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Outpost/Gildengate House 300125
Ways of knowledge prompts us to consider what happens when artists step into territories of knowledge production traditionally associated with disciplines like anthropology, science, or history. Opening new possibilities of how knowledge can be understood, represented and disseminated through contemporary art.
An exhibition that invites consideration of how making research becomes an integral part of practice. Using thematic presentations that explore, give platform to emerging methodologies, art forms, and conceptual investigations.
Rosario Guiraldes (Curator)
Ways Of Knowing. 2025
Walker Art Center.
Vitamin C
Clay+Ceramic
The Ceramic Reader.
Flooring Texts
Lines : Tim Ingold.
Notations
Contemporary Drawing as Idea and Process.
Drawings that are habitable.
The line is a whole, an identity, for a particular place and time.
Fred Sandback did not create new environments with his yarn works. Instead, he thought of his sculptures, the existing gallery space, and viewers all coexisting and able to occupy essentially the same space.
Visualizing Feeling.
Affect and the feminine avant-garde.
Susan Best.
Surrealism, the feminine and sexuality.
Bodies in the Filmic Medium.
Film.
Tacita Dean.
Senses Of Cinema.
Philippe Grandrieux.
The Belly of an Architect.
Peter Greenaway.
Optics Nihilist/Paintings Body and Mind In The Films Of Gasper Noe.
Pipilotti Rist
Making An Exhibition.
Interior Architecture 'sip my ocean'
Uta Barth
Stefanie Schneider
The Camera Obscura becomes a small portable box.
From Shadowgraphs to Alchemy.
The Photogram.
The Cyanotype.
Heterotopias.
Of Other Spaces.
Michel Foucault.
The Observatory by Robert Morris.
Joseph Cornell And Astronomy.
A Case For The Stars.
Kirsten Hoving.
Field Studies.
A Philosophy of Solitude
John Cowper.
The Poetics of Space
Gaston Bachelard
Space can be poetry.
To receive a new poetic image is to experience a quality of inter-subjectivty.
A felicitous space.
Poetry possesses a felicity of its own, above that of the actual experiences of the poet.
On the origins of a thought.
Not knowing is not a form of ignorance, but a difficult transcendence of knowledge.
The poetic image places us at the origin of the speaking being; after the original reverberation we are able to experience resonances, sentimental repercussions, remainders of our past. But the image has touched the depths before it stirs the surface.
The house, as an entity for a phenomenological study of the intimate values of inside space, its unity and complexity.
Inquiry focused on the house, its interior places and its outdoor context.
The house, from cellar to garret, the significance of the hut.
The soul comes and inaugurates the form, dwells in it, takes pleasure in it.
The page possessing a sonority.
A poet's word, because it strikes true, moves the very depths of our being.
Contemporary painters no longer consider the image as a simple substitute for a perceptible reality. By the swiftness of its actions, the imagination separates us from the past as well as from reality, it faces the future, a function of unreality.
If we cannot imagine, we cannot foresee.
GILDENGATE HOUSE
*STUDIOS UPDATE*
Due to redevelopment of the area, OUTPOST Studios will be closing in February 2025. Founded in 2010, we are thankful for 15 years in this fantastic space! Home to 90+ artists at any one time, hundreds of artists have benefited from studio space over this timeframe.
OUTPOST STUDIO 181121
Organism-Person-Environment/Architectural Body, Arakawa and Gins.
Haptic slippages between subject and object, between what is alive and what is animate.
Drawing/Anamorphic Perceptions, apprehended and felt, more than seen.
https://axisweb.org/artist/russellmoreton
https://www.anglianpotters.org.uk/members/russell-moreton/
Glass/Skin/Permeable/Translucent, Diaphanous and Wondrous.
The Sensation of Flesh/Skin, Surface and Subjectivity.
Material Thinking and the Agency of Matter.
Barbara Bolt. 2007.
