Monday, 3 February 2014
The Laboratory , Canterbury 2009
Tim Ingold
MAKING 2013
Anthropology, Archaeology, Art and Architecture.
Practical Geometry
The Architect and The Carpenter
The Cathedral and The Laboratory
Templates and Geometry
The Return to Alchemy
Cyanotype image from pinhole camera with sound intervention/device within the apparatus of the camera, performative material gathered from the Canterbury School of Architecture.
UCA Spatial Practices MA under Oren Lieberman.
Social Space : The Surveyor
The tale is the map which is the territory
Spatiality : Robert T. Tally Jr.
www.russellmoreton.wordpress.com
Space and Form #1 Drawing.
Space Drawing, derived from a ceramic form fired on the beach at St Ninian's Cave, Scotland 2012.
Cyanotype with pencil on pierced paper with pins, boxed mounted.
www.visitscotland.com/info/towns-villages/st-ninians-cave...
Space and Form #1 Blue.
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Space Drawing, derived from a ceramic form fired on the beach at St Ninian's Cave, Scotland 2012.
Cyanotype with pencil on pierced paper with pins, boxed mounted.
www.visitscotland.com/info/towns-villages/st-ninians-cave...
Sunday, 2 February 2014
Camera Obscura : Kilquhanity 2011. #4
Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011
Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive".
Leylines Installation : Mapping Tool #4
“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.