The Social : Catching The Light/Architectural Apparatuses/Spatial Methodologies

It would probably not be wrong to define the ex­treme phase of capitalist development in which we live as a massive accumulation and proliferation of apparatuses.

To recapitulate, we have then two great classes: liv­ing beings (or substances) and apparatuses. And, be­ tween these two, as a third class, subjects. I call a sub­ject that which results from the relation and, so to speak, from the relentless fight between living beings and apparatuses. Naturally, the substances and the subjects, as in ancient metaphysics, seem to over­ lap, but not completely. In this sense, for example, the same individual, the same substance, can be the place of multiple processes of subjectification.­

 I shall call an apparatus literally anything that has in some way the capacity to capture, orient, determine, intercept, model, control, or secure the gestures, behaviors, opinions, or discourses of liv­ing beings.

What Is an Apparatus? Giorgio Agamben 2009.

Alternative Photography : Photography and Architectural Space.

Photogram, a numinous construction, spaces amongst and within other spaces

Catching The Light.

The Entwined History of Light And Mind. Arthur Zajonc

PROXIMITY OF SPACE 

INTIMACIES IN SOCIAL SPACES 

SCRIPTORIUM

THREE STAGE METHODOLOGY (Kikutake) Mitsuo Taketani 

KA ‘ESSENCE’

KATA ‘SUBSTANCE’ 

KATACHI ‘PHENOMENON’ 

Characteristics of an architect

CHI ‘BLOOD’

TACHI ‘TEMPERAMENT’ 

KATACHI ‘EMBODIMENT’

The Phenomenology of Reading. GLAS, Derrida Literature and Language. 

The Stride of The Mind

Reading Rooms. Figuring Space. Text/Fumiture/Dwelling Reading with Paths

The Production/use of Space into Places to engender Societies.

A site specific induced inquiry into dwelling and building through/by way of an attentive awareness (anthropological) to people and place.

‘What I am post interested in now is inverting the structure of a culture that is centred around the city.’

‘The richness and strength of that (their) culture cannot be understood until one has worked with the people who live their- until one has eaten their food, drunk their sake, talked together with the craftsmen and made things with them.’

Kengo Kuma, Complete Works, (preface) 2012 

Relativity/Relationality through Walking and Thinking. Subjectivity. Space - Politics - Affect

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 

Immaterial Architecture : The Glass Observatory

Photograph (132) Cyanotype Alternative Photography

Documents from research archive

Tracing Light: Petworth House, West Sussex 2000 David Alan Mellor, Garry Fabian Miller.

Light And The Genius Loci

For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in 'a certain history of the relationships; earth/sun in the system of perception'.

Mutations Of Light

Petworth Window, 6 July 1999 Light's Windows And Rooms

Passing towards the Invisible.

The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent theme in William Henry Fox Talbot's early speculations.

CATCHING THE LIGHT

The entangled history of light and mind Arthur Zajonc

BROUGHT TO LIGHT

PHOTOGRAPHY AND THE INVISIBLE 1840-1900 Sight Unseen

Picturing The Universe Corey Keller

Invisible objects, penciled by nature's own hand.

In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the 'world itself.

The Social Photographic Eye Jennifer Tucker

Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.

An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand.

Invisible Worlds Visible Media

Tom Gunning

William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6x22.5 cm.

Techniques Of The Observer

On Vision And Modernity In The Nineteenth Century Jonathan Crary

The Camera Obscura and its Subject

Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject­ effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one's relation to the manifold contents of the now 'exterior' world.

UNDER THE SUN

By The Light Of The Fertile Observer

Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.

An Epiphany Of Light

David Alan Mellor

Christopher Bucklow, Guests Jeanette Winterson, Gut Symmetries

Matter is provisional and that includes me. If the physics is correct then we are neither alive or dead as we commonly understand it, but in different states of potentiality.