Things and Bodies/Shifting Signs
The haptic image/indexical/involuntary markings and the present instant, a body at the limit of its moment when it is most definitely intensely alive and in the present.
Beyond the body's blurred contours and indexical markers, to see through, to see sense challenged.
Time is persistently liminal, a suspended, extended present.
Mattering/Mutability, Accident, Flux
Experience/Existence/Presence
Life Drawing/Staging Oneself/Others
Body in Space/Resilience, Endures
An ecological view of cognition, knowledge of the world comes from engagement with things.
Rather than studying the world as an object, we correspond with it in its own movement of growth or becoming. This correspondence sets up a relation with the world which opens up our perception to what is going on so that we can respond to it.
Tim Ingold. 2013.
Making as a process of thinking.
Making involves the socialised, skilled artist body labouring with materials, responding constantly to tactile, visual and emotional feedback from the emerging form.
I am exploring emergent objects as landscapes, inhabiting them and of making sense through them.
Barbara Bolt. 2007.
Creative 'practice' and the embodiment of the 'social'.
The Life Class/The Artist's Studio.
Knowledge is emergent as the artist engages with the environments and processes of practice.
Adopting a conception of cognition as ecological assumes thinking and perceiving occur as an organism moves through its environment.
The artwork and the work of art produce a knowledge that is performed in the moving interactions of body, material, and social actors in space and time of which the artwork is a trace.
Tim Ingold. 2000.
Event Spaces, as an experience of distributed artistic subjectivity and shared art-of-inquiry.
A Body Of Relations
Reconfiguring The Life Class
Yuen Fong Ling. 2016.
Intermediaries and happenings between my body and other bodies and their technologies, where their performativity is revealed offering new perspectives on the roles within the life class.
In my fixed physical position as the life model, the notion of the 'pose' reflects a union of the conscious and unconscious, instilled by the act of being looked at, and the ways to record this through optical devices and machines.
Modelling Subjectivities
Life Drawing, Popular Culture and Contemporary Art Education.
Margaret Mayhew. 2010.
Drawing is important because it delineates between elements in the physical, visual, psychological and cultural field, it also delineates between bodies and spaces, art and fashion, and present uncertainty verses timeless tradition.
The act of drawing itself involves considerable self control on behalf of the drawers, not only in mastering hand-eye coordination, but in concentrating on the present moment, the present action and in the immense discipline of looking at a naked body, culturally marked as sexually available, and not displaying sexual interest.
Margaret Mayhew. 2010.
The body is never isolated in its activity but always already engaged with the world.
Merleau Ponty. 1999.
Through the configuration of the body as potentially transparent, against which the human being can only push with her hands at the limits physical and psychic geographies that are between inside and outside.
Photography and the permeability of time evoking a physical experience of observing and examining other worlds.
Aesthetics of intimacy, photography and bodies of desire, the gaze of the passionate camera.
The intimacy and equivalences created through the photographic experience.
Her inert body both inside and outside the vitrine.
Potentially something dangerous about the experiments with her body, with and into its layering and embodiment within speculative spacetime dimensions.
Here the viewer has the sensation of seeing through a double protective layer of glass and skin.
Art Practice/Building Distant Realities/Wonder
Like glass and within the glass, with the skin that separates the body from outer/other space as well as inner geographies and selves.
Written on the body, maps and navigations of interior spaces. Winterson/Woodman.
Her poetic image of a space that presses psychically on her from the outside.
The earthbound, partial female body, transgressions of the everyday limitations on the body.
The psychic geography manifested within frames of spatiality that becomes an inner space that flips outwards and defies limits.
Through and beyond the drawn/sculpted and painted body.
Site for psychic inner explorations, a corporeality for others rooted in the body's present moment of experience.
Diffracting Drawing and Painting.
Mattering as a reconfiguration of its own making, understanding and encountering.
Atmospheres : Architectural Environments, Surrounding Objects.
