies/Spatial Bodies

Outpost 111225

The Everyday.

ANTONIO  He misses not much.

SEBASTIAN  No, he doth but mistake the truth totally.

The Tempest.

The Transparency Of The Morning.

One never sees what is always seen.

The immediate, just like the simple, the natural and the ordinary, does not perceive itself.

Substances : Artworks, rituals of purity and impurity.

Demarcations/Systems/Fields of order and contravention.

Material Margins/Transitional  Spatial Spaces.

Knowing that this clarity which has sprung up will soon dissipate.

Morning coincides with the emergence, giving back a possibility of springing up, of rising before the day has started to spread out.

For Jullien, it is possible to gain access to it only as we gain access to the immediacy of the day from the night. A world in which living is not right away (in which respect metaphysics is correct) it is necessary to cause it to rise. But without again being concealed by whatever has been entrusted with revealing it.

Life, is devoted from the outset to what its 'end' might be (telos) in the full sense of the Greek word.

Telos, at once a conclusion, aim, perfection, abandoning all the preceding 'between of life' to indifference.

The Way- Without demarcation, rather a way of viability by which the continuum of life is renewed.

The Philosophy of Living.

Francois Jullien.

Developing Open Subjectivities/BwO : Visual Art, Winchester. 2006.

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

Bodies are conditioned by architectural surrounds.

Architectural Body.

Reversible Destiny. 

Arakawa and Gins.

The transformative body, creates bodily interiors/relations that can open up to become productive alliances in which using spatial bodies, (other than the ideal types) they can be brought into new affiliations with systems outside of their boundaries. 

Creating an affective intensity.

Human Bodies/Spatial Bodies.

Relationscapes/Bodies/Events.

Organism-Person-Environment

Event-Space-Movement, superimposed over one another creates disjunction(Tschumi) and assemblages (Deleuze).

Drawing/Beginning a dialogue with matter/material between human bodies and spatial bodies.

Simple articulations (frottage) with the immensity and immediacy of the everyday.

Abstracted-Diagrammatic-Inhabitations.

Paintings/Drawings/Sculptures/Instalations.

Francis Bacon.

The Logic of Sensation. 1981, 2003.

Deleuze.

Reliquaries/Enclosures of Spatial Silences and of Light/Air.

A type of labyrinth with a momentary impossibility of escape (soul cages)  these are minoritarian architectures (Deleuze).

Real Spaces for Fictional Events.

A becoming architecture to provoke potentials to occur.

On the everyday, abjection of the human body.

The Clinic.

Bathrooms are spaces associated with the clean body and simultaneously with the dirty body. They are spaces that allow for hygienic evacuation of our excretions, they order our un-containment.

At the end of the day , the curtain is hung and there is a certain visceral repulsion to the damp curtain hanging in the window. To the drying of our bodily excretions and their gradual visual indiscernibility with the fabric. So no one knows what the fabric has absorbed.

All that remains is us, inhaling ourselves as air passes through the curtain and into our lungs. A re-absorption of our expulsions.

Zuzana Kovar.

The work of Deleuze and Guattari as a whole provides a way of approaching all bodies void of a dualistic framework. In particular for Kovar, Deleuze's work specifically touches on abject(ion) through his notion of an open and transformative or spasmodic body, which he discusses in the work of Francis Bacon.

Figure at a Washbasin. 1976

Francis Bacon.

Event-spaces in the paintings of Francis Bacon.

The Body-Figure/Figural-Event.

From the start, the figure has been a body and the body has a place within the enclosure of the painting from which the figure expels itself, gymnastically on the fields of colour. Is this the event of a body escaping itself into a figure, of the body in Deleuzean terms of trying to escape any notion of identity/form of repression?    

For Bacon, the body-figure exerts an intense motionless effort upon itself in order to escape down the blackness of the drain. This plexus (the body as plexus) its effort or waiting for a spasm, becomes for Bacon a painterly approximation of horror or abjection.

Paintings that create spasms that re-order the human organism, in order to escape it, by growing bodily organs as prostheses, or by allowing the enclosure of painterly space and contour to become an apparatus, an extension of the body-figure-figuration.  

The body waits to escape itself in a very precise manner, to escape itself via a spasm, the movement of the figure towards the material structure, towards the field of colour.

