New Ceramics/Drawings/Constructions/Apparatuses/Daylight

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.

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

To build, dwell and explore the space of drawing through intuitive and abstract making.

Drawings/Constructions/Apparatuses.

There is no stage at which humankind does not demarcate, beacon or sign their space, leaving traces that are both symbolic and practical.

The Production of Space.

Lefebrve.

Like drawings, assemblages drawn and made showing the paths taken.

Landing Sites/Holding Places.

Between The Body/Sensing Spaces/Voids.

Perceptions, body, organism, environment,

Mezzanines, lofts, basements, balconies, walkways, scaffolds, access platforms.

Living Architectures/Narratives/Dwelling within the Ruinous. 

Tarkovsky.

Bachelard.

Making Gestures and Connections in Space. 

The Memory of Objects.

The Provocative Combination of Densities.

Inner Architectures/Clay/Sensorial/Conceptual/Places

I placed a jar in Tennessee, 

And round it was, upon a hill. 

It made the slovenly wilderness 

Surround that hill.

The wilderness rose up to it,

And sprawled around, no longer wild. 

The jar was round upon the ground 

And tall and of a port in air.

It took dominion everywhere. 

The jar was gray and bare. 

It did not give of bird or bush, 

Like nothing else in Tennessee.

Wallace Stevens, ‘Anecdote of the Jar’ (1919)

Innerness for the potter is always at the heart of the practice, as manifested through the opening up of the thrown vessel.

Inner spaces of defined interiors forming vessels that are intrinsically cyclical through light and dark by way of their surfaces and volumes.

Like the cellar, the pots interior and its containment of light and shadow becomes a dwelling space for a submerged primordial memory. (Bachelard/Trigg)

The clay links the vessel to both locality and our geocentric position.

‘Pleasure is moving from darkness to light and vice-versa.’ 

Grafton Architects. Sensing Spaces: 2014

The pot promotes an architecture of the soul, of an intimate yet social interior illuminated through the imagination.

In The Making : Hollowing out Space through Innerness and Difference. 

Quietus : Interiors of Silence and Space.

Innerness : A (sensorial) space or even a place interior to its environment 

Splitting.

Spatial representations/cuttings into the urban/social fabric of architectural redundancy.

Gordon Matta-Clark.

The co-existence of overlaying fragments of construction, by selective excavation and creative demolition.

Castelvecchio an attitude to history. Carlo Scarpa.

Site is the un-doing of place.

Generative and provisional, site-specific investigations for sensing place.  

Hand Built, Slab Ceramics.

Oxide washes, incised lines and piercings undertaken to the raw clay forms.

Architectural Facades/Camera Obscura. 

Dark Room.

Garry Fabian Miller.

The internal mechanisms with which we see and experience visual and physical phenomena depend on a bottom-up approach. Building up from elements of abstraction, the opposite top-down approach of given figuration stifles necessary imagination.

Curiosity, imagination and enthusiasm all hold a power in the mind to ignite the creative act.

The Lake of The Mind.

Steven Holl.

Stochastic thinking suggests an interconnected ecosystem of architecture together with all of the arts to achieve new levels of correlation.lay

Observatories : Boundaries/Mapping Spatial Representations

Entanglements of matter and meaning.

Karen Barad, Meeting The Universe Halfway, 2007.

Meeting the Universe Halfway is an ambitious book with far-reaching implications for numerous fields in the natural sciences, social sciences, and humanities. In this volume, Karen Barad, theoretical physicist and feminist theorist, elaborates her theory of agential realism. Offering an account of the world as a whole rather than as composed of separate natural and social realms, agential realism is at once a new epistemology, ontology, and ethics. The starting point for Barad's analysis is the philosophical framework of quantum physicist Niels Bohr. Barad extends and partially revises Bohr's philosophical views in light of current scholarship in physics, science studies, and the philosophy of science as well as feminist, poststructuralist, and other critical social theories. In the process, she significantly reworks understandings of space, time, matter, causality, agency, subjectivity, and objectivity. In an agential realist account, the world is made of entanglements of "social" and "natural" agencies, where the distinction between the two emerges out of specific intra-actions. Intra-activity is an inexhaustible dynamism that configures and reconfigures relations of space-time-matter. In explaining intra-activity, Barad reveals questions about how nature and culture interact and change over time to be fundamentally misguided. And she reframes understanding of the nature of scientific and political practices and their "interrelationship." Thus she pays particular attention to the responsible practice of science, and she emphasizes changes in the understanding of political practices, critically reworking Judith Butler's influential theory of performativity. Finally, Barad uses agential realism to produce a new interpretation of quantum physics, demonstrating that agential realism is more than a means of reflecting on science; it can be used to actually do science.

Norman Lockyer Observatory, Seaton.

Celestial Sphere : Stars and Dust Particles. 

Astronomical archive

Hawking understood black holes because he could stare at them. Black holes mean oblivion. Mean death. And Hawking has been staring at death all his adult life. Hawking could see.
Martin Amis, Night Train, 1997.

For Baudrilland the actual photographs are beside the point. It is what precedes them that counts in his eyes- the mental event of taking a picture.
Sylvere Lotringer, The Piracy of Art, 2008.