Peter Zumthor. 2010.
Manuel Neri, Studio, Benicia, 1980
Francesca Woodman, Untitled contact sheet, Providence, Rhode Island, 1976
Photographic Collage : Temporal Framework/Spatial Frame
Thematic framework analysis is a qualitative research method that combines thematic analysis with framework analysis to analyse data.
Thematic analysis identifies patterns in data, while framework analysis provides a more structured approach.
Curatorial approaches to thematic knowledge creation/production/wellbeing.
Sample glass panel Stevens Architectural Glass Competition,
Addenbrooke's Research Hospital, Cambridge 2014.
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Ceramic Practice and Perception
Mind and Medium
Heuristic Material : Collage
1. encouraging a person to learn, discover, understand, or solve problems on his or her own, as by experimenting, evaluating possible answers or solutions, or by trial and error: a heuristic teaching method.
2. serving to indicate or point out; stimulating interest as a means of furthering investigation.
abstracts : The Ruins of Cinema/Waverley Abbey Construction.
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Flux/Fusion with nothingness and absorption
Symbiotic relationship, feeding life, breath, energy, immanence
The visceral dark pots, meditations on existential feelings, volumes for thoughts, voids for imagination and fear, ecologies for living.
The “New Ceramic Presence” a metamorphosis of meanings rather than in the eternity of symbols.
As always, the artist is led, not by patron, not by populace, certainly not by the critic, artist is led by artist. The artist is his/her own culture.
Rose Slivka. The New Ceramic Presence. 1961
The Garden Of Forking Paths
Chieko Mori, Spiral Wave
James Blackshaw, The Broken Hourglass
Helena Espuall, Home of Shadows and Whirlwinds
Jozef Van Wissem, The Mirror of Eternal Light
Chieko Mori, Tokyo Light
The very materiality forces its very form.
Pots invite us to consider the world that is gathered around them and through them.
Loss of Relativity and the Forgetting of Air
Ceramics of immediacy/sensate in its own implicit space
And into the Fire
Post Studio Ceramics in Britain
Glenn Anderson. 2010
The politics of place rather than the nature of objects.
Clare Twomey most defines the post studio moment in British Ceramics.
Potters are making pots to be 'expressively photographed'.
Paintings have lost their 'relativity' becoming images rather can things.
Rawson's ideal pot would die quietly in a glossy photograph, but comes to life in the hands.
Clay and mind works with the tactility formed and found from the voids of inside/outside divisions.
For Heidegger, the potter's medium is not clay, but space itself.
The thing of his essay is not a particular jug, but the essence of one.
The thrown walls of a jug may address that space. But the content or purpose of the object remains the voids within it and around it, which it brings into a sort of communion with one another.
Raku as an ideology
A philosophy must be arrived at through a direct involvement with the materials and the process.
Clay,The Body, Breath.
Ceramics, Fire,Energy.
The vessel's thingness does not lie at all in the material of which it consists, but in the void that holds it
The potter who forms sides and bottom on his wheel does not strictly speaking make the jug, he only shapes the clay, no, he shapes the void. For it, in it, and out of it, he forms the clay into the form. From start to finish the potter takes hold of the impalpable void and brings it forth as a container in the shape of a containing vessel.
Heidegger. Poetry Language Thought 1971. The Thing 1950.
Pots always inhabit espace-milieu for the pots own space is continuous with the space around it, into which it extends and which makes it perceptable.
Anecdote of The Jar.
Wallace Stevens. 1919.
The pot/jar/jug does very little to dictate what happens around it. But it nonetheless conditions that reality, takes dominion.
The Vessel
Death and The Human Body
Each object has palpable weight, stands its ground, each has a definite thickness. A thick wall that reciprocally shields the darkness within, from the light without.
Glenn Adamson. Matters of Fact.
The containment of the body in death.
