Immaterial Architectures : Organizing Structures/Making Metaphysical Space

Architectural Surface : Constructional Forms in Glass
Organizing Structures : Artist Notebook, Body/Landscape

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.


Slow Photography/Blue Transitions : Phenomenology of Visual Structures

Thinking Things : The Archi-Textual Surface.

 

Rebecca Solnit explores Susan Bordo’s claim that ‘if the body is a metaphor for our locatedness in space and time and thus for the finitude of human perception and knowledge, then the post modern body is no body at all.’ Solnit comments on this post modern body that it is more of a passive object, appearing most often laid out upon an examining table or in bed. ‘A medical and sexual phenomenon, it is site of sensations, processes, and desires rather than a source of action and production, this body has nothing left but the erotic as a residue of what it means to be embodied. Which is not to disparage sex and the erotic as fascinating and profound, only to propose that they are so emphasised because other aspects of being embodied have atrophied for many people.’(Solnit, 2002)

We return back to the urgent need to make and experience things that in someway that lead us back to ourselves. The creative architectural work of Peter Zumthor is something that I am engaging with. He has developed architectural design practices that consider each project in terms of a comprehensive and encompassing sensory experience. He looks beyond the mere physical form and its fabric. He attempts to address issues of the body and how it may interact within a built environment. The use of memory as a spatial narrative to accompany the atmosphere of his spaces is realised through evocative material surfaces and densities. I feel that there is a synergy here between the opening up of the interior of a pot and the opening up of a space to dwell in.

In sensing a pots interior from its surface, we are as it were in some intimate tacit correspondence with its spatial sensing centre. We become known to it through its maker’s creative gesture of innerness. This anthropological inner space linking us to the potter is both sensual and distant; its vacancy allows us dwell in the maker’s absence. We become part of the vessel, we enter its philosophy of solitude.

Surrounding Objects/Drawings/Buildings : Critical Proximity/Agencies Between Things in Wonder

Studio Assemblages : Spatial Instant/Relationscapes

 Ever instant has a thousand memories : Henri Bergson 

Drawing as a participant in amongst a world of active materials

Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"

"All that is solid melts into air"

Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

http://pictify.saatchigallery.com/user/russellmoreton

Blue Spaces : White Absences #5

Blue Spaces : White Absences #5, a photo by Russell Moreton on Flickr.

Transposition and Superimposition : Drawing for photographic installation.

Transposition and Superimposition : Drawing for photographic installation., a photo by Russell Moreton on Flickr.

Leylines : Architectural Designs #11.

Leylines : Architectural Designs #11., a photo by Russell Moreton on Flickr.

Localities : Movements, Marks and Surface Details.

Localities : Movements, Marks and Surface Details., a set on Flickr.

Spatial Drawings (moments of reflection) on glass and paper.