Movement : Art : Philosophy : all a movement of thought that moves a body. Erin Manning
The Studio is no longer a retreat but it now integrates. It is all exterior.
Ways of Curating, Hans Ulrich Obrist. 2014
Temporal Perspectives : Urban Space and Place
Space and Place
The Perspective of Experience
Yi-Fu Tuan
Experiential Perspective
Space, Place, and the Child
Body, Personal Relations, and Spatial Values
Spaciousness and Crowding
Spatial Ability, Knowledge, and Place
Architectural Space and Awareness
Time in Experiential Space
Intimate Experiences of Place
Attachment to Homeland
Visibility : the Creation of Place
Time and Place
for
space
Doreen Massey
Living in Spatial Times
Instantaneity/depthlessness
A Relational Politics of The Spatial
Making and Contesting time-spaces
The Forum, Norwich : Research Outpost #2
RELATIONSCAPES
Movement, Art, Philosophy
Erin Manning
Prelude : What moves as a body returns as a movement of thought
Something in the world forces us to think. This something is not an object of recognition, but a fundamental encounter.
Gilles Deleuze, Difference and Repetition
AN
ANTHROPOLOGY
OF
LANDSCAPE
Christoper Tilley, Kate Cameron-Daum
Materiality
From our perspective in this book representations of landscape, textual or pictorial, are of secondary significance and we should treat them as such; they are selective and partial, and often highly ideological, ways of seeing and knowing.
It forms a material medium in which we dwell and move and think.
Redirecting the study of landscape from representation to the materially grounded messiness of everyday life and the minutiae of material practices that constitute it.
Landscapes are contested, untidy and messy, tensioned, always in the making. Our landscapes of modernity are frequently on the move and peopled by diasporas and migrants of identity, people making homes in new places.
Field Observations
Spatial relations within the landscape are complex.
The manner in which persons and their bodies cannot be understood apart from the landscapes of which they are a part, reciprocally involved in forms of movement, action, awareness and social memory.
Embodied Identities
Art in and from the landscape
Fragile Environments : Nature and Culture
On Ways of Walking and Making Art
A personal reflection
M Collier
Making art is a practical application of phenomenology
Engaging with an embodied experience of space and depth (what Merleau-Ponty called the 'flesh of the world').
WATERLOG
Journeys Around An Exhibition
Landscape and Memory
AFTER SEBALD
Essays and Illuminations
Edited by Jon Cook
Transactive Memory
Systems Virtual Teams
The Body
Minds and Metaphors
Laban-CHOREUTICS
The Mind In The Cave
David Lewis-Williams
The Matter of The World
Minds and metaphors
Cathedrals of Intelligence
The 'Looking mind'
Information Processing and Performance in Traditional and Virtual Teams
The Role of Transactive Memory
Terri Griffith, Margaret A. Neale
Acquisition/Sharing of Implicit and Explicit Information
Organisations increasingly rely on teams to do much of the work traditionally accomplished by individuals.
Successful groups are those who are able to create synergies in the form of information aggregation and innovation that is beyond the ability of any single member.
Nascent Knowledge
Information Diversity
Task Conflict
The knowledge and perspectives of group members from the same social networks may be more redundant than diversified. However a total diversity among work group members is not desirable; some 'redundancy' (agreement in perspective) among group members is necessary to ensure enough common ground to facilitate successful group interaction.
Transactive Memory : Knowing and Accessing What We Know
For teams to have synergy they must be able to access their information, it is important to know who does what.
Wegner 1987; 1995)
RELATIONAL DEVELOPMENT
TIME
Synchronous/ Asynchronous
COMMUNICATION
Transactive Memory : A Contemporary Analysis of the Group Mind
Daniel M. Wegner
The study of transactive memory is concerned with the prediction of group (and individual) behaviour through an understanding of the manner in which groups process and structure information.
Individual Memory
Information is entered into memory at the encoding stage, it resides in memory during a storage stage, and is bought back during the retrieval stage.
Organisation : differentiated/ integrated
Label
Location
THE LABAN SOURCEBOOK
Dick McCaw
Rudolf Laban (1879-1958) was a pioneer in dance and movement, who found a extraordinary range of application for his ideas; from industry to drama, education to therapy. Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements.
Diagram : Three Planes of Movement from Choreography
Inner and Outer Tension : Inner and Outer Form
CHOREUTICS : Principles of Dynamic Space and Movement
Choreutics presents the grammar and syntax of spatial form in movement and the nature of movement's harmonic content.
Effort
Exertion of Power, Physical or/and Mental
Force
Space
Time
Flight
Indulging/Contending
SPACE Flexible/Direct
WEIGHT Light/Strong
TIME Sustained/Quick
FLOW Free/Bound
Shadow Moves
An acute observer of Shadow Movement of a person in different situations and at different times will show the consistency of that individual's basic attitude and personality.