From The Adamantine Land

Variations on the art of Christopher Bucklow David Alan Mellor

Etienne-Jules Marey

A Passion For The Trace Francois Dagognet

Painting, Photography, Film Laszlo Moholy-Nagy

A Bauhaus Book

L. MOHOLY-NAGY:

DYNAMIC OF THE METROPOLIS SKETCH FOR A FILM

ALSO TYPOPHOTO OSKAR SCHLEMMER

MAN

Interaction of Color Josef Albers

The Elements of Color Johannes Itten

Pedagogical Sketchbook Paul Klee

The New Landscape in art and science Gyorgy Kepes

The Colour of Time Garry Fabian Miller

The Majesty of Darkness Adam Nicolson

The Unmade

The Pregnant

The Half Erotically Unmade

Camera Obscura of Ideology Sarah Kofman

An optical instrument, which used in drawing, allows one to see at the same time the objects being drawn and the paper.

I Am Not This Body 

Barbara Ess

Working Collages

Ann Wilde, Ulrike Meyer-Stump

A German Tradition of Photographic Typology

Collages made from contact prints from Blossfeldt's negatives, showing the isolation of particular motifs. The working collages were an archive, not for the negatives but for motifs.

The viewer is less interested in the subjects of the pictures, than in the effect created by the formal system subsuming them.

His photographic archive of plant forms is not a finished work, but material awaiting processing.

 

Enchantments and Crossings : Somatic Effects

Spatial Methodologies. Worlds and Thresholds.

The Fanciful and The Scientific.

The Playful and The Reverent.

The Material and The Metaphysical.

Tensions in built spaces.

Between Evanescence and Substance.

Between Illusion and Specificity.

Between Slickness and Tactility.

Today there is not even a single instant in which the life of individuals is not modeled, contaminated, or controlled by some apparatus, In what way, then, can we confront this situation, what strategy must we follow in our everyday hand-to-hand struggle with ap­paratuses?

What Is an Apparatus? Giorgio Agamben 2009.

Making Places where times and tastes, human fabrications and accidents of nature, all collide; in these situations under the shelter of a forming/becoming architecture these ‘spatial texts’ or ‘visual conversations’ of one sort or another are suggested and are manifested and explored through a praxis of inquiry and making.

Facility and retreat for cross-disciplinary inquiry (Humanities and the Social Sciences).

Repository and archive of artefacts, texts and objects.

Exhibition and making spaces, workshops and residential living spaces. Walled garden complex containing a reading pavilion and library.

Philosophy of Solitude, thresholds/spaces of serenity, a poetics of dwelling.

Relationships between Art, Photography, Craft and Building. Expanded through Exhibition, Performance, Teaching and Making.

Realized as a dialogue/delivery (Built Work) into Architectural Terms between Sites of Collection and Sites of Construction.

Art as Spatial Practice.

Catalyst Events/Situations to engender the experience of learning.

West Dean, Singleton. Residential courses in the arts, both the grounds and the house are fully utilised in the social activity of learning.

Kilquhanity,Scotland. Free School in country setting, used as a site for exploratory fine art practices(converted a pottery into a camera obscura and drew a garden from the movements of the sun across a specific terrain).

Brockwood Park School, Bramdean. Re-imagining learning, conducted a walk across a landscape with clay, and hidden curriculum in the library with objects and texts centred around philosophy and architecture.

Space folds : Containing "Spatialities around historicality and sociality"

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

"All that is solid melts into air"

Karl Marx, Friedrich Engels,

(Poetic observation concerning the constant revolutionizing of social conditions)

Posted 2018

A Vessel defines emptiness as presence : Discursive Forms/Research Readings.

Bricolage/Reading : Further Reductions and Fabrications

The Production/use of Space into Places to engender Societies.

A site specific induced inquiry into dwelling and building through/by way of an attentive awareness (anthropological) to people and place.

‘What I am post interested in now is inverting the structure of a culture that is centred around the city.’

‘The richness and strength of that(their) culture cannot be understood until one has worked with the people who live their- until one has eaten their food, drunk their sake, talked together with the craftsmen and made things with them.’

Kengo Kuma, Complete Works, (preface) 2012

Diffractive Gratings/Apparatuses/Methodologies through which to use in thinking from different disciplines.

https://www.flickr.com/photos/russellmoreton/

Clay, Interior Skins of Light and Dark Contemporary Ceramic Practices in Craft and Design.

Interior Spaces. Environments and Atmospheres. Ceramic Building Technologies.

Questioning the discursive nature of Screens, Boundaries and Borders.

Placing different interdisciplinary practices in conversation with one another.

