The Trace and its Connector/Ceramics, drawing and walking/wayfaring with things.

 Outpost 040523

Raveningham Sculpture Trail 2023

50.

Russell Moreton - Interested in revisiting an earlier project that I created at Kilquhanity (A Pathway Between Sunrise and Sunset), in which I mapped movements of the sun onto the landscape through demarcated pathways and intersections to create site based drawings for cyanotype prints.

Anecdote of the Jar

 I placed a jar in Tennessee,

 And round it was, upon a hill.

 It made the slovenly wilderness

 Surround that hill.

 The wilderness rose up to it,

 And sprawled around, no longer wild.

 The jar was round upon the ground

 And tall and of a port in air.

 It took dominion everywhere.

 The jar was gray and bare.

 It did not give of bird or bush,

 Like nothing else in Tennessee.

Wallace Stevens

Making Visible.

Walking The Drawing.

The co-existence of overlaying fragments of construction, by selective excavation and creative demolition.

Castelvecchio an attitude to history. Carlo Scarpa.

There is no stage at which humankind does not demarcate, beacon or sign their space, leaving traces that are both symbolic and practical.

The Production of Space.

Lefebrve.

Kairos : The movement and its moment

Being Alive.

Up, Across and Along.

The trace and the connector.

Tim Ingold.

Jannis Kounellis.

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through which without colliding would produce the establishment of places and localities made special for one reason or another.  

Hand Built, Slab Ceramics.

Oxide washes, incised lines and piercings undertaken to the raw clay forms.

Architectural Facades/Camera Obscura. 

Darkroom's Erasure.

One day , we will understand that darkrooms were one of the last pools of darkness, where a pure form of thought was made visible. In the darkness at its heart, photography enabled us to see ourselves and the world more clearly, it was a place of truth and visions.

Dark Room, Garry Fabian Miller.

“The Pot, ancient as it is, is the first instance of pure innerness, of something made from the inside out.”

Adam Gopnik 2014

Richard Batterham

In 1981 he provided a rare statement: “The main work is not to make pots, but to allow them to come, to allow them to grow, to allow them to be alive, and to communicate warmth and life in that uncannily direct and undemanding way that true and naked work can, vulnerable as it is. To make this possible, I feel that it is necessary to use our skills and materials with humility and respect. This requires a certain quietness of living.”

A Vessel Defines Emptiness As Presence : Craft, Studio Practice /Theory and Analysis on Hans Coper, Edmund De Waal, Martin Heidegger

STUDIO PRACTICE, THEORY AND ANALYSIS.

MA SCHOOL OF CRAFTS AND DESIGN.

Working Notes : Brockwood Granary 2014

Theory and Analysis Documents, UCA Farnham

“A predynastic Egyptian pot, roughly egg-shaped, the size of my hand : made thousands of years ago it has survived in more than one sense. A humble, passive, somewhat absurd object, yet potent, mysterious, sensuous. It conveys no comment, no self-expression, but seems to contain and reflect its maker and the human world it inhabits, to contribute its minute quantum of energy.”

Hans Coper, 1969

Jean Vacher acknowledges Hans Coper’s links with Modernism and that his pots possess an “innerness” that might be profoundly biographical in nature stemming from “the profound displacements that occurred to him and his family as a result of the upheavals in Europe.” (Personal e-mail correspondence CSC 28 March 2014)

The World is Blue : Evoking an inner room in the Mind/Consciousness

Walking In My Mind, Stephanie Rosenthal. Hayward Gallery 2009

At last we could talk about and investigate mental imagery, subjectivity, imagination and creativity. At last scientists could tackle the mystery of consciousness without being laughed at.
Mysteries Of The Mind, Susan Blackmore.

Between The Microcosm And The Macrocosm, Mami Kataoka.

