Human Vessel/Leper Grave.
Morn Hill, Winchester.
Liquid light emulsion, charcoal, wax on paper, 2.1 x 1.5m.
Russell Moreton.
https://www.flickr.com/photos/russellmoreton/
Discursive Thinking/Substance and Display.
Julian Stair
Quietus/The Body Politic
Morality
Jonathan Sacks
Co-Existing with the Virus
Jozef Van Wissem
Grand Central Confessional
Nature Boy
He said that in the end it is beauty
That is going to save the world, now
Nick Cave and The Bad Seeds
Outpost 150723
Hungate Medieval Art and Architecture.
https://www.axisweb.org/p/russellmoreton/
The Sensations The World Calls Forth.
We paint-sculpt-compose and write with sensations.
INSIDE THE VISIBLE
impulse of the possible
an elliptical traverse of 20th century art.
in, of, and from the feminine.
edited by M. Catherine De Zegher.
front cover:
Anna Maria Maiolino,
Entrevidas (on the margin of life), Installation, photo: Hanzy Stakl. 1981
The plane of composition through which articulation eventually emerges is populated by the thought of the work, its inner rhythm. Deleuze and Guattari calls this inner rhythm a block of sensation.. Blocks of sensation are forces that compose thought's durational attitude.
Deleuze ,Guattari. 1994.
Rhythm is determined not by the length of the edited pieces, but by the pressure of the time that runs through them.
Sculpting in Time, Tarkovsky.
For Tarkovsky, editing from within seeks to create space-time, not simply reproduce it. To edit from within is to compose with the more-than of language's actual articulation. It is to work with language's pre articulated virtual force, directing enunciation such that its virtual effects are felt within actual expression.
For Amanda Baggs, communication through words remains inadequate to the singular experiences of sensation the world calls forth.
Thought is a proposition for Feeling-In-Motion.
Thought is more than a form taking of words.
Words are an extra component of the experience of articulation, not its final form. Words cannot fully express experience's complexity.
Language must be called forth as a layering-with of the affective tonality of expression.
An inquiry and its translation that transduces the event of language's becoming with sensation.
Language does not replace the sensual exploration of the relational environment, it moves with it, becoming one more technique for composition.
The Relational Cusp :
Of Becoming-Events-Objects-
Movements Expressing The Force Of A Relational Environment.
This sensory becoming is a form of thought.
Being/Becoming in a constant conversation with every aspect of my environment, reaching/reacting physically to all parts of my surroundings.
Artworks/Art working to create a relational nexus that can expose the world at the incipience of its sensory becoming.
Relationscapes : Erin Manning.
Leylines: St Bartholomew’s Church and Hyde Gate/Chamber. Winchester SO23 7DF. www.hyde900.org
“Leylines” has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has also produced insightful local knowledge from those dwelling nearby.
Beams and Netting: Negotiations in the chamber.
Clay, Hessian, drawings and transparencies from architectural openings, drawing frame, antique glass, lead and nylon lines.
This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber, and these drawings also reference the supportive ironwork (Ferramenta) which has been playfully re-registered as a graphic leyline . A drawing frame similar to that used in archaeology for drawing has been adapted to illustrate the relative positions of the leyline as registered by the ordnance survey grid, both terminuses being labelled on the frames periphery.
The Poetics of Space : The house, from cellar to garret. The significance of the hut.
“He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar.”
Gaston Bachelard.
via Russell Moreton : Spatial Practices..
Outpost 230322
Fragments/Procedural Remnants/Palimpsest
Robert Ryman : Used Paint, Suzanne P. Hudson. 2009.
The wall of the gallery is, of course, the surface of the paintings and the wall is virtually pulled into the paintings. While the concept is important, the work has to do primarily with visual response.
Monitor, 1978. Oil on stretched cotton canvas with metal fasteners and four bolts, a thing of its own , with the wall.
High in the architecture,
Something's moving,
Unrecognisable spirit,
Dislocated
It's fate belongs to another time,
Another place,
Projections of fallen masonry,
Ghosts of a once pagan temple,
Standing empty,
I stand empty,
Nothing ever happens,
A vessel filled
Held and spilled,
Nothing,
A trace from another time,
Another place.
Angels, from Sleepwalkers, David Sylvian.
David Sylvian as a philosopher, a foray into postmodern rock, Leonardo Vittorio Arena.
An architectural experience where a site/plot becomes a space of interaction, of mutual subjectivity and inter-subjective identifications.
Drawing attention to the body's concealment, and a list of more reliable things.
Things that through reflection and assessment had made her happy in the past.
A site for something else.
A set of experiences rather than physical features.
The ambiguous state of hiding and revelation.
Minimalism, fluid actualities, spaces between things.
White Paintings, Robert Ryman.
On the daylight nature of materials and substances.
The inside of your home is private and your personal realm of expression, the outside is part of other people's lives.
Architectures that determine how to live/movements for living.
Woodman's juxtaposition of smooth skin and scarred architectural details, alludes to a visual tactility, a kind of attack on the body's surface. An undoing/un-fixing of the smooth skin of which female beauty is assumed to be lodged.
A myriad of textures, colours, new insertions into the worn character of the old repaired building.
Home-Studio, as an autobiographic experience, a place that can be circulated and incorporated into your lives and personal histories.
Skin-Surface-Subjectivity.
Harriet Katherine Riches, 2004.
Staged Conjunctions.
Photography and its phantasm of fusion with the environment and other bodies.
Surfaces, broken down bearing the marks of neglect and decay, patina and aesthetics.
Evacuating a temporal recession into the past, revealing layers upon layers, and the literal tearing or scraping away of the photographic surface.
Asperities between a bodily discomfort provoked by the interplay of skin with the torn and peeling sheets of parched wallpaper, and an irritating, scratching, a pulling away of the delicate layers of the body's skin.
Woodman's paper shell also evokes the maternal body as a space in from which the individuated subject emerges.
One needs to feel the texture of the surfaces and objects in the pictures against bare-skin, to truly understand what Woodman hoped to achieve in her work.
Sloan Rankin, Francesca Woodman, 1998.
Identity becomes discrete and subjectivity realised.
For each photographic self-reflection momentarily ensures the continued (mis) recognition of the subject's own bodily borders falsely acting as mirror like surfaces which prevent the subject's re-absorption into both herself and her surroundings.