Situatedness, Performativity, being/becoming attentive to the iterative production of boundaries. (Barad)

‘As found is a small affair, it is about being careful.’ Peter Smithson, 2001

‘The ‘as found’ attitude is anti-utopian; its form is (site) specific, raw and immediate. It calls the will to question. It is a technique of reaction ( Opposition/Kengo Kuma and Herzog and De Meuron and Multiplicity/Calvino and Zumthor) and a concern for that which exists.’(Schregenberger, 2005)

Sensuality, Materiality as Memory in the Poetics of Space. 

Breaking The Mould : New Approaches to Ceramics. 2007

Ceramic Environments.

Space/Time based work, using clay in large-scale contexts, in gallery or outside spaces to create a fully immersive moment that challenges the common perception of what clay is capable of.

Surreal Geometries.

Makers who use large and small-scale sculpture that is in some way abstracted or represents a heightened version of reality.

The Vessel.

Works around the practicalities of functional ceramics. Human Interest.

Explorations into the human form and human nature. Beyond The Vessel.

Experimentation around the ideas of deconstructing the vessel. Earthly Inspirations.

Formal and conceptual properties of using the very nature of clay. Surface Pleasures.

The exterior skin of ceramics and clay.

Notes from The Essential Vessel, Natasha Daintry. 

A Vessel defines emptiness as presence.

Vessel as a fundamental expression of being and non-being a ‘no-thing’ A vessel is both a hollow receptacle for liquid, and also a place where

“The mind of man balances and reconciles opposites” Tom Chetwynd,

“We turn clay to make a vessel; but it is on the space where there is nothing that the usefulness of the vessel depends.” Tzu, Lao, Tao Te Ching.

Around Form and Formlessness.

A Vessel is an effortless three-dimensional manifestation of form and formlessness.

‘The benign existential riddle of the vessel is that we only see the material bit that holds our coffee.’ (Daintry2007:8)

One comes about as a result of the other, and this search has a particular resonance at the beginning of this fledgling millennium as technological progress masks a perilous sense of physical and psychological uncertainty. (Daintry2007:6)

Pottery is bound up with the elemental needs of civilisation.

The search of form/cultural and individual through participating with the potters’ wheel.

Alternative “Thinking”States, Sensing, Doing and Being.

‘Its not easy to talk about sensing, doing and being. They’re not concepts as such, neat little fixed shiny packages of ideas, but more existential states which shift and move as you inhabit them-more amorphous, like clay.’ (Daintry2007:6)

Amorphous values of things/memory manifested through existential states (as a spatial device/movement/atmosphere) in architectural spaces?

Zumthor, Holl, Pallasmaa, Bachelard.

For the potter the making of a cup or bowl through the opening up or hollowing out of clay is itself ‘an essay into abstraction, a clothing of emptiness’; for a vessel is as much defined by the negative space in and around it, as the skin of the ceramic itself. This skin is a sort of negotiation between inside and outside, between solid and fluid, and where they intersect. A vessel embodies something and nothing and is an effortless three-dimension manifestation of form and formlessness. (Daintry2007:8)

The vessel inhabits rich, liminal territory of uncertainty and abstraction. (Daintry2007:12)

Metaphors of Memory and Experience by way of the Vessel. 

Spatial Negotiations (Metamorphosis) between Inside and Outside.

Clay Water Volume Vessel

A vessel (as membrane/threshold that can hold social rituals/traditions and memories) seems to occupy space but simultaneously be occupied by space.

Water, although fluid it is supremely germinative and represents the condition of all potentials.(Eliade Mirceal983)

Permeable in flux, water and water’s symbolism became the pagan’s way of intuitively knowing the world. Matter was plastic, fluid and changeable. The body was plastic with parameters defined not only by individual consciousness, but also in relation to other realms of the physical world.

The pagan participated in a vast mythology where his identity changed according to narrative fantasies that combined and recombined human and animal activity endlessly, weaving together memory, reason and sensation. In this permeable world there is no sharp division between things or between life and death. It is a world of energetic flow where bodies can indifferently become attached or unattached from myriad objects and forms. (Daintry2007:9)

Flexible Ways of Seeing/Re-Making the World.

“A large part of the reason for making is to see things that I have never seen before, to build something which I cannot fully understand or explain.”

