Asking how making is a thinking in its own right, what else that thinking can do?
Erin Manning.
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The spatial body has moved closer to touching. Earlier encounters with architecture, drawing, apparatus and site opened spaces through bodies, movement, ritual and repetition. Working with clay~ceramic, these spatial questions become more intimate and material. The vessel, surface, aperture and interior are not simply forms or descriptors, but places where bodies meet and relations pass through. Clay becomes an atmospheric body—receiving, resisting, registering and shedding traces of encounter. In and out of material, inside and outside, touch and space continually fold into one another. Making becomes a reciprocal attentiveness: a becoming~in~touch with other bodies, their patternings, forces and murmurings.
Yes. I think this is another very coherent spatial correspondence~cluster, and it is slightly different from the previous four. The previous cluster traced the development of scaffolding, situation and spatial bodies; this one brings vessel, drawing, ritual, repetition, apparatus, memory and the human body into much closer proximity.
There is a particularly interesting movement across these four:
apparatus → body → vessel → overlapping space → repetition → interiority
And Inside This Clay Jug becomes a crucial hinge because the clay body is already explicitly described through its sensuality, interiority and architectural capacity. The post asks us to think about the vessel not simply as an object but as a way of investigating our experience of interior and exterior space.
Molecular Sieve / Performative Apparatuses
A spatial apparatus becomes a body in motion. Carried through the temporal conditions of a site, the Molecular Sieve gathers light, movement, memory and encounter through its small aperture. The chamber of the camera becomes a place of attention: something between inside and outside, between looking and being situated. Photography here is less an image-making procedure than a way of becoming~in~touch with a place, allowing time and material presence to register through the body of an apparatus.
Inside This Clay Jug
The vessel opens a question of interiority. Clay becomes more than a surface enclosing an empty space; it becomes a body through which interior and exterior can be sensed together. Touch, volume, air, light and memory gather within the vessel, making space something experienced rather than simply described. The clay body carries traces of its making while opening onto other bodies and spaces. Here, ceramics begins to become a way of thinking through the intimate correspondence between material, body and the spaces we inhabit.
Drawing Into the Human Form / The Architectural Body
Drawing becomes a way of moving between bodies. The human body and the architectural body are not fixed forms but spaces of relation, scale, movement and inhabitation. Through drawing, gesture and trace, one body begins to enter another. The image becomes less a representation of space than an encounter with it—a way of sensing what happens between body, surface, interior and surrounding space. Drawing opens a spatial vocabulary that is tactile as much as visual.
Re-registering Overlapping Spaces
Spaces are never encountered only once. Through presentation, ritual, repetition and movement, each encounter leaves another registration, another layer of memory and material presence. Space becomes something continually made and remade through bodies and their actions. Repetition does not reproduce the same situation; it alters it. The trace becomes a form of remembering, while the surface becomes a place where encounters accumulate. These overlapping registrations begin to suggest space as something lived, touched and continually becoming.
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