Existential
Clay Jug as an emblematic object full of billions of stars
Jackie Leven
There is something about clay that is elemental, prebiotic. Many creation myths refer to the forming of man from clay, its the stuff of the world we live in, its what we walk on. Taking that material which symbolises our origins and then making vessels to house the body, creates a wonderful kind of circularity.
Julian Stair. Quietus 2012.
Paul Soldner on Raku as a state of mind, a way of thinking, a way to continue to create with the pot after firing. Raku for me creates a way of living, not a technique but an attitude for life.
The intrinsic nature of the intimate contact with the pot continues to stimulate the potters response, the pot in its becoming is both a beginning and an end.
A distinguished Japanese potter, Mr Kawai of Kyoto, when asked how people are to recognize good work, answered simply, “with their bodies”.
Bernard Leach
A Potter's Book
Symbiotic Relationships
Atmospheres and Surrounding Objects
Peter Zumthor
Unknown Craftsman
Soetsu Yanagi
Put aside the desire to judge immediately, acquire the habit of just looking.
Do not treat the object as an object for the intellect.
Just be ready to receive passively without interposing yourself.
Outpost 270125
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https://www.flickr.com/photos/russellmoreton/
In-Transit
The Complex Process of Knowledge Production.
The Narrative of Theoretical 'Unravelling'.
What Is An Artist?
Irit Rogoff. 2006
Robert Morris
Catalogue Entries.
Columns, 1961
Passageway, 1961
Box For Standing, 1961
Portals, 1961
Box With The Sound Of Its Own Making, 1961
Early Minimalism
Measurement, 1963
Imprints And Body Casts, 1963-64
Site, 1964
Leads, 1971
Felts, 1967-83
Dirt, 1968
Continuous Project Altered Daily, 1969
Observatory, 1971-77
Rubbings, 1972
INFRA-THIN
Sensations between objective knowledge, difference and truth.
Post-structuralism, A very Short Introduction.
Catherine Belsey.
The Architecture of Emergence.
The Evolution Of Form In Nature And Civilisation.
Michael Weinstock.
The Architecture Of Continuity.
Lars Spuybroek.
The Body.
The Lived Body.
The Flesh of Things
Donn Welton
Written On The Body.
The World and Other Stories.
Jennette Winterson.
Painting for Bacon was a visceral event a sensation, driven by emergent behaviours and phenomena.
Ceramic spatial inceptions with circulating totems.
Slab built, Stoneware. 2025
Tentative/Theoretical/Speculative Landing Sites.
Between Organism-Person-Environment and its Spatial/Architectural Body.
Preface.
Stefan Fichtel
Well-made animated information graphics are based on clear decisions about what matters and what should be left out.
Human Body/Indexical Trace on dot-matrix paper.
The Centrality of The Human Body to Architecture.
Undone/Assemblages of Concern.
Collage as the third aesthetic.
Ranciere argues for collage as 'third' aesthetic: it can combine two relations and play on the line of indiscernability, between forces of sense's legibility, and the force of non-sense's strangeness.
The Dark Monarch.
Magic and Modernity in British Art. 2010
The Bricoleur/sweeping the floor/movements in matter/spatial layering, thought in motion.
Embodying Emotion Sensing Space:
Introducing emotional geographies.
Joyce Davidson, Christine Milligan. 2004
Studio Floor Material.
The Artist's Reality
Philosophies of Art
Mark Rothko.
Culture, Creativity and Environment.
New Environmentalist Criticism.
Fiona Becket, Terry Gifford.
Ecology Without Nature.
Towards a Theory of Ecological Criticism.
Timothy Morton.
Visual Ecology
Transparency : Expressing the Unseen.
Transparency-the ability to see into and understand the inner workings of a landscape-is an absolutely essential ingredient to sustainability. In a world where more and more of the technology controlling our lives is not only beyond our individual control but is also invisible and incomprehensible to the average person, the landscape sreves not only as the foundation for our only genuine 'tangible' reality, but as the only mechanism by which we can really know where we are-and how and why as well. It can be argued that as humans we have a right to know where we are, how we are connected, and how we are doing.