Artist Statement, Ken Eastman.

Theories of relativity and uncertainty have shown that all matter, even the airy oxygenated void inside a vessel is energy, and that it is composed of the same building blocks generated from exploded stars. (Daintry2007:10)

Italo Calvino : Six Memos for the Next Millennium. 1996 

LIGHTNESS

Lucretius, preoccupied with infinitesimal entities on the nature of things. 

A philosophy of lightness (Calvino) formed from Lucretius ‘he is the poet of physical concreteness, viewed in its permanent and immutable substance, but the first thing he tells us that emptiness is just as concrete as solid bodies.’(Calvino l996)

Knowledge of the world tends to dissolve the solidity of the world. (Daintry2007:10) The synchronic flow between form and emptiness, solid and fluid is in itself an 

awareness of conjoining the concrete with emptiness. The drawings of Cy Twombly as Roland Barthes comments have the ‘appearance of a form (that) testifies to its simultaneous ineluctable disappearance’ this produces a sort of life-death thought and gesture caught within a semblance of writing (graphism). This mark making is evident in the drawings of Alberto Giacometti where the very mark itself seems to illustrate both its arrival and its disappearance. This erasure and its subsequent superimposure is a sensation caught in flux, the written in the unwritten.

The painted bottles of Giogio Morandi share a similar quality where reality floats somewhere between inscription and erasure. (Daintry2007:l 1)

Morandi ‘I believe that nothing can be more abstract, more unreal than what we actually see.’ He comments further on the specifics of an objects he paints that a ‘precipitous position can be seen in psychological terms as a confrontation with the void of existence.’(Tate Modem 2001)

‘The didactic boundaries of the outer pot surrender to an informal space within that seems far larger than the vessel itself.’ This is how Gareth Clark has described Ebuzziya Siesbye’s hand built pots, how they seem to levitate volume and float in space. (Daintry2007:11)

A “Retreat” as an entrance to a vast, limitless space- an inner landscape.

One can speak of this duality of inside and outside but the real experience is more kinetic, more fluid and interchangeable. (Daintry2007:11)

This dialectic of ‘outside’ and ‘inside’ is explored by Gaston Bachelard in his Poetics of Space. Bachelard points to an interlockingness that inverts the experience of in and out through the imagination. He notes that ‘we absorb a mixture of being and nothingness’ explaining that ‘being does not see itself; it does not stand out, it is not bordered by nothingness’. (Bachelard1994)

Form

Form as a Transport/Transitional Device to arrive/present somewhere/something. The Abstract to The Concrete.

Architectural Experiences.

Anthropomorphic Qualities. The Physical Self.

Materials and material sensuality in both architecture and the making processes of vessels.

Thinking and Learning through Objects (things).

Do we notice the minute differences between textures, light and spatial volumes? This attending to the physicality of things has the effect of locating you in the world 

and connecting you to you own physicality. It represents a way of felt experience, of being known and knowing the world through the corporal. (Daintry2007:12)

The Body in Pain: The Unmaking and Making of the World. Elaine Scarry.

Theorises how creative efforts-making both stories and objects-construct the world. Scarry describes both tools and objects as being extensions of the body into the world and therefore they become ways of knowing it. Importantly Scarry documents how tools have become increasingly detached from the body over time. This detachment from our bodies is creating a disembodied relationship with ourselves, and the technological world we now inhabit.

Wanderlust, A History of Walking. Rebecca Solnit. 2002

The Mind at Three Miles an Hour.

Are we using objects to feel are way back into the world?

Solnit explores Susan Bordo’s claim that ‘if the body is a metaphor for our locatedness in space and time and thus for the finitude of human perception and knowledge, then the postmodern body is no body at all.’ Solnit comments on this postmodern body that it is more of a passive object, appearing most often laid out upon an examining table or in bed. ‘A medical and sexual phenomenon, it is site of sensations, processes, and desires rather than a source of action and production, this body has nothing left but the erotic as a residue of what it means to be embodied. Which is not to disparage sex and the erotic as fascinating and profound, only to propose that they are so emphasised because other aspects of being embodied have atrophied for many people.’(Solnit 2002)

