Friday, 14 July 2023
Wednesday, 12 July 2023
Fake Fish, The Theater of Kobo Abe : Nancy K Shields. 1996
Thursday, 6 July 2023
White Noise : Nocturnes of Silence
This series of photographs came about through the phenomena of a snow storm late at night. The pylon at the bottom of the garden has been used many times in a series of star trail photographs. The small Nikon camera with its flash was used to document the falling snow. This working method becomes almost filmic, and one is able to sense and explore the phenomena and subjectivity of 'Deep Time' slowly altering/opening up our perception on things as it occurs.
Wednesday, 5 July 2023
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.
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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
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
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.
Monday, 3 July 2023
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.
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
Thursday, 29 June 2023
The Black Workbooks : Edges of juxtaposed areas.
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
