13/10/24
Painting/Assemblage/Ceramics.
Ceramic Vessels on Site Specific Ground.
On the sensorial nature of creative inquiry
Indexical markings into the aesthetic realm between objects.
Making With Clay.
https://www.flickr.com/photos/russellmoreton/
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Relationscape between organism-person-environment.
Architectural Body.
Arakawa/Gins/Manning
Outpost 070723
On The Plane of Feeling.
The Aesthetic Dimension of Individual Human Experience.
We Are Moved To Think.
Incipient Expressions.
Feeling-with is a force for thought.
A work creates a force for rethinking as much as a force for the experience of sensation's relays towards prearticulation.
One work can have many dynamic forms, many concepts, many feelings or thoughts.
The artist is not the subject, rather prearticulation is.
The Work's Subject
Is Its Dynamic Form
Its Valuation
Its Conceptual Resonance
Its Diagram.
Activating new parameters for thought.
The force of feeling-things becoming into existence.
To posit a subject for feeling means, engaging with the creative from the outside. This taking form is less the formation of a concrete identity than the culmination and residue of a process.
The Work creates its own subject, its subject is the force of becoming it proposes.
Feeling is power's compulsion of composition.
Whitehead 1929/1978.
The compulsion to compose is an aesthetic drive, a will towards sensation, a will to power-feeling.
Becoming-Bodies Feel-With The World.
Amanda Baggs feels-the-world. Watch her reading a book, she touches it, puts her face into it, listens to the pages rustling, smells it, looks at it. Through her the book becomes conjunctive, valued within a complex responsive environment. By culling the bookness from the book, Baggs makes the field of its musicality felt, its texture, its force of becoming not only as an object to be read but as a relation to be lived.
By feeling the book, Baggs brings the book into relation with a force of prearticulation that exceeds the book-as object.
Erin Manning.
Concepts appear/manifest-themselves as forces of expression in its incipiency.
The Multiple Sense Of Concepts.
There is no event,
No phenomena,
Word,
or Thought
Which Does Not Have Multiple Sense.
A thing has many senses as there are forces capable of taking possession of it.
Deleuze. 1993.
Concepts value the rhythmic pressure of feeling/thinking with the work/world.
The concept is a gear-shift mechanism that acts on blocks of sensation, oscillating between thought and articulation, it pulsates between the actual and virtual realms. On the virtual stratum concepts propel the becoming event of thought, they feel its force of creation. On the plane of composition concepts articulate the dynamic form of prearticulation, they express the feeling of force.
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.
Robert Irwin
Notes Towards A Conditional Art.
2011/2017.
Editor's Note to the Reader.
Beatrice Hohenegger.
The fact that so many manuscripts have until now remained unpublished reinforces Irwin's characterization of his writing as motivated not by communication or publication, but rather by a desire to examine and clarify core questions that he was pursuing at key moments in his career.
Introduction
Irwin's Writing.
Matthew Simms.
In a statement published in 1998, Robert Irwin emphasized that his essays, were not written in order to communicate, I am a visual artist, not a writer, or to refute criticism, writing was for me a means to examine the questions that were turning in my head concerning the 'why' of art, with the intention of clarifying the process of making. Together, they reflect relatively well the development of my thinking and the guiding idea of my work: the potential of each person to perceive the surrounding world from a unique aesthetic perspective.
Notes toward a Conditional Art brings together for the first time Irwin's published and unpublished writings. While the texts span a wide range from letters to project proposals, the vast majority are personal ruminations, sometimes set down in draft form and other times worked up into fully developed essays. They cover a diverse conceptual terrain including, among other things, Irwin's philosophy of teaching, the lessons of modern art, and the artist's understanding of art as a form of pure inquiry. Above all, this book makes clear that starting in the 1960s and continuing up to the present, writing has been and remains an integral element of Irwin's multifaceted art practice.
White Washed Spaces:
Hungate/Water.
Provisional Objects/Architectures.
Porous Fired Clay-Drawings as Spaces.
Thinned Gesso, Sanded/Abraded Surfaces.
Lead Sheet/Glaze/Slip/Batt Wash/Opal Glass.
Compositional Tilt-up Pieces/Vessels.
Figural Body/Water on Chinese Paper.
Hybrid Body-Trace Drawing.
Indian Ink/Cyanotype Process.
Mounted/Inter-hanging/Canvas/Screen Mesh.
White Conduit/Nylon Line.
Re-Visiting The Human Outline.
Chinese Paper/Thinned Gesso/Wax/Lime
On The Plane Of Feeling.
We are moved to think through a conceptual unfolding a reaching towards-expression.
Through feeling, thought begins to take form as a conceptual force.
The complex interplay of the transversal passage between thought-concept-articulation-
For Whitehead, feeling is the pulsion that transduces thoughts into becoming concepts.
Feeling is a pulsion to think, a sensitivity that situates thought in the world. Through feeling, thought's affective tonality is foregrounded.
Affective tone is an environmental resonance of a feeling-in-action, as a vibrantile force that makes a resonant milieu felt. (The Hungate, Norwich, Propositional Workings)
Feeling Is Affect Bleeding Into Thought.
Activating complexities on the verge of expression. At the threshold of thought as creation, feeling provokes an aperture for that which has not been thought.
Thought is a lure for feeling that prearcticulates the virtual inflections of its incipient expression.
Feeling-with is not without thought, it is a force for thought.
The Enabling Constraint.
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Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits . Erin Manning.
Architectural slab built pieces investigate ceramic forms as a dwelling place or a model for a building construction. Some thrown shapes on the theme of crucibles fired by the Raku process. Recent work has been exhibited in historical sites and locations, exploring contexts of ceramics and rituals. Studied Ceramics at Epsom School of Art and Design UCA, Visual Fine Art at Winchester, Teaching at Brockwood Park School.
Anglian Potters
https://www.anglianpotters.org.uk/members/russell-moreton/
Water at Hungate.
Hungate Architectural Explorations.
Air/Place/Breath/Light/Architecture/Ritual/Social Space
Cell-Court-Domain.
Russell Moreton is a visual artist interested in gathering research and responding to the historical site of St Peter, Hungate. He has explored the exhibition theme 'Water' as both a spiritual and corporeal inquiry for site-specific artworks. He has spent time developing working ideas that have an affective resonance to the architectural setting of their presentation. His use of slab built ceramics vessels echo the stillness and muted silence experienced within the medieval fabric of the Hungate. He has used a figural drawing on Chinese paper, processed by the evident passage of water to explore the representation of the human form in this particular place.
Ceramic Forms/Inscriptions/Lines of Knowing.
Wayfaring, walking/sensing between things.
As wayfarers we experience what Robin Jarvis has called a progressional ordering of reality, or the integration of knowledge along a path of travel.
Up. Across and Along, Tim Ingold.
Structural Modalities/Making/Tensions : Spatial Forms to gather/interact with discursive research
Sensing Spaces : Through displacements and hidden volumes.
The Hut is a vessel in the making for reflective dwelling.
The Pot with its interior underpins its fidelity, its completeness.
Some pots are tuned and balanced for their “innerness”; others promote their surfaces (noise) at the expense of their interior integrity (quietness)
Vessels of Defined Spaces : Creatures of Light and Dark
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 innemess. This anthropological inner space linking us to the potter is both sensual and distant; its vacancy allows us dwell in the maker’s absence.
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