Spatial Forms to gather/interact with discursive research.

Structural Modalities/Making/Tensions : 

Spatial Forms to gather/interact with discursive research.

5

Procedural Architecture

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa

Working Notes/Holding in Place

Entanglement of Matter and Meaning

Intertwining Metamorphoses

Germano Celant

Giuseppe Penone

Diffractions : Differences, Contingencies, and Entanglements That Matter

Meeting The Universe Halfway

Quantum physics and the entanglement of matter and meaning

Karen Barad

Art and Technics

Lewis Mumford

James Turrell

Aten Reign

Miwon Kwon

Under The Volcano

Carmen Gimenez

Kees Goudzwaard

Assemblage

Pinholes and Dust

Grisaille

Transparent Body

Robert Mangold

Column Structure Paintings

Frank Stella Architecture

Architecture as a means towards creating space

The Optical Unconscious

To throw its net over the whole of the external world in order to enter it into consciousness. To think it

Rosalind Krauss

Postproduction

Nicolas Bourriaud

Body

Personal Relations

Spatial Values

Yi-Fu Tuan

Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive 

From The Bookcase to The Field Table : Landing Sites of Inquiry

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus

Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition, annotations, commentary, illustrations and photos.

Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

Space Between People

Degrees of virtualization

Mario Gerosa

Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69

Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures

Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.

Speculative architecture

On the aesthetics of Herzog and De Meuron

Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)

Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann

Working Collages

Karl Blossfeldt

Sensing Spaces/Architecture Reimagined

Royal Academy of Arts

Anti Object

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. 

Kengo Kuma

Body and Perception

The Phenomenon Of Place

Places at the Zero Point

The Box Man

Furnishing the Primitive Hut

An Architecture of the Seven Senses

Walter Pichler

Architect/Sculptor

The Thinking Hand 

Existential and Embodied Wisdom in Architecture

Encounters

Architectural Essays

Identity, Intimacy and Domicile

Notes on the phenomenology of home

The Architecture of Image/Existential Space in Cinema

Lived space in Architecture and cinema

The Eyes Of The Skin/Architecture and the Senses

Juhani Pallasmaa

Atlas of Emotion

Journeys in Art, Architecture and Film

Giuliana Bruno

Questions Of Perception

Phenomenology Of Architecture

Steven Holl

Juhani Pallasmaa

Alberto Perez-Gomez

Materials and Meaning in Architecture 

Essays on the Bodily Experience of Buildings

Nathaniel Coleman

Matter and Desire

An Erotic Ecology

Andreas Weber

Visualizing Feeling

Affect and the feminine avant-garde

Susan Best

Making/Anthropology, Archaeology/Art and Architecture

Being Alive/Essays On Movement

Knowledge and Description

Tim Ingold

Thinking Through Craft

Glenn Adamson

The Ceramic Process

A manual and source of inspiration for ceramic art and design

European Ceramic Work Centre

A Hut Of One's Own

Ann Cline

Smithson, Alison and Peter

Solar Pavilion

Architecture is not made with the brain

Architectural Association

The Kunsthaus Bregenz as an Architecture of Art

The Conditioning of Perception

Multiplicity and Memory

Hortus Conclusus

Thinking Architecture

Peter Zumthor

Re-Shaping Learning

A Critical Reader

The Future of Learning Spaces in Post-Compulsory Education

Anne Boddington, Jos Boys

Hiding, Making, Showing, Creation

The Studio from Turner to Tacita Dean

Rachel Esner

Conversations With Strangers

Performing the broom and the bricoleur

Malcolm Doidge

Corpus

The Ground of the Image

Jean-Luc Nancy

Life Between Buildings/Parking Day Manifesto

Poststructuralism, a very short introduction

Mapping Intermediality in Performance/Intermedia Chart

Sarah Bay-Cheng

Liminality, a psychological, neurological, or metaphysical subjective, conscious state of being on the 'threshold' of or between two different existential planes.

