Landscape of Found Objects : Archaeological Photogram

Simplicity and Complexity : Artist/Archivist (playing/thinking with material practices)

Archive Research Material
Developing non-linearity/entanglements throughout creative practice

Curiously, we live in a conflicted time of both accelerated change and business-as-usual, a time of both transformation and stagnation. For the first time in history we have a global network that is in constant and instant communication with itself-everywhere. We have the much examined problems of ecological stress, urban alienation, and spiritual confusion.
The Architecture Of The Jumping Universe, Charles Jencks.

Emergence/Self Organisation
Maternal Body : Clay Impression and Fragmented Form

Pastoral Space: Material, Inquiry and Craft.

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

1000 "pots" performative site 2011. The Yard, Winchester.


Auguries into the maternal body. Un-fired clay and silica sand.

Constructed in-situ at the Yard, Winchester.
A life-size record and memory of a human presence as a site for mutual introspection.

Inspired in part from the novel  " The  Children of Men "  by P D James.

CLAY : Speculative City : From Pilgrim to Tourist
From Pilgrim To Tourist (or a short history of identity). Zygmunt Bauman.

Clay drawing/situation/collage based on a performative script/reading.

Human trace drawing with unfired clay bodyscape

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 into Chapel Arts as part of their research residency programme.

Reflective Journal/Spatial Practices
Spatial/Visual Coordinates

https://www.pinterest.co.uk/russellmoreton/

Exploring the individual constituent parts of painting : Cyanotype substance on paper.

Outpost 010422

Delicate Cutting

Symbolic of the 'connective tissue' which the photograph itself embodies, the pressure of the cold glass against warm skin glorifies the terms of the medium's indexicality, whilst also pointing out a fundamental disparity.

Notes On The Index, Krauss.

IMMATERIALITY AND TRANSPARENCY : Juhani Pallasmaa.

Technique and Expression in Glass Architecture, 2003.

The Poetics Of Glass

Glass And Modernity

All That Is Solid Melts Into Air

The Technological Imperative

Between Polarities

Technique And Poetry

Return To Animistic Thought

Illusions And Reflections

From Form To Matter

The Secret Life Of Buildings

Mirrors And Symbols

Perfection And Imperfection

The Re-Enchantment Of Architecture

Introduction To Modernity

Henri Lefebvre

SPAB

Leaded Glass, repair, restoration, contemporary use of glass, architectural models in ceramic/glass.

In its framed state, Rothko's painting was constricted and not able to exist, as it should, on its; in other words, to be what it was intended to be.

Robert Ryman : The Dallas Installation.

Exploring the individual constituent parts of painting.

Untitled 1980-2003

Oil on steel plate with four fasteners, 48.3 x 48.3cm.

Page 1998

Oil and graphite on stretched linen, 38.4 x 38.4cm.

A series of visual experiences (interpretations on the art of painting), bracing,sensual, austere and luxuriant forms, calibrated to register from one work of art to the next.

The remarkable thing about Robert Ryman is that he has been working within his own matrix of questions, problems, and definitions for the past fifty years, and is still finding ways to make his art evolve from what has gone before.

Going beyond its appearance, to answer the question of what Ryman's art might mean is, of course, the challenge of abstraction itself, a challenge that has proven to be central to the art of the past century up to the present moment and that can arguably be seen still to define many of the issues of the art of our time.

Robert Ryman has investigated a basic set of closely related questions: how are paintings made, what are they made of, how are they installed in gallery and museum spaces, and hoe are these works experienced by those who come amidst them?

Ryman has concentrated on this specific line of inquiry by exploiting a highly select range of painting's parts: surface, support, medium, placement before the viewer, and importantly colour.

Ryman's art is about, and is itself, the paint on the surface of a material that is affixed to or hung on a lighted wall in a gallery or a museum.

It is a square made from any number of materials, and it shows exactly how it was made, what type of brushes or other instrument the artist used in applying liquid pigment, what its surface is, how its paint is affected by underpainting (the placing of one pigment over another to render a visual sensation), how its colours behave, what its material support is, and how it is placed before the eyes (scale has much to do with this), whether on a flat wall or somehow otherwise installed in relation to that wall.

Ryman describes the existence of something mysterious in Rothko with which Ryman was intrigued, so much so that he remembered its effect decades later. What stayed with Ryman, it appears, were Rothko's “form, structure, surface, and light,”

By the extreme boiling down of a painting's constituent parts, Rothko presented the viewer with an experience unlike any other to be found in contemporary life: that of a work of art defining itself and then acting strictly within this definition according to its own set of rules.

What was radical about Rothko, was that there was no reference to any representational influence. There was colour, there was form,  there was structure, the surface, the light, the nakedness of it, just there. 

What Rothko was after, the invocation of universal themes of human existence voiced through a vocabulary of numinous light-filled forms, was clearly not something Ryman pursued in his own art. Over and over, Ryman makes openly visible the way he paints and what he paints with: the meaning of the work seems to radiate insistently from these facts. 

Charles Wylie, 2005.