A Field Guide To Getting Lost, Rebecca Solnit.
The Blue of Distance

The world is blue at its edges and its depths. This blue is the light that got lost. Light at the blue end of the spectrum does not travel the whole distance from the sun to us. It disperses among the molecules of the air, it scatters in water. Water is colourless, shallow water appears to be the colour of whatever lies underneath it, but deep water is full of this scattered light, the purer the water the deeper the blue. The sky  is blue for the same reason, but the blue at the horizon, the blue of land that seems to be dissolving into the sky, is a deeper, dreamier, melancholy blue, the blue at the farthest reaches of the places where you see for miles, the blue of distance.

This light that does not touch us, does not travel the whole distance, the light gets lost, gives us the beauty of the world, so much of which is in the colour blue.

Celestial Crater

Digital Dye : Blue
Photogram

Blue Spaces : White Absences #2. Silence/Void : Gap/Reveal

DSC_6772 Absence/Potential  of Dialogue : Raveningham
Cyanotype, paper negative on used canvas frame

DSC_6761 CELL COURT DOMAIN FIELD

Articulating Feeling Thought : The multiple sense of being brought from the earth.

Propositions for Thought in Motion.

Feeling-is affect bleeding into thought, activating complexities on the verge of expression.

Will to Power.

Activating new parameters for thought.

Feeling is power's compulsion of composition, (Whitehead, 1979/1978).

To posit a subject for feeling means, engaging with the creative from outside. Force propulses a will toward the creation of a dynamic form, opening feeling to its activation, generating expression in its passing. This taking form is less the formation of a concrete identity, than the culmination and residue of a process. 

The compulsion to compose is an aesthetic drive, a will toward sensation, a will to power-feeling.

Erin Manning.

Relationscapes/Movement/Art/Philosophy.

Anthropomorphic Form : Field Chalk with Photographic Emulsion 

150x254 cms. 2013/2018.

10 Days – Negative Capability part 1’ at The Link Gallery, University of Winchester, 2013.

‘Profiles in Transit: Anglo-Saxon

Graves’ (‘Song of a Leper Spirit’) and ‘Anthropomorphic

Vessels: Correspondence’ (‘Vacant Vessels’), Russell Moreton; 

From Behind The Frosted Glass Poems.

IIse Cornwall-Ross. 2017

https://www.academia.edu/36770152/From_Behind_The_Frosted_Glass_Poems?email_work_card=view-paper

Existential/Propositional Objectiles/ Spaces/In-Situ : Architecture/Photography/Installation

Objects exist in the between of a proposition and its eventness, and in so doing they are inciting co-constellations of movement-moving.

Forsythe invites his students to participate in creating physical solutions to dramaturgic propositions. 

Erin Mannng.

Sainsbury Centre, University of East Anglia

Tate Modern

Millennium Bridge

VITRINES : Art Spaces/interiors/interventions
Anselm Kiefer :
In the Annenberg Courtyard
Velimir Khlebnikov: Fates of Nations: The New Theory of War
Anselm Kiefer often dedicates his works to intriguing figures of the past, be they poets or philosophers. This piece is one of a number of works emerging from Kiefer’s ongoing exploration of the Russian Futurist avant-garde writer, theorist and absurdist Velimir Khlebnikov (1885-1922).

After years of study, Khlebnikov concluded that a major sea battle took place every 317 years, or multiples thereof. Kiefer celebrates this heroic and ludicrous activity with a work that is both monument and anti-monument. Measuring almost 17 metres in total and consisting of two large glass vitrines, Kiefer creates a transparent, reflective sea-scape in three dimensions that calls to mind the Romantic sublime of painters from JMW Turner to Caspar David Friedrich. Kiefer uses the frames of the vitrines to stage a mysterious drama, in which viewers, seeing each other and their own reflections, become participants.

Paul Soldner
Sainsbury Centre
University of East Anglia

















2017/2023

Earthbound : Alternative Processes/Art/Archaeology/Philosophy

 The Archaeological Site : Speculative Fields/Spatial Practices

What are we? Art/Archaeology.

Contact Photography.

Historical Presence #4

Figuring it out.