The pagan life that St Augustine (bom 354AD) sought to reorganise was too complicated, sensuous and unsettling to be contained within a monotheistic belief system. He stood on the cusp of the two worlds, the sensual, fluid pagan one and the incipient Christian. He succeeded in steering the Christian church into absorbing the essentially Platonic philosophy of a timeless and non-material self, existing alongside the fleeting and decaying material world of the sensory body. Thus creating a reality that was divided onto two, the material and the non material. (Daintry2007:12)

Does the interior spaces of Hans Coper’s ceramics reverberate with this archaic pagan sense of a permeable sensuality? Is this not what he himself writes about when he comments on the Platonic values of “the Egyptian vessel”.

Endless repetition, Graham Gussin can take you nowhere, to a non state, akind of Utopia-meaning literally ‘no place’ Gregory Bateson cites this no place as like a plateau ‘a continuous, self-vibrating region of intensities whose development avoids any orientation towards a culminating point or external end’. (Daintry2007:13)

Voids within vessels become sources of emptiness that cause flows of intensities, held in place and time by being able to allow ourselves to become permeable to the place, to the situation.

Artists and potters who make reduced forms often work in series. They seemingly go over and over the same terrain in minute but varying detail.

Throwing and its vocational situation allow the phenomena of ‘forgetting themselves in a function, WH Auden’ Finding deep satisfaction from losing themselves in their work.

What sense of interior space do we experience with Edmund de Waal’s installations, are we in some way becoming further located in a conceptualised and contextualised postmodern body. A body created and grafted into ’’fetishism” by being nourished solely on conceptual concerns in highly contextualised and ultimately passive spaces. Bachelard’s interlockingness, his mixture of being and nothingness (the sensory space of the void, Ma), is in effect the fluid and kinetically driven attendances we give to the physicality of things.

Ceramics like an architecture experience as recorded by Pallasmaa “ The duty of architecture is to slow down perceptions and create silences” ceramics are also able to create a ‘sensory map of actions slowed down’. The viewer like the visitor has to slow down their own act of looking and begin to sense and feel their way inch by inch over the pots or the interior spaces of a room, in so doing one is beginning the process of undoing the conceptual knowledge of our current situation into a nowness that allows us to re-learn, to feel something from the inside out, in effect to regain our innerness through the ‘usefulness’ that Tzu, Lao explains as being the usefulness of which the vessel depends, Tao Te Ching.

Raveningham : Exploring the aesthetic ecology of making things.

Collected Notes : Raveningham Sculpture Trail 2020

Studio Blackboard

ODYSSEY Aesthetic Intervals/Timbre/Traces

Immateriality/Temporal/Transitions material and movement/Human agency

A Species of Spaces

Construction/Making/Collage

Forming, slowness and repetition, elements of painting

Assemblage, sensation, surface, objects and spaces between them gathered/thresholds

Sheltering/Weathered/ Exploring a fragility of a painting in the landscape

Robert Mangold, Paintings and Architectural Forms

Fragments from sketchbooks

Ephemeral Architecture

Canvas as spatial verb

Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails.

Canvas as folded construction/shelter/place

Operative Design, A Catalogue of Spatial Verbs.

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things

Slow Philosophy/Discursive Attachments : Gathering Inquiry/Materials/Objects/Things

Slow Philosophy/Discursive Attachments : Gathering Materials/Objects/Things

Research as a discursive activity gathering new forms of expression.

Duration, Steven Holl

Time is only understood in relation to a process or a phenomenon.

The duration of human beings alive in one time and place is a relational notion.

The time of one's being is provisional; it is a circumstance with an adopted aim for the time being.

SPACE-and ARCHITECTURE-exceeds the provisional

The Enchantment of Modern Life.

Attachments, Crossing and Ethics

The performativity of social representations

When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.

Jane Bennett

Be not inhospitable to strangers

lest they be angels in disguise

Jackie Leven, The Dent In The Fender And The Wheel Of Fate

David Childers, Heart In My Soul

Collage Works : Architectural Studies. Outpost Studios, Norwich.

Studio Works : Praxis between theory and practice. Outpost 2020.