For Deleuze, the body repeatedly attempts to escape the organism, the particular organisation of organs that may be understood as constituting the subject the 'I', for Deleuze the body attempts to escape the 'I'. It is not 'I' who attempt to escape from my body, it is the body that attempts to escape from itself by means of, a spasm. But the body is not simply waiting for something from the structure (its place is an enclosure), it is waiting for something inside itself. It exerts an effort upon itself in order to become a figure now it is inside the body that something is happening, the body is the source of movement.

Athleticism, The Logic of Sensation. Deleuze.

Elliptical Circulations

Studio Wall Spaces/Artist's Books.

Between 'Devices'

Documentation/Research/Reading/Places/Images

Interpolation/Interpolation/Interstitial. 

Sculpting In Time.

Tarkovsky.

The Poetics of Space.

Gaston Bachelard.

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

Drawing as Diffractive Research : Mind/Hand/Media/Wayfaring, all in the thick of material existence.

Diffractive Research.

Tim Ingold's concept of "diffractive research" emphasizes a dynamic and iterative approach to inquiry, where researchers move between different lenses and perspectives, exploring the interplay between diverse elements. This method, rather than seeking a definitive conclusion, aims to enrich understanding by embracing the "emergent difference" and "variation in commoning" found within the research object. 

Elaboration:

"Diffractive" as a Metaphor:

Ingold's use of "diffraction" draws an analogy to the physical process of light being bent and spread when it encounters an obstacle. This process reveals the nature of the obstacle and the light itself, highlighting the complexity of their interaction. 

Iterative and Relational:

Diffractive research is not a one-time process but a continuous engagement with the research subject, moving between different perspectives and interpretations. This iterative approach emphasizes the relational nature of knowledge, recognizing that understanding emerges from the interplay between the researcher and the object of study. 

Embracing "Emergent Difference" and "Variation in Commoning":

Instead of seeking to define or reduce difference, diffractive research celebrates the "emergent difference" that arises from the interactions between diverse elements. It also emphasizes "variation in commoning," recognizing that individuals and things can contribute to a shared understanding even when they have nothing in common. 

"Wayfaring" as a Method:

Ingold's concept of "wayfaring" (a way of traversing the world, constantly engaging with its details) is closely linked to diffractive research. Wayfaring involves actively engaging with the world, paying attention to the details and nuances that emerge along the way. 

Examples in Practice:

This approach can be seen in research that explores:

Materiality and Agency: How materials shape human action and how humans, in turn, reshape materials. 

Knowledge and Memory: How knowledge is not simply transmitted but actively generated and shaped through experience and interaction. 

Social and Cultural Practices: How social and cultural practices are constantly being re-interpreted and re-created through interaction. 

Beyond Objectivity:

Diffractive research challenges traditional notions of objectivity by embracing the inherent subjectivity of research. It recognizes that knowledge is always produced within specific contexts and through particular relations. 

In essence, Tim Ingold's concept of diffractive research offers a powerful framework for understanding how knowledge is generated and how we can engage with the world in a more dynamic and nuanced way. 

AI Overview/Google

Outpost 180424

The Body of Drawing/Butades.

Thinking Matter : Cosmologies/Constellations/Assemblages/Apparatuses. 

Matter (as interlacing interplay that is dynamic and mutually defining) has its own nature.

In the thick of material existence.

Merleau-Ponty.

On The Hospitality/Intertwining of Lines

Making/Moving Matter/Theoretical Objects for Spatial Practises.

In and Out of Material/Matter/Matters of Concern/Sculpture

Tony Cragg.

Situated Practices/Architectures of Care/Concern.

Oren Lieberman.

The searching line proposes/launches visual observations/haptic responses, and conversely what is seen determines how the next line is to continue in a perpetual and recursive interaction that unfolds in ongoing time. 

Relationscapes of/with/for Drawing.

What is drawing?

What is the nature of the drawn line?

Un-Learning Drawing.

The drawn line is raw, on permanent view of its emergence into the world, an open zone that operates in real time. Corrections to the line, challenge perceptions and build intimate relationscapes with the mind, body, media and surface.

'In drawing' we are perceiving the evolving process of thought and perception.

Avis Newman.

Praesentia, being present, a presence that is close at hand to the present moment or time.

The phenomena and its nowness/nearness in the light of day. 

Drawing is driven from the outside.

The agent/agency of drawing admits that the process leads, the mind follows.

First the material signifier, marks on paper, then afterwards the signified, the depicted scene and its nominal referent. For Cozens the random application of splashes and patches of ink would at first appear a chaos, yet with a little skill, out of that chaos forms could be encouraged to appear. Blots might become clouds or the silhouette of hills. For Bryson, Cozens 'anti method' clarifies what the official ideology of drawing-as-transparency habitually mystifies. That the relation between subject matter and line is not at all a question of before or after.