Effort and Recovery
Movement Psychology
Thinking
Intuiting
Sensing
Feeling
POST STUDIO
Daniel Buren
Rem Koolhaas
The development of subjectivity as spatiality hinges on architectural construction and is written in the very articulation of architectural discourse.
Atlas of Emotion : Journeys in Art, Architecture, and Film. Giuliani Bruno
The Mobile Home
A space is something that has been made room for ... A boundary is not that at which something stops, but as the Greeks recognized, the boundary is that which something begins its presencing. That is why the concept is that of horizons, that is, the horizon, the boundary. Space is in essence that which room has been made, that which let into its bounds. That for which room is made is ... joined, that is, gathered, by virtue of a location, that is by such a thing as a bridge.
Martin Heidegger. 'Building Dwelling Thinking'
House (Gendered House) is actually, both a private museum and a public library. It is a laboratory built on the threshold of diverse and interpretive and creative perimeters, binding architecture to the cinematic/everyday drama of statis and movement in the sensing of space.
The Voyage of Modernity, Guiliani Bruno.
Artist Statement re application for Outpost residency at Gildengate House, Norwich.
Using simple apparatuses (pinhole cameras) and the urban environment my practice gathers up time based evidence of everyday activities and render them into a surface of seamless abstractions. These surfaces prompt me to inquire into particularities of place, its after-image and our
subjectivity/objectivity of the photographic document that is itself permanently extracted from the flow of contexts.
I am interested in bringing these speculative findings/sequences into the interior space and time/situation of an exhibition.
The photographic surface has a pathology of looking built into its aesthetic, it takes the urban fabric of human circulation and the built environment and articulates a poetic of isolated complexities. I am interested in finding these spaces and presenting them for further analysis.
Selected Images : Pinhole Photography with texts, Winchester Library, Millennium Bridge, London.
Statement of Objectives
Set-up working environment, darkroom, space for large oil drum camera, drawing space and studio for the interaction of other creative/interested practitioners within the Gildengate House/Complex.
Mapping of possible 'sites' within easy reach of the studio, walking the city with the camera to gather both qualitative and quantitative material, building possible narratives and points of departure for further inquiry.
The apparatus of the camera and its functionary act as spatial protagonists creating a psycho- geographical rendering of found and experienced places, this material is returned to the studio to be drawn from and collaged into documents of working ideas.
A dossier of activities and their observations as wall drawings or book works, will begin to form the documentation of the inquiry and suggest possible innovative methods of presentation for exhibition.
Possible Artist's Intentions for the Conclusion of the Residency
I am keen to display the working environment of my practice, its processes and the visualization of my findings, this could be achieved as a working photographic installation, I am reminded of Mike Nelson's installation at the Frieze Art Fair 2006. Other thoughts around dioramas and projections that evoke the feeling of between spaces of the everyday. I feel confident that the residency itself will craft its own innovative response to the agency and inquiry of my activities with others.
Art Based Exhibitions/Working Projects/Collaborative Events/Workshops
Anthropological Entanglements : Strange Tools/An Anthropology of Landscape
Conversations, Collages/Walks and Creative Consciousness. 2018
An exploratory approach into the archives of Waveney and Blyth Arts.
Setting up an inquiry that can become an opportunity for exploration, investigation and exhibition, as well as a place for mutual exchange and support.
Norfolk & Norwich Open Studios. 2018
Visual fine artist working with experimental photography, collage and interior design.
Interior Design MA Degree Show, Farnham UCA. 2015
Presentation of “The Scriptorium” as a speculative learning environment, realized through collage, model making and digital technologies.
The Art Barn, Brockwood Park School. 2015
Design and exhibition of A level student's work, art books, textiles, drawings and paintings.
Yard and Meter, 10 days Creative Collisions. 2013
Collaborative exchange between visual art and poetry. Cyanotype images used as a projection and inspiration for live poetry event and publication.
Angelus Gallery, Winchester College, Winchester. 2013
Setting up of a exhibition, artist's talk and workshop. Works displayed, large drawings, collage, artists journals and research material.
This exhibition attempted to create dialogues between Fine Art, Studio Practice and Interior Design.
Negative Capability, The Link Gallery, The Hyde Artist's Group. 2012
Art and Archaeological study from the site of the Leper Hospital, Morn Hill, Winchester.
Exhibition of large cyanotypes/anthropological forms and drawing frames with alternative photographic processes.
Back To Free School : Drawing out The Archive. Kilquhanity, Scotland. 2011
Speculative practiced based symposium, converted Pottery into a Camera Obscura, drawings and presentation of land art, pathways from sunrise to sunset.
