Reflective Journal 2013. #7

Reflective Journal 2013. #7, a photo by Russell Moreton on Flickr.

Text/Tent/Texture #1

Text/Tent/Texture #1, a photo by Russell Moreton on Flickr.

OUTPOST STUDIO 041121

 

Drawings : Work Comes Out Of Work.

Richard Serra

Resultants that incorporate the friction/asperities of their trajectories through medium.

Tilt-up concrete construction, Chapel of St. Ignatius. 1997.

Steven Holl, Parallax.

Braunkreux was a concept, it provided a metaphoric connection between drawing and sculpture. 

For Beuys, so-called Braunkreuz was not a colour, it was a generic substance, a sculptural expression. Braunkreuz, being brown, also became a metaphor for the earth as an enveloping cover, a protective medium, a fecund 'body' in which the spirit was reincarnated, as in a womb, a cave, or a grave.

Filtered Light/Coloured Glass Assemblages

Inquiry/Programs/Projects/Spatial agencies that move through speculative material thinking.

Mattering between the division of things.

Intermediaries, sprays, screens, templates, objects.

Drawings/Monoprints/Substance/Materials

Beuys and the language of drawing. 1974.

Beize probably an iron compound in solution, stain or corrosive.

Braunkreuz Oil on cut, folded, and pasted paper, mounted on paper. 65.5x50cm, irregular. 1962. 

Beuys spent close to a decade elaborating a personal idiom, doing so almost entirely in drawing.

Joseph Beuys : Life Drawing, Ann Temkin.

Cyanotype

Yellow Ochre

Manganese Dioxide

Red Iron Oxide/Paint

Monochite/White Gesso

Ceramic Forms/SlabWorks

Lead Sheet Constructions, folded and perforated with glass inclusions

Emotion, Space and Society

An Intimate Mode of Looking

Francesca Woodman's Photographs

Jane Simon. 2010

Woodman presents an intimacy between picturing herself and her experiments with the photographic medium. She saw time as persistently liminal.

Whirling space and haptic vision.

Irigaray.

Woodman's body seems to be moving just beyond visibility.

We respond to the experience in the photograph, the inner feeling generated by it.

Indexical Thresholds/Photograms/Wonder/Spaces in which we are drawn outside of ourselves.

The sudden impulse to click the shutter, is at once a work and the record of practice, encompassing both conscious and unconscious awareness.

What is it like to feel oneself disappear into what Foucault called, the space in which we are living, by which we are drawn outside ourselves?

A Swimmer Between Two Words, Michel Foucault. 1998.

Anamorphic perceptions, playing with both space and time, something glimpsed only peripherally and apprehended more than seen, a sense of the ghostly in the everyday and of the slippage between subject and object, and between what is alive and what is inanimate.

Playing with explorations into the gendered nature of the gaze, together with her sophisticated use of buildings and objects and her concern with the properties of photographic space ; place her practice well beyond mere figurations of the female form as always being about the 'woman's body as an icon of desire.

On Identity

Who is the “self” so deceived?

Intermediaries/Devices/Spatial Agency

She uses the mirror and her body as an apparatus, a means of reflecting/diffracting the space she inhabits.

Self-Deceit#6 presents an unusual relationship between woman and mirror. Taken in one of several derelict and abandoned buildings, sites Woodman commonly adopted not only as her studio, but in some cases as her home.

The mirror reflects only glare or darkness, and the figure is consistently blocked by its aggressive reflection of emptiness.

Kathryn Hixson, Essential Magic : The Photographs of Francesca Woodman. 1992. 

Francesca Woodman's photographic practice incorporates a variety of themes including gender and self, representation and isolation, the body and its relationship to space, explorations of femininity and the female body.

Throughout her work, Woodman acts as both subject and author, dissolving conventional boundaries of representation.

The textual influences that inspired Woodman are clearly evident in the artist's consequent adoption of certain objects and themes, including mirrors, fur, eels, nudity, all of which hold strong Surrealist associations.

The University of Edinburgh. Camilla Irvine-Fortescue. 

Maps of Inner Space, in a swimmer between two worlds.

Katherine Conley. 2008

A deeper reading of her connections to Surrealist practice- at once musical, textual, visual, notational, haptic, physical, and psychic-helps to make her processes clearer.

The haptic quality evoked by Krauss in her writings on surrealist photography is captured by Woodman through her use of black and white and the sensual plethora of greys rendering her textures almost three-dimensional.

Direct Physicality

Man Ray, Anatomies, 1929.

Foucault on automatic writing for Breton.

Woodman's photography went hand-in-hand with her everyday life, her art maintained a constant connection to reality.

Between Flesh and Film. Isabella Pedicini. 2012.