Though far from being a work of philosophy Cozen's method/manual anticipates the broad outlines of Merleau-Ponty's description of the intending consciousness as always already in the world, in the thick of material existence.

Drawing the line involves an interlacing of outside and inside, a permanent cross-over between interior (the artist's mind, sensations,sensibilities) and exterior (paper, pigment,stylus).

A Walk For Walk's Sake.

Norman Bryson.

Studio Silences of  Space-Time Phenomena/Phenomenology.

Existential becomings in the thick of our material existence.

The Poetics of Space.

Gaston Bachelard.

The Primal Scene of Drawing/The Trace of Butades.

Is all about preserving loss/the blankness of paper and a hand that is about to make its first trace on the surface. Drawing enacts the very moments of trepidation when a new image is about to enter the world. 

Drawing is an art of presence and transparency of phenomena unfolding, a fusion between the artist's mind, the artist's hand, and the beholder's gaze.

On Drawing.

The work of observation is necessarily shaped by the line it leaves behind.

The drawn line conditions or models the selections from the field of observation. It launches observation along a particular direction or path.

Sunlight enters into architecture and sensations of bodily presence/perception.

Vessels unfolding through durations of light and dark.

Flesh/Sensation/Paint/Francis Bacon.

An Unconditional Body from Social Objectivity to the Extremes of Subjectivity.

Acts of both presence and transparency.

Mapping Subjectivity/Gathering Matter.

Organism-Person-Environment.

Architectural Body.

Art works and artists, all manifests themselves at the social interaction and reading/rendering of subjectivity.

The Stage of Drawing.

Gesture and Acts.

Like the drawings themselves, the exhibitions loyalty is to the immediate experience of the individual image rather than to the totalizing logic of art history complete with its grand narratives of social and cultural change. The exhibition reveals the convergence of real time operations (realities) the artist's visual idea in the time of its coming into the world, and the always ongoing work of viewing.

Pathways of difference, of the brush and pencil as they move through their respective spaces.

For The Brush.

Before it can touch the surface of the canvas, the bush has to orient itself according to the four sides of the frame, and then according to the total sum of the marks that have already appeared on the surface of the picture. It has to hover, to hesitate, to sense as though by dowsing where a channel in space may now open up, a groove in the total surface that the brush may now enter.

For The Pencil.

In drawing the presence of the 'reserve' frees the pencil from this complex calculus of the totality, reducing the scope to an area that can be taken in at once. A local area, that lies where the hand is now in praesentia. For Bryson this introduces the possibility that the drawn line, maybe closer to the immediacy of the artist's thought and perception than the line made on canvas. 

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

Giving Sensations Place/Site/Raveningham Sculpture Trail : Subjective/Hypothesis/Bricolage/Tectonics/Working Scripts/Making Camps.

 

IMMATERIAL ARCHITECTURES MAKING IN THE LANDSCAPE.

RAVENINGHAM SCULPTURE TRAIL 2018/2020

STIMULATING TENSIONS.

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

Mediating/Architecting the experience of LANDSCAPE.

The building as nothing more than an exposition of itself.

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning.

SITE, the undoing of PLACE.

The House-sheds : Camping

There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.

Roger Deakin

WILDWOOD

A Journey Through Trees

Art Practice as a Speculative Spatial Practice.

A reflective building is an echo not a statement.

Haptic devices/seating/dwelling in the landscapes of the mind. Landscape assemblages and the significance of solitude.

The immensity/intimacy and its immediacy to the imagination. Immensity is within ourselves. Gaston Bachelard

The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.

The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.

SENSING AND SPATIAL PRACTICE.

Creating a new viewer, who has to look in two self contradictory/self annihilating directions at once. Darkest Spaces of Our Times, Therese Oulton, Jacqueline Rose.

CONTEMPORARY ART AND ANTHROPOLOGY : SPATIAL PRACTICE.

Making Place/Tools, cognitive enactments/materials and performativity/wellbeing.

Sociological aspects of the Arts

Archaeology, Anthropology, Architecture, Art, Tim Ingold.

A FIELD GUIDE TO GETTING LOST : Rebecca Solnit 

Experiential anthropology / Walking as 'being/becoming in place' 

Sensate, Sensing Sensuality, Otherness.