Heidegger for Architects/Emotions Building Presence 

Adam Sharr

The Visual Poetics of Jannis Kounellis

Suzanne Cotter, Andrew Nairne

Carlo Scarpa

Craft Intensive/Spaces, Vistas

Technical specifications of materials

Site-Specific Art/Tschumi, Robert Morris, Robert Smithson, Giuseppe Penone

Performance, Place and Documentation/Material Affects, Frames, Site, Spaces

What is the relationship between the visual arts and 'performativity'?

Nick Kaye

Wittgenstein, The Duty of Genius

Oren Lieberman/Spatial Practices/What does it Do?

These remarks show the unmistakable influence of Schopenhauer. In the World as Will and Representation, Schopenhauer discusses, in a remarkably similar way, a form of contemplation in which we relinquish 'the ordinary way of considering things', and 'no longer consider the where, the when, the why, and the whither in things, but simply the what. 143

 

Pictorial Matter : Cyanotype Process and Conceptual Affinities

Surronding Objects

Material Supports

Perceptions from absence

Silence as an audible presence

Traces from the phenomenology of time

Vibrant Matter

P3228227a : Engineering Blueprint on Watercolour Paper.
Slumped glass panel " evolved " from a head gasket (Hillman Imp) and a note recording failing compression readings.

Drawing and Assemblage : Cyanotype process on watercolour paper with lead profiles.

Terrestrial Movements  : #2  Solar Spore.

Space For Peace : Winchester Cathedral.

The Process Of Drawing Is Left Visible.

 Outpost 270323

The Process Of Drawing Is Left Visible.

On Drawing, John Berger.

Raveningham.

Garden/Ground/Circulation Diagrams.

Notes appropriated from 

The Scripted Drawing.

Social conditioning underpinning education.

Cultivation Field.

Spatial Registers/Spatialities/Ideologies between consciousness and social existence.

Collaged Activities/Inquiry

Boundaries/in the making between the personal and the commonly shared.

A space where the individuals mental reality meets cultural narratives.

Frames of Consciousness.

Stencils/Templates/Windows/Intermediaries.

Double Occupancy/Discourses and Events.

The Confessional Metaphor.

Jean-Jacques Rousseau.

Corpus.

The Individual/Birth to Presence.

Jean-Luc Nancy.

Circulation Diagram.

Architectural Programming.

The Shower Room.

The Changing Room.

The Life Drawing Room.

The Darkroom.

Mobile Architecture/Event Architecture.

Further Figuring It Out.

Maussion's very choice of the nude recalls the most classic of strategies within the tradition of easel painting, but as we have seen it is one mediated by the mechanical effects of photography and the distance of memory.

William Jeffrett, 1995.

Charles Maussion. SCVA/UEA Norwich.

Life Drawing/The Contested Sociological Subject/Corporeal Gaze.

Drawing as an extended method of seeing and of recording experience.

Drawing From Life as Ideas and Process.

We have schooled ourselves to see, by acquiring the capacity to depict ourselves.

The human body, drawings/depictions seen through concentrations of our personal/private selves.

Alberto Giacometti. 1901-1966.

Standing Nude, 1955.

Sainsbury Centre, UEA Norwich.

The body as the instrument of our emotions and our sensuality. 

In all its starkness this figure is a most sensitive and complicated mechanism. The naked human is seen as a symbol of existence achieved through observation of painful acuteness.

Herbert Boeckl. 1894-1966.

All Boeckl's life-drawings are distinguished by a strong physical presence. He is truly concerned with interpreting life in terms of human bodies, of the beauty of functioning muscle and bone and with the tactile aspects of flesh, as well as the knowledge of what lies beneath it. His nudes speak a physical language. He uses charcoal as a technical means to best achieve lucidity.

Boeckl is not concerned with 'beauty of line' as his predecessors Klimt and Schiele were, he always sees the body in the context of space and draws 'from within'. He builds up his figures from a structural core, the surface of his forms take on a strongly moulded, modelled aspect through a great economy of means.

Naked to Nude, Life Drawing in the Twentieth Century.

Georg Eisler. 1977. 