Gray World, Green Heart.
Robert L. Thayer, Jr.
Julia Kristeva
Black Sun.
Depression and Melancholia.
Susan Sontag
Under the Sign of Saturn
After Hiroshima
elin o'Hara slavick
On Pictures and the words that fail them.
On An Image Of A Bottle
James Elkins
A Field Guide to Melancholy
Melancholy and The Landscape
Locating Sadness, memory and reflection in the landscape.
Jacky Bowring
Who Comes after the Subject?
The essays collected in this volume present the current research of nineteen contemporary French philosophers on one of the great motifs of modern philosophy: the critique or the deconstruction of subjectivity.
Eduardo Cadava, Peter Connor, Jean-Luc Nancy.
The Enchantment Of Modern Life.
Attachments, Crossings, and Ethics.
Jane Bennett
Ordinary Lives.
Studies in the Everyday.
Ben Highmore.
Everyday/Quotidian Aesthetics.
Ranciere is perhaps the contemporary writer most alive to the productive and necessary confusion between aesthetics as a general field describing the realm of sensate perception, and the more limited meaning relevant to the field of art that has taken shape in the West in the last two hundred or so years. And it is this confusion (a confusion that infuses both the general and the limited economy of aesthetics) that we can find the materials to help us build a quotidian aesthetics.
The Politics of Aesthetics.
The Distribution of the Sensible
Jacques Ranciere.
Emergent behaviours/phenomena to generate buildings.
Screen-shot CCTV.
Fire exit intervention WSA. 2008
The Centrality of the Human Body to Architecture.
Framing/Temporal Containment/Instances and Immediacies : Human Bodies/Spatial Bodies.
Outpost 230323
Drawing, depicting something found through the process of making visible.
https://www.flickr.com/photos/russellmoreton/
The Luminescence Of Space.
An Archaeological Inquiry Into Drawing.
Correspondences/Reclaiming the drawings.
The Affect and Memory of Drawing.
To interrogate ways of seeing/looking, John Berger.
The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all 'present' at the inception of the work.
Colin Renfrew.
The Myth of Butades.
Figure/Ground Relationships.
Theoretical Thought : Diagram and map.
Neo-Sumerian temple plan on clay tablet from c. 2100BC.
The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.
Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.
Drawing/Substance/Memory/Display.
The artist's creative act, is of a self amongst others.
Material/Thinking Matter.
Drawings mediated by the distance of memory.
Art Works, subtle embodiments, visual markers both spatial and sociological.
Life/Drawing/Figuring It Out.
The Luminescent Dematerialization Of The Subject.
Expressions Of Both Figuration And Abstraction.
Phenomenological approaches to Drawing/Looking/Others.
Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.
Walking/Movement is quiet literally what made us human.
The walk is a 'mark' laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.
Richard Long/Colin Renfrew.
Charles Mausson.
Walking Man, No. 3. 1990.
Oil, crayon, 203.0 x 137.0 cm.
Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.
Robert Combas. 1993.
The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet.
Sophie Dupont. 1995.
The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.
The legibility of the photographic image was denied by the process of blurring the image.
Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.
William Jeffett. 1995.
Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.
Figural Expressions.
Figural dissolution of a nude descending a staircase, Marcel Duchamp.
Stop-motion photography of the human body in motion, Etienne Marey.
Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.
Notations.
Contemporary Drawing as Idea and Process.
Fred Sandback.
The Drawing Room.
The Secret Theory of Drawing.
Jim Dine.
Figure Drawings, 1975-79.
The Drawings of Richard Diebenkorn.
John Eldenfield.
Manuel Neri.
Drawings/Relief Sculptures.
Naked To Nude.
Life Drawing in the Twentieth Century.
Georg Eisler.