10 Days in The City, Winchester. The Theatre Royal Winchester. 2011
Dressing Room Installation, Darkroom and Studio Space.
Teaching Academy/Re-Imagining Learning, Brockwood Park School. 2011
Performed alternative learning environments, hidden curriculum/architecture without architects in the library, walking/making/thinking in the landscape with clay.
Strong Voices/Interfaith part of Hyde 900. The Link Gallery, University of Winchester. 2010
The Human Body, absences/presences. traces left through drawing and field chalk on paper.
10 Days at The Laundry, Winchester. Urban Fallow Project/Thinking Sociologically. 2009
Large communal arts project organized by The Yard Artists and Winchester School of Art.
Developed a roving pinhole camera from a oil drum which was used as an apparatus and spatial practice from which to engage with other practitioners and members of the public.
Wolvesey Castle,Winchester, Live theatre, music and arts installations. 2007 Installation in the foundations and medieval drainage channels of the ruins.
Childhood “armada” oversized paper boats in restricted area, only accessed via raised viewing platform.
Hampshire Open Studios, Bramdean. 2006
Drawings, artist's books, photography and sculpture all housed in a temporary art space appropriated from a greenhouse (white washed interior throughout with limited access to 2-3 viewers at a time).
Drawing Spaces : Picturing Knowledge (an interactive artwork) 2006 Hartley Library. University of Southampton.
Hampshire Open Studios, Bramdean. 2006
Drawings, artist's books, photography and sculpture all housed in a temporary art space appropriated from a greenhouse (white washed interior throughout with limited access to 2-3 viewers at a time).
Artist Statement 2018
Curatorial Architectures/Assemblages
Spatial Practice could be a program and a site for a critical approach to social engagement and interdisciplinary collaboration.
Praxis could be the energy produced between combining research and creative embodiment as speculative strategies/assemblages.
The Reading Room
Materials and Objects in Social Space
Spatial Practices in The Politics of Things
'Ordinary things contain the deepest mysteries'
Russell Moreton has developed a practice that continues to explore and build interests between the post studio operations of the contemporary artist and the new curatorial assemblages of the 21st Century. He is actively constructing research material that becomes transactive through interventions and installations that are in affect blurring art and the everyday rituals of creative enterprise. Through processes of almost anthropological mappings he attempts to create innovative and immersive exhibition formats that seek to engage a discursive audience.
Museum Director, Curator, Collector. Artist, None of that means anything anymore.
J. Rhoades. 1998
The Studio is no longer a retreat but it now integrates. It is all exterior.
Ways of Curating, Hans Ulrich Obrist. 2014
Outpost Studio Application
Visual artist working with, drawing, alternative photographic processes and installation.
My contemporary practice utilises and explores the notion of creative working and learning spaces, I am interested in the ability that contemporary arts practitioners develop and craft a praxis between the practical aspects of their practice and its theoretical underpinnings/findinqs. I find these interior spaces and their unique subiectivities/ecologies to be the real value of contemporary arts production. My work seeks to explore and present these findings through, installations, workshops, drawings and photographic presentations.
I am currently developing ideas around immersive studio spaces/obiects/events that can act as catalysts/containers for my speculative researches into Gaston Bachelard's, Intuition of the Instant.
My reading of the text has opened up for me possibilities and thresholds that could be developed through installation, and spatial practices.
I am interested in using the studio space as both a speculative site that supports my practical experimentation and for theoretical research questions and contexts that may be further developed. The central urban location reflects my previous studio space in Winchester which allowed interactions through the fabric of the city and the social networks of institutions.
Selected Workshops and Short Courses
Lost Wax and Kiln Fired Glass : Liquid Glass Centre, Trowbridge 2006.
Pinhole Photography with Stuart Quinnell : Bradford on Avon 2005.
Drawing Course with Michael Grimshaw : Winchester School of Art 2004-2005
Mono Printing and Life Drawing : West Dean College 2002.
Life Sculpture with Les Johnson ; The Vine Centre Basingstoke 2001-2003
Life Drawing : Adult Education Weeke Centre Winchester 1993-2003
Photography Liquid Light with Yoko Matse : West Dean College 1998.
Picture Framing, Box Mounting and Art Conservation, West Dean College 1995.
Master Class in Glass Painting with Paul Quail: West Dean College 1987.
Russell Moreton a visual artist who uses simple gestures of drawn human traces gathered and presented amongst natural materials. Materials and processes are employed to further underpin our sense of place and time. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place.
Currently using trace outlines from the human body, together with cyanotype liquid as a process for registering natural plant forms and other involuntary/found objects. Drawings are further annotated with astronomical charting and research notes from the practice. Previous experience in ceramics, glass and the construction industry is promoting my work into the realm of architectural space.
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