WHITEBOARD : PAVILIONS/RAVENINGHAM

Art as Contemplative Practice : An Applied Praxis/Inquiry

Expressive Pathways/Building/Making as an extension to the Self/Selves In Response : To Place/Site and “Dwelling/Hut”

Subjective Hypothesis Bricolage/Tectonics/Making.

Poetic Abstractions/ Components, Elements

Physical Experience/Experiential Phenomena ( Light/Gravity/Air) Sculptural Assemblage, Building/Making an Exposition of Itself

Smithsons, The Parallel of Life/Art the everyday/quotidian Grounding/Earthing/Dwelling/Home : Reflexivity/Reflection/Reverberations

Knowing Through Making/ Embodying Insights, Tim Ingold

MAKING : Deliberation/Awareness : Constructed Situations/SURFACES and TEXTURES SENSING, Sensorium/Embodied Experience, Sensate, Intra/Intervention

PLACES that transform Chaos into Cosmos, Karsten Harries

PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

 

Socializing a Sculptural Practice, Jack Robins 2015

Strange Tools, Art and Human Nature, Alva Noe 2015

Visual Tool, Post Studio, Daniel Buren

INDEXICAL, Traits/Traces and subjective narratives Situational/Relational Aesthetics, Victor Burgin, Nicollas Bourriaud

Handmade, Repetition, Empirical, Experiences.

Metonymy, Cristina Iglesias ( Metonymic Thinking Processes)

Architecturally Speaking, Practices, praxis between art .architecture and the everyday. Visual Perceptions/ The Image

Surrealist Techniques, Collage, Photograms. Decalmania, Frottage. Assemblage, Brutalist/Modemity/Intervention

Minimalist/Drawing/Painting ARCHAEOLOGY : Mark Dion

Agency/Nature/Subject Matter. Collection of Finds, Metaphors/Interpretations for the lived experience. AN ANTHROPOLOGY OF LANDSCAPE :

Taskscapes/Relationscapes

Anarchism, everyday Aesthetics/The aesthetics of everyday LIVING Pragmatist Aesthetics/Interpretation of Concepts

Materiality, material makes more than one language possible, excess of material. LANDSCAPES for an excess of Interpretation/Politics

EXPLORING THE LANDSCAPE, through/with the CORPOREAL EXPERIENCE of OTHERS

A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses. Poetic abstractions/Physical experience

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES ILIMINALITY on the absence of material

STATIC ENVIRON I ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE. Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL / POCHOIR, hand coloured through stencils

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression 

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.

Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION 

FUSELAGE

THE CAMP/HUT

represents the true reality of things, Deakin.

MOBILITY MOVEMENT

TEMPORAL CONSTRUCTED SPACE

A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.

MAKING, from form to programme.

WAVENEY VALLEY SCULPTURE TRAIL 2018 RAVENINGHAM

AUDIT OF NOTE FRAGMENTS 27 August 2018.

Archive as a generative form/membrane Tarlaton, mesh, paper, liquid light,

Presenting, Creating, Synergies, that further explore site embodiments. The Politics of Things

Diffractive Practices : Agential Cut, Barad, Learning Spaces, 

Brockwood Park School. Reimagining  Education 

In The Cave/Canvas of the Cave

ART. began with the questioning of the involuntary, trace of a human hand, an otherness. 

Moments, Nowness, The Instant, Actuality,

Habitus of Difference

Robert Mangold text on painting/drawing minimalist interrogation into the spaces around perception Minimalist Works / Working Processes represent fields of energy/causality within our experiential perceptions.

Drawing is the experience of seeing made visible/manifest Rhizomic feedback and flow, Deleuze

Research Horizons,

Culture drives growth, wellbeing, social enterprise and community

Lines of intervals, linerality, chains of codes, intersections, utilities, interventions Causality and Chance of ideas, creative acts, art,nature, becoming, the everyday,

Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,

Everyday aesthetics, heuristic practice,

Photography, Social pathology of traces layered into ecologies (Anthropological localities of desire)

Photography, The Body, Life, Death, Flemish Painting, Vivitas, Domestic Life, Nature on reclaiming the void left by the death of the mind

Walking creates its own feedback loop, The Journey, The Return,

The specific, Here and Now

Psychogeography, Dossier, Forensic Study, Inquiry.

Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity LANDSCAPES Constituted by creative practice

Walks as erasures, sedimentation, (Gardiner)

Getting Lost, Walking whilst deep in thought/embodiment in the environment 

Working Towards a Secular Retreat in the Landscape

Between PLACE and SITE.