What are we?

Where do we come from?

The parellel visions of artists and archaeologists.

Colin Renfrew.

Do you live as Humans in the Holocene or as Earthbound in the Anthropocene? (50.37)

Dr. Bruno Latour on climate change and the "Anthropocene": Wall Exchange, Fall 2013

Studio Practices

Silver Gelatin

Cyanotype

Drawing

Liquid Light

Patti Smith & her Band full concert June 9, 2022 Junge Garde 4k black ...

Jefferson Airplane - White Rabbit (Grace Slick, Woodstock, aug 17 1969)

Construction/Spatial Agency : A Visual Dwelling Space around Building

CRAFTSMANSHIP AND THE PHENOMENOLOGY OF CONSTRUCTION ON CREATIVITY

On Craftsmanship, towards a new Bauhaus, Christopher Frayling. 2011

The Craftsman, Richard Sennett.2008

Caruso St John: The Phenomenology of Construction, Eric Lapierre.2006

Adam Caruso on the medieval ruins of Fountains Abbey, Yorkshire.

Today the nuances of language that make up these architectures only exist as an intellectual discourse and do not operate at the emotional level that would have engaged the original inhabitants, or audiences, of these buildings. And yet we are still emotionally affected by these structures. Denied access to the specific culture of their iconography. We respond, at a more visceral level, to the more general culture of their construction. When this formal language ceases to be novel, a building becomes part of a more normative condition, the condition of not ‘being new’ and its qualities increasingly emerge from the more long-standing and stable world of construction.

Adam Caruso, Towards an Ontology of Construction, KnittingWeaving Pressing 2002

Waverley Abbey. Cistercian Monastery

The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre-spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.

The Aesthetics of Decay, An Uncanny Place. Dylan Trigg 

KIEFER AND CHIPPERFIELD TALK SPACE AND CREATIVITY

Discussion between the artist Anselm Kiefer and architect David Chipperfield.

Beginning with Kiefer’s extraordinary studio complexes in Germany and France, the discussion roamed over questions of materiality, the nature and feel of spaces, scale, history and the ruin. Kiefer continues to discuss the ways he has shaped his three successive studios, and their landscapes both as a place and as a place in which to work.

DAVID HILLS OF DSDHA DISCUSSES THE NEW STUDIO SPACE OF EDMUND DE WAAL.

British firm DSDHA has created a second new studio and gallery for ceramic artist Edmund de Waal within the shell of a converted munitions warehouse in south London.

(Royal Academy of Arts)

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.

 Andover Installation : October at the Chapel.

Gridshell
Weald and Downland Open Air Museum

Drawing, tissue paper, tape, body outline with astronomical data on paper.

Markings over Layered Drawings #1

Template and Form 2010. The Yard,Winchester.

Pastoral Space: Material, Inquiry and Craft.#2
Drawing intervention and speculative sculptural environment.

Body Outline with Stones and Threads : Mapping.

PB145023a : Mapping. Human Filament

Reverberations from excavated land #5

Speculative vocational processes #8
http://cargocollective.com/russellmoreton/To-consider-time-as-an-entity-we

Hidden Curriculum #1
a thousand plateaus
Deleuze, Guattari

Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State

War Machine

Plastic Horizons/Strange Attractors/Affective Abstractions

 Outpost 010722

Intermediaries/Exploratory Realities.

Constructs/Apparatuses.

Elastic Horizons/Schisms

Space-Time Manifolds

Heuristic Devices/Poetic Ideas

Strange Attractors/Drawings/Diagrams

Architectures that embody philosophy, through limited concepts that work with the contingent and the uncertain.

Light has a new prolific dimension today as a means of measurement and communication.

Light that is not seen with the eyes can be felt. 

Light's psychological effects can lead to extremes of feeling with direct repercussions.

The revelations of new spaces, like interwoven languages, dissolve and reappear in light. In magnificent spaces, light changes and appears to describe form. 

