“Leylines” has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has also produced insightful local knowledge from those dwelling nearby.
Beams and Netting: Negotiations in the chamber.
Clay, Hessian, drawings and transparencies from architectural openings, drawing frame, antique glass, lead and nylon lines.
This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber, and these drawings also reference the supportive ironwork (Ferramenta) which has been playfully re-registered as a graphic leyline . A drawing frame similar to that used in archaeology for drawing has been adapted to illustrate the relative positions of the leyline as registered by the ordnance survey grid, both terminuses being labelled on the frames periphery.
Monday, 6 January 2014
Leylines Installation : Mapping Tool #3
Unresolved Reverberations : #2 Solar Spore.
http://flickrhivemind.net/Tags/thinkingprocessesandstrategies/Interesting
Drawing and Assemblage : Cyanotype process on watercolour paper with lead profiles.
Drawing and Assemblage : Cyanotype process on watercolour paper with lead profiles., a photo by Russell Moreton on Flickr.
http://flickrhivemind.net/Tags/thinkingprocessesandstrategies/Interesting
#2 Workplace Andover College 16.11.2010 (detail from wall collage)
#2 Workplace Andover College 16.11.2010 (detail from wall collage), a photo by Russell Moreton on Flickr.
Education Project Residency: Andover College. 2010
Russell Moreton
Andover College provided a dedicated workspace for Russell Moreton to develop his research and practice, sharing his time between the two sites.
Brief outline of initial thoughts and intentions...
"Setting up a Diversion for Creative Exchange.
Interested in grasping the opportunity at Andover College to further advance my postgraduate studies at Canterbury school of Architecture. The Spatial Practice course at Canterbury has opened-up theoretical methodologies into how we practice, perceive and interact with space. My own research project is centred on issues regarding registering working places. Creative investigation and research into this project has evolved through performative acts, drawings with apparatuses and critical theory.
The aim of this area of my research and practice was an attempt to how I might introduce an intervention into a place that will act as a physical baffle a “bookmark/sounding board” which might allow a “stalled site” to be created within the duration of place. This site will be relational to its placement but also annexed. It is hoped that this site, slightly annexed from its formal relations might render creative transdisplinary dialogues, as a gathering place out of the main flow of activities. This spatial device with its relational surfaces and volumes will attempt to harbour a tangible space, a forum of reference even in absence of its author/installer and custodian. It will grant a sense of hospitality, and a working space to those prepared to dwell.
The encountering material dialogue (stuff) of this diversion and its site will initially utilize my experience with contemporary drawing, its gestures and acts and this will be augmented by the malleable and transformative medium of clay. The contemporary issues regarding the use of clay and ceramics amongst contemporary practitioners will be researched, including the growing number of performance and site specific works. The implications and findings of this dialogue might be further transposed into the Architectural realm through surface and volumes amongst other materials and structures."
text by Russell Moreton
Saturday, 4 January 2014
Russell Moreton : Exhibition of working practices.
Artist Statement/Chapel Arts Residency
Practitioner using the creative receptiveness of material together with the inclusion of drawing to harbour transits and passages of human presence, vulnerabilities centred around the human condition. My work adopts strategies which articulate a sense of absence and anonymity within the abandonment of the work to its location. I feel drawn to this registering of passage, encounter together with its farewell. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place. The performative recording by physical means which renders itself as a trace of human presence, now becomes a vacant territory open for the consideration of others.
My work continues to investigate this sense of material response with the performative trace of a human absences. The place-ment of these acts attempts to promote thresholds from which to reflect upon spatial, sociological and psychological conditions and perceptions.
Currently working in clay, low fired to produce and promote a fragile vessel. This vessel is installed to act as a dwelling presence reverberating in a resting place. from which work is drawn into the human form to register a surface of absences resulting from past gestures and solitudes.
Russell Moreton a visual artist uses simple gestures of drawn Human traces gathered and presented amongst natural materials. Exploring themes around the Human condition, vulnerability and abandonment. Materials are employed to further underpin our sense of place and time. The act and gesture of drawing adds a ephemeral mark amongst the materiality and locality of place. Currently using clay to register these themes, installing work Augury Vessel 2010 into Chapel Arts as part of their research residency programme.