Building Within The Drawing ( The Studio) : Immaterial Architecture

'Ordinary things contain the deepest mysteries'

The Social Condenser in Operation.
Five figures and a stature distributed evenly in its isotropic space; a picture of the socialized as opposed to the sociable.

Robin Evans,
Figures,Doors and Passages.

Building The Drawing

The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing and building.

Immaterial Architecture
The Illegal Architect
Jonathan Hill

Oak Tree
Oil
Paper
Plaster
Rust
Sgratfito
Silence
Sound
Steel
Television
Weather

Frosted Light
Index of immaterial architectures

TRANSPARENCY : LITERAL AND PHENOMENAL
Colin Rowe, Robert Slutzky

Interactions of the Abstract Body
Josiah McElheny

Object Lesson
Interactive Abstract  Body (Square)
The Spatial Body (After Fontana)

Tracing Eisenman
Stan Allen
Indexical Characters

FABRIC=MASS+ FORM
Alan Chandler
The interest in fabric formwork is in its deployment in a building process, which is faster than conventional formwork. Fabric formwork is inherently more sustainable due to the minimising of both concrete and shuttering, and more radically, allows the constructor to intervene in the process of casting even as the cast is taking place.


ANTI OBJECT
Kengo Kuma
We are composed of matter and live in the midst of matter. Our objective should not be to  renounce matter, but to search for a form of matter other than objects.
What that form is called- ARCHITECTURE, GARDENS< TECHNOLOGY is not important.

ReThinking Matereriality
The engagement of mind with the material world
Elizabeth DeMarrais, Chris Gosden, Colin Renfrew

The Affordances of Things
Towards a  Theory of Material Engagement
Aesthetics, Intelligence and Emotions
Relationality of Mind and Matter

Material Agency
Towards a Non-Anthropocentric Approach
Carl Knappett, Lambros Malafouris

At The Potter's Wheel : An Argument for Material Agency
We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.

The Neglected Networks of Material Agency : Artefacts, Pictures and Texts

Material Agency as Cognitive Scaffolding

The Cognitive Life of Things
Material Engagement and the Extended Mind
Lambros Malafouris, Colin Renfrew

Minds, Things and Materiality
Michael Wheeler

Communities of Things and Objects : A Spatial Perspective
Carl Knappett

Imagining the Cognitive Life of Things
Edwin Hutchins

Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts
Charles Goodwin

Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach

Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life

Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they  need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)

The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from  the message they convey.

MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas

PLENUMS : RETHINKING MATTER, GEOMETRY AND SUBJECTIVITY
Peg Rawes

ARCHITECTURE
IN THE AGE  OF DIVIDED REPRESENTATION
The Question of Creativity in the Shadow of Production
Dalibor Vesely
The Nature of Communicative Space
Creativity in the Shadow of Modern Technology
The Rehabilitation of Fragment
Towards a Poetics of Architecture

The Projective Cast
Architecture and its Three Geometries
Robin Evans
Architects do not produce geometry, they consume it

Analysing ARCHITECTURE
Simon Unwin
Geometries of Being
Architecture as Making Frames
Space and Structure

Working Notes : Sensing Space a camp within a creative landscape

WORKING NOTES

IMMATERIAL ARCHITECTURES

MAKING IN THE LANDSCAPE

The House-sheds : Camping

There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.

Roger Deakin

WILDWOOD

A Journey Through Trees

Russell Moreton, Speculative Spatial Practices

A reflective building is an echo not a statement.
Haptic devices/seating/dwelling in the landscapes of the mind.
Landscape assemblages and the significance of solitude.
The immensity/intimacy and its immediacy to the imagination.
Immensity is within ourselves  Bachelard 

The site a Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.

The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.

Supportive Material/Texts/Cyanotype Drawings from found objects

AFFECT

SENSATION / CAUSALITY

LIVING

THINKING

LOOKING

DRAWING and THE LAW OF STRATIFICATION, the inevitable results of the working of GRAVITY

STRATIFICATION OF RECOLLECTION / MEMORY OF THE WORLD. (A Land, J Hawkes )

FACTORING THE TACTILE CONDITIONS OF THE REAL WORLD into perceptual awareness

PERCEPTUAL psychologist, J.J. Gibson departs from 'the classical approach to depth or space' in favour of an ECOLOGICAL approach to VISUAL SPACE PERCEPTION, which take SURFACES and TEXTURE as its starting point.

Mediating the experience of LANDSCAPE

SITE / COLLAGE / COMPONENTS working/walking, developing a creative spatial syntax

COLOUR AS CONDUIT / PERCEPTUAL ENVIRONS / CRAFT MEDIA / IMPROVISATION

PIERCED / DAPPLED NATURAL LIGHT

DIFFERENTIATED SHADOW / SURFACE

EXTRAORDINARY MATERIALS / TECTONICS AND TEXTILES

INDEXICAL / GESTALT / VISUAL PERCEPTION

NETWORKS / RESOURCES / AGENCY for the potential of BUILDING

SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan

ABSENCES / INTERSECTIONS / GRIDS / MESHES / SPRAYS / MOTIFS

ACTUALITY

IMMATERIAL / REPETITION / SINGULARITY

ENCLOSURES / ITERATIONS / THINKING FORMS

MINIMALIST SPACES / INTERVALS, tuning objects to construct environments

A child 'concretizes' its existential space.

Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard.

Tidbury Ring, field drawings with cyanotype liquid on paper.

A Hut of Ones Own.

Heidegger for Architects.

Immaterial Architectures.

SENSING AND SPATIAL PRACTICE

EXPLORING THE LANDSCAPE, through the CORPOREAL EXPERIENCE of OTHERS

A STRUCTURE INTERPOSED between the sunlight and the interior space it encloses.

Poetic abstractions/Physical experience

Soft/Blurring boundaries between art and the everyday making/becoming

REFLEXIVITY / TRANSLUCENCY surfaces into an architectural presence

TEXTURES / LIMINALITY on the absence of material

STATIC ENVIRON / ANIMATED THROUGH THE BODY

THE ARCHITECTURAL SKIN / SURFACE, Blurring, revealing, masking, filtering,

ARCHITECTURAL FEATURE / WALL / ARCH / PASSAGE /

VISUAL TOOL / POCHOIR, hand coloured through stencils

SCULPTURAL ASSEMBLAGES, towards Speculative Forms/Expression

TECTONICS IN MAKING, and the tectonics of immateriality/traces hidden by building.

Concerned with bringing the material from its physical form into the meta-physical world.

PAVILION

FUSELAGE

THE CAMP/HUT

represents the true reality of things, Deakin.

The building as nothing more than an exposition of itself.

A subjective hypothesis, a drawing developed into an objectivity for experience/learning.

SITE, the undoing of PLACE

BRICOLAGE / HEURISTIC PRACTICE, Using things at hand, temporal, self constructions, becomings, mind forming explorations.

MOBILITY

MOVEMENT

TEMPORAL CONSTRUCTED SPACE

A building component, scaffold, joists and fixings, a surface of absences and the movement of others come together.

MAKING, from form to programme.

ABSURDITY

POLEMIC POETRY

CONFLICTING

DYSFUNCTIONAL

TETHERED FOLLY against a fabric of time.

ART AS INDETERMINATE, able to arrest perceptions into different states (becomings)

Stone Worlds

Narrative and Reflexivity in Landscape Archaeology

Architecture and Ritual, how buildings shape society.

Bought to Light

Photography and The Invisible 1840-1900

CURATORIAL / DEVICE / BENCH / INTERLOCATOR

Jannis Kounellis, Theatre, stage crew shifting actors during a performance.

Interconnected, between contexts, opening places between the social fabric.

Making spaces, expanding vision to create spaces 'between' in which to write ourselves.

CONTEXT AND CONSIDERATIONS / MAKING, EXHIBIT, VIEW

ART MUSEUM CULTURE

THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW

MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST

None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.

THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR.

THE NETWORK places the artist as a 'like' ITEM within an INTEGRATIVE INVENTORY or 

DATABASE.

The Scriptorium : Collage and Architecture

Theatre for Speculative Research/Architectural Model

Russell Moreton

UCA Interior Design MA

https://visualartpractices.wordpress.com/

http://russellmoreton.tumblr.com/

Anthropological Entanglements : Strange Tools/The Rings of Saturn

Walking into Emergent Landscapes : Covehithe Beach
The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane
“ Walking was a means of personal myth-making, but it also shaped his everyday longings:
 Edward Thomas not only thought on paths and of them, but also with them.”


“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

DSC_0585 Covehithe : Walking/Thinking/Physical Entanglements in the Landscape

Natural History : Dried Carnations

Blueprints : Anthropological Forms
Botanical traces with leper graves

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








24 March 2018

Collage Works : Architectural Studies. Outpost Studios, Norwich.

Affective Materials : Fragile and Bandaged Subjectivities

 

Painting and Clay Construction : Few boundaries are impenetrable : They are rather, semi-permeable membranes providing housing while allowing selective commerce

Orange School Graph Books, Harleston, Norfolk.

Elliptical Phenomena

Body/Landscape : Vessels and Patina

Site-Specificity/Spatial Practice

The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world.

The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate

Miwon Kwon 1997

Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames

Participation, creating a bridge between socially engaged practice and the permanent collection

Expressing itself expressing 

Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions

Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact

The strategy of making artworks as response

The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement

Making vessels, beyond the examining and intellectually impoverished questions 

A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

Like the vessel, the house shapes and nurtures the life contained inside

The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community

In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others

Clare Twomey, Lead artist at Tate Exchange 2017

Post Studio Ceramics

Interfaces between Making-Makers-Museums

Exploring object engagement beyond the known historical models of clay practice

'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital

Clare Twomey

Ceramics In The Environment 

An International Review

Janet Mansfield 2005

With Fire, Richard Hirsch

A Life Between Chance and Design (invites the unknown)

Scott Meyer 2012

Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility 

Raku as an Ideology

Breath-Energy-Immanence

Raku, A Review of Contemporary Work

Tim Andrews 1994

The Poetry of The Vessel

A calm invitation to thought and imagination

Chris Tyler

DSC_6918 Ceramic Slabs, wire and cloth on painting

Fragments from Augury Vessel Series