Art Making  Agency/Spatial Agency.

Art Poverva, Materiality, Agency, Making, Nesting Building, 

NASCENT FINDINGS

Encoding DATA, LANGUAGE

Entanglements of Visual Data and Abstract Language 

CATHEDRALS OF INTELLIGENCE

The Urban Documentary,Text, Sebalt, 

The River : The Colour of Light

Albers/Colour Perceptions

Vernacular Architectures, Building/Making beyond the design

Footings, Voids, Roof Structures, Cavities, Between Walls.

Sensing Spaces in the very making of the building.

The Architectural plan/model and its proposal became the real virtual space for architectural energy and innovation.

TRANSACTIVE MEMORY Texts, Contents, Particulars, Process,

Working through ideas with things/devices/apparatuses Cognitive Landscapes /Relationalities ? Possible Worlds Subsumed by the causality of relationships/culture

Mies van der Rohe 

The Art of Sculpture

Moholy Nagy 

The New Vision Abstract of an Artist

Light brings the moment in time to us

Presence, Praesentia, exactitude of light on place and time.

LAND, LANDSCAPE, CLAY

Pot, Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial Perspectives

Light/Dark Room : Towards a new Interior Experimental Vision : Research Collage

Aesthetics of the Everyday Creative, Human Praxis

Supportive Material/Texts/Cyanotype Drawings from found objects

SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax  

AFFECT

SENSATION / CAUSALITY LIVING

THINKING LOOKING

DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD. 

A Land, J Hawkes.

FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness. 

PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

COLOUR AS CONDUIT.

PERCEPTUAL ENVIRONS / CRAFT MEDIA /IMPROVISATION

PIERCED /DAPPLED NATURAL LIGHT

DIFFERENTIATED SHADOW /SURFACE

EXTRAORDINARY MATERIALS.

TECTONICS AND TEXTILES. 

INDEXICAL /GESTALT / VISUAL PERCEPTION

NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan

ABSENCES / INTERSECTIONS I GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY

IMMATERIAL / REPETITION / SINGULARITY ENCLOSURES / ITERATIONS / THINKING FORMS

MINIMALIST SPACES / INTERVALS, tuning objects to construct environments A child 'concretizes' its existential space.

Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard. 

Tidbury Ring, field drawings with cyanotype liquid on paper.

A Hut of Ones Own. Heidegger for Architects. 

Immaterial Architectures.

SENSING AND SPATIAL PRACTICE

EXPLORING THE LANDSCAPE

Soft/Blurring boundaries between art and the everyday making/becoming REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence TEXTURES / LIMINALITY on the absence of material.

STATIC ENVIRON / ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering, ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL 

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression. 

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building. Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION / FUSELAGE

THE CAMP / HUT

represents the true reality of things, Deakin.

The building as nothing more than an exposition of itself.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning. 

SITE, the undoing of PLACE. (Casey)

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

DWELLING / MOBILITY / MOVEMENT IN THOUGHT

TEMPORAL CONSTRUCTED SPACE

TETHERED FOLLY against a fabric of time.

ART AS INDETERMINATE, able to arrest perceptions into different states (becomings) Stone Worlds

Narrative and Reflexivity in Landscape Archaeology Architecture and Ritual, how buildings shape society.

Bought to Light

Photography and The Invisible 1840-1900

CURATORIAL / DEVICE / BENCH / INTERLOCATOR

Jannis Kounellis, Theatre, stage crew shifting actors during a performance. Interconnected, between contexts, opening places between the social fabric.

Making spaces, expanding vision to create spaces 'between' in which to write ourselves. 

CONTEXT AND CONSIDERATIONS :

ART MUSEUM CULTURE

THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW.

MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST

None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.

THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR. THE NETWORK places the artist as a ’like' ITEM within an INTEGRATIVE

INVENTORY or DATABASE.

Immateriality/Temporal/Transitions material and movement/Human agency

A Species of Spaces.

Construction/Making/Collage

Forming, slowness and repetition, elements of painting

Assemblage, sensation, surface, objects and spaces between them gathered/thresholds

Sheltering/Weathered/ Exploring a fragility of a painting in the landscape

Robert Mangold, Paintings and Architectural Forms

Fragments from sketchbooks.

Ephemeral Architecture

Canvas as spatial verb

Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails.

Canvas as folded construction/shelter/place

Operative Design, A Catalogue of Spatial Verbs.