Rendering sensuality in everyday occurrences.

Drawings as concepts, forms of thought/seeing.

Ambient light and shadows over architectural surfaces.

Blurring the conventional distinction between the figure and the ground.

Life Drawing and the psychology of nakedness.

The practical and theoretical problems of confronting/drawing the human form.

Drawings from life contain a sense of physical presence, of a functioning logic.

Anthropological Settings : Drawings/Photograms and Intermediaries

 

Found Objects : Archaeological Photogram

When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.

Thomas Ruff

Archipelagic : Solar Drawing/Circumpolar Star Chart

Sociological Gathering : Winchester Cathedral/Space For Peace

Blueprints : Anthropological Forms/Botanical traces with leper graves

Spatial Diffractions : Architectures of Exclusion

 Outpost 280922

Peripheral Vision : Relationality.

Categories and things may make it easier for us to grasp reality, but they also hide its underlying complexities.

Robert Cooper, 2005.

Developing a constitutive nature within practices.

Qualitative Reseachers.

Entangled practices are productive, and who and what are excluded through these entangled practices matter, different intra-actions produce different phenomena.

It is in and through an understanding of these entangled practices presented by Barad that we can begin to understand how diffractive readings can help us in our work as qualitative reseachers to produce knowledge differently.

Interactions Matter.

Spatial Agency.

Walking 

Wayfinding in the City.

Thinking intra-actively.

Thinking with Barad's intra-action helps us fashion an approach that re-inserts the material into the process of analysis. It is a reclaiming of the material absent in its modernist limitations. It is the work of Karen Barad and other named as 'new materialists, or material feminists' to ask how our intra-action with other bodies (both human and nonhuman) produce subjectivities and performative enactments.

Such questioning shifts our thinking away from how performative speech acts or repetitive bodily actions produce subjectivity, but also how subjectivity can be understood as a set of linkages and connections with other things and other bodies, both human and nonhuman.

The Discursive Text/Material.

Phenomenology is interested in the now, what we see, how we perceive, and how those perceptions shape or come the world that is constitutive both of our environment and us.

The Keatsian concept of negative capability, that of being with uncertainty, of seeking to transcend and revise contexts, to reject constraints and open up dialogue as a throughfare for all thoughts, to ask questions and develop empathy.

John Keats 1795-1821.

Local artists and writers respond to the University of Winchester's

Magdalen Hill Archaeological Research Project.

On-site, co-directors Dr Simon Roffey and Dr Phil Marter talk about process.

A negative, destructive archaeology of taking away, of context sheets for a cut (negative) or a deposit (positive): how the processes are physical and sensory as well as interpretative, how their work is forensic, piecing together, visceral, more instinct than intellect, tactile and haptic, sculptural, revealing, never final, and as much an art as a science.

The Parallel Visions of Artists and Archaeologists.  

The artist's role here is to bring their own kind of knowledge setting aside logic and reason, to use the imagination and senses, to express through body and mind, the self, the messiness and uncertainty evoked by these material traces, mystery and wonder.

Colin Renfrew, Figuring It Out, 2003.

Spatial Diffractions in Interior Design.

A final diffraction is to think about how the office space itself creates a diffraction.

The office door, the opening, the threshold, can be viewed as the place through which waves pass, creating a diffraction.

This diffraction passes both ways: in inviting those who enter and those who fail to enter.

This opening further serves to reconstitute the office door as a threshold to be crossed, or as a threshold that welcomes. One invites, the other excludes.

We presented examples of how Sera and Cassandra were produced differently through intra-actions with office space, other bodies, clothing, and furniture, and similarly how their entanglement with these material fixtures resulted in a mutual constitution of the material and discursive.

It is through an enactment of a diffractive analysis and a re-thinking of our relationship to/with data, and to/with the material in our research sites, that we see much productive potential for research methodologists.

Project Spaces/Presentations.

Diagrams, maps and charts are all a symbolic depiction that emphasises mapping relationships.