Outpost Studios Norwich, collage, textual, intermedia, 

spatial practice, resource, project space, art practice, research, book works

Architectural Inquiry : Metaphysical Surfaces

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

Slow Philosophy : Materials/Objects/Things

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 2011

Materials, Tim Ingold, slow philosophy, studio works, textile, clay, painting, yellow ochre

New works around fired clay, painting, wrapping forms, metal, textiles and stones.

Architectural research for a library within a studio.

clay, textile, wrapping, painting, natural objects, 

photographic surface, asperity, poetics of process, studio

Palimpsest/Surface Sprays : Spaces Between Objects

Site based inquiry for sculpture trail at Raveningham

collage, research, spatiality, art practice, alternative photography, 

drawing, architectural, intervention, visual fine art, craft

studio, metaphysical space, collage, Palimpsest, Cristina Iglesias, Steven Holl, Jackie Leven, Tim Ingold, Julian Stair, drawing, sprays, Jane Bennett, Russell Moreton, Lucio Fontana,

Water at Hungate : Architectural Body/organism/person/environment

 Outpost 130723

Hungate Installation of Works.

Making Material into Paths-Of-Difference.

https://www.flickr.com/photos/russellmoreton/

Working Fables/Visual Aphorisms.

The Poetics of The Pragmatic.

The Multivalence of Metaphor.

A series of three follies to accommodate the family, the on-site guardhouse and an art gallery.

Private Estate, Montana, USA, 1991.

I opted to be a fabulist rather than an ideologist because fables retain the ring of immutability long after ideologies have wilted.

Emilio's Folly as well as offering a figurative and allegorical manifesto of its author's idiosyncrasies, is also a catalogue of the metaphors that recur in his architecture: water and the earth, the house with a Mediterranean patio, subterranean architecture and the descent towards the depths. Emilio's island of folly tranforms the eighteenth century penchant for picturesque aesthetics into the narrative frame of a passage describing a private garden and in constructing a design image,  envisages a miniature theatre of memory in which the mechanism of memory is analysed and forgetfulness suspended.

Passing from the canopy at the entrance to the twilight glimmer of the misty cavity offers a didactic description of memory elaborated through cognition's subterranean strata, while simultaneously testifying to the hopes associated with the act of designing, evading paralysis by memory's repetition compulsion.

Fulvio Irace.

My work is a search for giving architectural forms to primal things: being born, being in love, and dying. They have to do with existence on an emotional, passionate, and essential level. I understand  architecture as the search for a spiritual abode. On the one hand, I am playing with pragmatic elements that come from my time, such as technology. On the other hand, I am proposing a certain mode of existence that is an alternative, a new one.

Emilio Ambasz.

Anyway, to come back to the story, yes, water plays an important role in what I do because it doesn't have a shape of its own; that is to say, it does have indeed have an immense power of its own, but the shape it adopts is the shape of the container you give it. To me water is important it can be nebulized.  I have used fog many times to evoke the presence of a building which isn't there, and its presence becomes very strong when the sun creates a rainbow. It cools you or warms you if you make those clouds of mist.

I use fog and its indeterminate form maybe because I am a prisoner of my time and afraid of making definitive statements. I seek to make statements which are constantly being reformulated. 

I always say there are two ways to cast a shadow: one is as a tree and the other as a cloud. I think that I chose to be a cloud.

Interview, Emilio Ambasz, Emerging Nature.

Working with the the force of a relational environment, expressing thought as an incipient movement being  articulated through sensation. 

Indexical Traces/The Flux of Processual Drawing.

Architectural Body/organism/person/environment

Bringing potential relations into actual experience.

Experiential experiments/proposals/inquiry expressing the force/nature of a relational environment.

Resonances that modulate her body, her own becoming, movement in tandem with the environment moving.

Hortus Conclusus, Centre Pompidou. 1989.

You always have the sense that behind the walls of these projects are absent presences or present absences. The notion of that which is in front of you and what happens behind the wall has always appealed to me. There is a certain anima or spirit behind the wall.

Emilio Ambasz.

The garden is the smallest parcel of the world and it is also the totality of the world. The garden has been a sort of happy, universalizing heterotopia since the beginnings of antiquity. 

Michel Foucault.

Notes Towards A Conditional Art.