An eclipse of white clarity suddenly gives way to a pulse with colour; light is contingent, its shadows intermittent.

In the mist of the metropolis at night, space dissolves before our eyes, only to take shape again within seconds. 

The spatial depth of the urban field cannot be objectified precisely. In its pulse the polarised position of our body and its perceptions are upset.

If we explore spatial depth, then we can consider how objects appear correct or inverted. During our thought-experiments regarding space, especially space beyond the earthbound (Event Horizon, black hole) we accept new spatial levels and by the force of our imaginations, alter the known spatial levels of previous human existence.

Horizon with aurora borealis.

A horizon is not only an optical condition but also a spinning moment in space-time.

In this sense, the earth is not the ground. 

As things continue to float, they spin and accelerate creating subtle centrifugal forces.

We are organic beings.

All of our objective relations begin from the inside out.

We  must form an extended comprehension of space and time at the scale of astronomical events while not losing the perspective of the microscopic.

Parallax, Steven Holl.

Prototyping For Architects, Mark Burry, Jane Burry.

Why it does not have to be in focus, Jackie Higgins.

Studio Painting/Constituent Parts.

Matter and Affect

Presence and Mutability

Affective Abstractions

Robert Ryman

Shifting perceptions into immersions within a sensate world.

Japanese Minimalism

Exploratory Diagrams

Spatial Forms/Horizons 

Building as a body, a battleground of invisible forces. The spine is the central elevator. 

The structure is a tube of concrete covered with insulation and tarred black wood boards.

Knut Hamsun Museum, Hamaroy, Norway.

Works on Paper and Cloth, visible fixings, securely situated to the wall space.

Architectural Panels/Painting Surfaces.

Soundproofing social noise

The solitary artist literally at the edge of his environment, in a state of profound meditation about our place in the wider cosmos.

We are no longer on the outside as an objective, dispassionate observer, but are now part of the journey and perhaps more subtly part of a ceaseless life-giving cycle.

When we are at the beginning of a journey we, like Odysseus, contemplate a character (or concept) that does not yet exist. Absence and loss precede the appearance of an abstract driving force.

Chaos, confusion, and implosion of information bound up in rules, constraints, and limited means precede every architectural challenge. Once the imagined concept takes hold, its correctness is tested in the way it can work in different modes, from program to light, to space and to material.

The journey from the abstract to the concrete is a metamorphosis from a poetic idea with an exploratory diagram, a coherent purpose to form.

Mattering/Metaphor

Dartmoor/Water

Stream of thought, cascades of neural activity in your mind.

Imprints of the natural environment, explorations of matter and light, self and other.

Works that seem caught between this world and evoking a place that is otherworldly.

She works outdoors using the nocturnal landscape as a darkroom.

On The Presentness Of Photography, Craigie Horsfield.

For Horsfield, by separating the act of taking the image from that of printing it, he believes he draws attention to the 'pastness' of the photograph, which is what the picture depicts, its subject and what he calls the 'presentness' which is how the photograph exists through its surface, its matter, and the physical object.

The instant of the moment is also a past reality.

Slow History/Slow Time on the presentness of things and their complicated relationships to time.

Tactile Light/Casting Images.

Pliny/Butades, tracing an outline of a shadow onto a wall.

Christopher Bucklow has devised a process to depict figures composed of myriad pinhole photographs of the sun. He dispenses with the negative by casting images directly into photograms.

She, is rendered not as a shadow but manifested as a radiant, luminous being. 

They flesh themselves in the astral remnants of dilated starlight.

Skin

Surface

Subjectivity 

The composed image is given an apparent physicality, its surface should be constituted by and of  place and time, it should be vulnerable, porous to impressions like skin.

Physical Forms

Landscape

Free Movement

Cone of Vision/Refraction Diagram

Parallax

Elastic Horizons

Science remains essentially mysterious, yet our daily scientific and phenomenal experiences shape our lives; experience sets a new frame from which we interpret what we perceive.