Keywords: Agency, Spatial Agency, Practice, Making, Architectural Body,Relational Movements,Outreach, Urban Walking, Interactions, Cultivation Field,  Foraging, Finding, Gathering, Harvesting, Organism, Person, Environment, Anthropology, Archaeology, Art, 

Beyond Hylomorphism/Improvisatory Practices : Making/Spatial Agency and Social Spaces Through Building

MAKING

TIM INGOLD

THE MATERIALS OF LIFE

Consciousness, materials, image, object : the diagram

I want to think of making, instead, as a process of growth. This is to place the maker from the outset as a participant in amongst a world of active materials. These materials are what he has to work with, and in the process of making he ‘joins forces’ with them, bringing them together or splitting them apart, synthesising and distilling, in anticipation  of what might emerge.  The maker's ambitions,  in  this understanding, are altogether more humble than those implied by the hylomorphic model. Far from standing aloof, imposing his designs on a world that is ready and waiting to receive them, the most he can do is to intervene in worldly processes that arc already going on, and which give rise to the forms of the living world that we see all around us — in plants and animals, in waves of water, snow and sand, in rocks and clouds - adding his own impetus to the forces and energies in play. The difference between a marble statue and a rock formation such as a stalagmite, for example, is not that one has been made and the other not The difference is only this: that at some point in the formative history of this lump of marble, first a quarryman appeared on the scene who, with much force and with die assistance of hammers and wedges, wrested it from the bedrock, after which a sculptor set to work with a chisel in order, as he might put it, to release the form from the stone.

Volumes and Environments : Chromaphilia/Translucency

Immaterial Architectures : Organizing Structures/Making Metaphysical Space

Architectural Surface : Constructional Forms in Glass
Organizing Structures : Artist Notebook, Body/Landscape

Christopher Wilmarth ; Poetics/Duality of Light and gravity
Other Architecture
Constructing Metaphysical Space

Wilmarth's art reveals his essential concern with the mystical and physical properties of light, especially the ways in which light evokes reverie and generates sensations of space and containment.

The Architecture of Natural Light : Henry Plummer

EVANESCENCE
Orchestration of light to mutate through time

Intensity and integrity of Wilmarth's practice/vision.

PROCESSION
Choreography of light/moving eye

VEILS OF GLASS
Refraction of light/diaphanous film

Wilmarth made possibly his strongest, most beautiful works on paper, exploring a new level of expression while retaining continuity with past work.

ATOMIZATION
Sifting of light/through a porous screen

These drawings also contain allusions to the human presence. Their haunting, foreboding quality is prefigured in the grave, austere tones of some of the glass and steel structures.

CANALIZATION
Channelling of light/through a hollow mass

The duality of light and shadow and contrasts between abstraction and representation continue to be central concerns in his final drawings.

ATMOSPHERIC SILENCE
Suffusion of light with a unified mood

Wilmarth's sculptures from the early 1980's are influenced by the poetry of Stephane Mallarme.To affirm Mallarme's emphasis on the spiritual, the artist used a simple ovoid form, evoking a multitude of symbols, including the human head. These ovoids were made of blown glass, which Wilmarth viewed as "frozen breath". The artist pursued this figurative impulse into the mid 1980s, combining the anthropomorphic ovoid shapes with the larger abstract forms of his earlier sculpture.

LUMINESCENCE
Materialization of light in physical matter

Wilmarth composed with planes of delicate colour and light, placing plates of blackened steel behind translucent sheets of etched glass imbued with a luminous, greenish cast.

"He employed a painterly technique that emphasized the tactility and fichness of his materials, which like an alchemist he persistently sought to transform. He continually examined the concept of duality: contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality  and ethereality, form and spirit are repeatedly presented; the synthesis of geometric with organic forms, the range between abstraction and representation are constantly explored."
Laura Rosenstock, catalogue essay.


Slow Photography/Blue Transitions : Phenomenology of Visual Structures

Temporal Perspectives/Relationscapes : Urban Space and Place/Transactive Memory/Outpost Studio Space Norwich

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.