Mattering, Mind-Movement-Material

In and Out of Material. Tony Cragg.

You have to feel the contact of the surfaces and objects photographed with bare skin.

Sloane Rankin.

The suspended/collapsed present moment.

She is unravelling photography's structuring dimensions of space and time.

Un-Framing The Body.

What moves as a body.

Returns as a movement of thought.

Erin Manning.

Relationscapes uncovered/emergent between organism, person, environment.

Mappings and maps whose passage and destinations lie at the edge of perception.

Images and manifestations of the human body that are occurring in between compositional frames.

 

Hidden Curriculum #2

Hidden Curriculum #2, a photo by Russell Moreton on Flickr.

Speculative Learning Environment : Russell Moreton.
Re- Imagining Education, Brockwood Park School.

Working Towards a Secular Retreat in the Landscape.

Sociological Organisation/Groups : Theoretical Propositions/Transactive Memory

Theoretical Propositions (Groups) around The Abbey
Collage and Life Drawings

Transactive  Memory Development in Virtual Teams

There is no theoretical requirement that groups exist only in face-to-face environments. In fact, McGrath's definition of a group - an entity that interacts, is interdependent, mutually aware, with a past and an anticipated future (McGrath, J.E. Groups: Interact and Performance.1984 :6) - makes no mention of the form that interaction must take.

Information Processing and Performance in Traditional and Virtual Teams
The Role of Transactive Memory
Terri Griffith, Margaret A. Neale,

DSC_0010 Reading Room : Collage/Waverley Abbey
DSC_3153 Life Drawing
DSC_3157 Life Drawing
DSC_3148 Life Drawing

Mapping Under The Dome : Dark Tones/Alternative Photography

Darkness is a better form of freedom
Therese Oulton, in conversation, January 2013
Women In Dark Times
Jacqueline Rose

Jozef Van Wissem & Jim Jarmusch
The Mystery of Heaven
Sacred Bones Records. 2012

Everyone Stands Under His Own Dome of Heaven 1970

'Each man has his own dome, his own perceptions, his own theories. There is no one god for all'
Anselm Kiefer

In paintings of often stunning luminosity, Therese Oulton manages to paint us into the darkest spaces of our times.
A form of experience permanently menaced by itself.
Jacqueline Rose





https://www.flickr.com/photos/russellmoreton/39854735761

The Mirrored Abbey : The Photographic Aesthetics of Decay

The Custodians, Richard Cowper 1976.

Nothingness, Nostalgia and the Absence of Reason.
The Aesthetics of Decay, Dylan Trigg,

Humanity : An Emotional History
Stuart Walton. 2004

Fear
Anger
Disgust
Sadness
Jealousy
Contempt
Shame
Embarrassment
Surprise
Happiness

https://russellmoreton.wordpress.com/

Visual Mappings : Working Collages for Sequences and Spaces

Extract from Peter Zumthor, Hortus Conclusus 2011.

Directors’ Foreword: Julia Peyton-Jones, Hans Ulrich Obrist.

Zumthor’s architectural design practices consider each project in terms of a comprehensive and encompassing sensory experience. Looking at more than the physical fabric and form of the building, he often draws inspiration from memories of childhood experience. His projects aim to reference all aspects of sensory perception, addressing the relationship between the human body and the ways it may interact within the built environment. Many of Zumthor’s projects have been specifically noted for their thoughtful and evocative play on scale, colour, material and light in harmony with the buildings function and surroundings. (Peyton-Jones 2011: 9)

Waverley Site

Hortus Conclusus

Sensing Spaces

Oculus Pavilion

Variegated and mutable veiling of transparencies through sunlight and a gentle breeze.

Shadow (voids) and Forms (layered movements)

Permeable membrane (time passes through here)

The River (Jackie Leven/Kenneth Patchen,The Skaters) a corporeal presence on loss, memory/absence, subjectivity and flow.

Kengo Kuma. Complete Works, Kenneth Frampton.

‘Our aim is to create architecture that confronts and fuses with the earth.’

‘Architecture should not be cut off from the ground like a building designed and transported to the site.’

Kuma’s ‘anti-objective’ architecture is anti-perspectival in that it is categorically anti-thetical to the subject/object split of the occidental tradition.

‘The asymmetrical projection of the Water/Glass volume, derived from the diagonal platform of the Noh stage, makes it explicit that there is no single ideal point from which this waterborne scene may be experienced.’ (Frampton, 2012:12)

Katsura Aesthetic.

Non Corporeal Architecture ( 2001 A Space Odyssey, the final room with its dematerialised phantom character of absence and voyeurism)

Japanese Vernacular, Void/Ma space, Translucency, Sequence of Spaces,