Studio Workings/Hidden Orderings : Making from Scattered Attention/Undifferentiation.

OUTPOST STUDIOS 3.16

Cooper's 'Objects' of thinking are not objects, but that which goes beyond objects. It is not the objects that resist meaning (as we have seen they are full of meaning) but what goes beyond objects.

Peripheral Vision

Relationality

The act of relating is analysed as a constitutive feature of human agency. Relating is viewed as a continuous work of connecting and disconnecting in a fluctuating network of existential events.

Robert Cooper

The Hidden Order of Art. Anton Ehrewzwey

Anglian Potters

Members Profile

Studied Ceramics at Epsom School of Art and Design from 81-84. Worked in a number of studios including Grayshott Pottery and Dexterity Crafts. Working methods include thrown/altered/slab built forms, kilns generally self constructed, experimental and portable. Previous work has been slab built architectural forms fired at stoneware temperatures. Recent pots are hand thrown, low fired Raku with delicate fragile rims. Own practice explores interests in Architecture/Lighting and thinking with the vessel as a contemplative/activist form. Interested in the sculptural qualities of the vessel/pot to explore making/material. Informed by contemporary arts, sculpture and architecture. Teaching experience in Fine Art and Ceramics.

Drawing Collage : Space Frames/Scriptorium/Observatory

Slide 6
Poche/Niche : The shaped presence between two surfaces/volumes

Reading Rooms : Waverley Project

Photographic Forms
Immaterial Architecture
Anti-Object

Abstractions : Frequency/Colour/Flow/Impermanence

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

Surrounding Objects : Speculative perspectives of material/colour

 

Studio Images : Outpost, Norwich.

 

Relationscapes/Material Flows : infra Body, Personal Relations and Spatial Agency

Slow Philosophy

Reading against the institution

Troubleyn Laboratorium

Jan Fabre

Every colour has its own perspective.

Jenny Saville

Material flows and currents of sensory awareness in which images and objects reciprocally take shape.

Tim Ingold

The Dynamic Real

Vibrant Matter

Jane Bennett

infra

Max Richter

Wayne McGregor

Julian Opie

Vitality

Difference

New Materialisms

Elizabeth Grosz

Diffraction attends to specific material entanglements, a discursive phenomenon that makes the effects of different differences evident.

Performativity, subject and image do not pre-exist as such, but merge through intra-actions. 

Karen Barad

Collage, Superimposition, Bounded and Un-Bounded 

Space and Place
THE PERSPECTIVE OF EXPERIENCE
Yi-Fu Tuan

1959 : Patti Smith
Peace and Noise

Lingering at the threshold between word and image
Cy Twombly
Claire Daigle

https://www.tate.org.uk/context-comment/articles/lingering-threshold-between-word-and-image

Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration.

Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation.

Existential Gestures : Looking away from the sea

Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times