The Art Of Colleagueship

It is a shared curiosity that ties individual creative actions into a dialogue of immanence. A special feature of which is the willingness of the participants to temporary suspend judgement so as to seriously entertain the open potential of our discoveries. That nothing occurs in a vacuum is an idea which is particularly true of human actions. So while the art of pure inquiry is uniquely individual, it does not take place in isolation.

Certainly the pure void of concept beckons the curious, and the unique motive for a pure inquiry of a pure subject is curiosity and the desire to know.

The art of pure inquiry is an open interface between the pure subject-all that is out there-and the pure potential of the individual perceiver-all that is in here. Where the strength (clarity) of this inquiry lies is in its single motive-the desire to know.

What is key here is that certain ideas (possibilities) are immanent at particular moments. That in each time and place there exists a unique body of shared experiences, knowledge, and need, that marks our moment in time, and from which all inquiry steps off. Merleau-Ponty, in writing about the work of Cezanne, reflected that art may have an advantage over philosophy as a speculative thought form in that it has at once a tactile and a cerebral dimension.

Robert Irwin.

Hungate Group  Exhibition 'Water' 2023.

Russell Moreton is a visual artist interested in gathering research and responding to the historical site of St Peter, Hungate. He has explored the exhibition theme 'Water' as both a spiritual and corporeal inquiry for site-specific artworks. He has spent time developing working ideas that have an affective resonance to the architectural setting of their presentation. His  use of slab built ceramics vessels echo the stillness and muted silence experienced within the medieval fabric of the Hungate. He has used a figural drawing on Chinese paper, processed by the evident passage of water to explore the representation of the human form in this particular place.

Drawing Towards an Ecology of Materiality/Embodiment/Emotion/Affect

Outpost 280623

Relation-In-The-Making.

Spaces between objects, Giorgio Morandi.

Emergent Evolutions.

These micro-perceptions are perceptions without objects, hallucinatory tendencies in the sense that they express nothing but the emphasis on the quality of becoming. They do not give us a body fully formed or an object-in-place, rather they fold perception into a becoming-body-of-movement, creating the emphasis of quasi formation that is relation-in-the-making.

An object becomes the threshold for thinking feeling.

Momentum Wheel : Lucie Rie Installation.

We perceive/perception is the force for the worlds infinite unfolding, with objects catching the edges of their contours, participating in the relation they call forth.

Erin Manning.

The smooth paint of the background turns out to be made of many translucent layers, intended to cover over outlines that Giacometti rejected, always in favour of a smaller and smaller head.

John Berger.

Diffractive Thinking/Reading abstractions in the middle of things and both ways at the same time.

Karen Barad.

MAKING

Anthropology

Archaeology

Art and Architecture.

Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making. For Ingold instead of treating art and architecture as compendia of objects for anthropological or archaeological analysis, he advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or correspond with one another in the generation of form.

Hungate Site Visit.

Water/Light/Architecture.

Ceramic Vessels/Lead Tray/Water/Mirror.

Cyanotype Solution, unexposed, unwashed.

White gesso on biscuit ware.

White lead glaze.

Ceramics and Architecture.

Ceramics for a reflective solitude, an architecture of silence.

Figural Jars/Abstracted Human Clay Vessels/Cinerary Pots.

Sainsbury Centre.

Julian Stair.

Art, Death and the Afterlife.

Mezzanine Gallery.

Towards an Ecology of Materials.

Materiality, Embodiment, Nonhumans, Hylomorphism, Things.

One of the peculiarities of material culture studies over recent decades has been its virtual divorce from the traditions of ecological anthropology. This is odd, given that both fields are broadly concerned with the material conditions of social and cultural life. Students of material culture are interested in people's relations with things. Ecological anthropologists study how human beings relate to their biotic and abiotic environments. For the former, persons and things are bound in relational networks; for the latter, human beings and other organisms are bound in webs of life. Yet practitioners of these two fields are speaking past one another in largely incommensurate theoretical languages. 

Tim Ingold.

Archaeology, Volume 41, 2012.

The Archaeology of Emotion and Affect.

Sarah Tarlow.

When David Sylvester asked Giacometti about the thinness of the sculptures he had made without a model, Giacometti said 'they get narrow despite myself'.But then added, 'from life, they do this less'. Models put up a resistance to the thinning gaze, as if they were resisting Giacometti's willingness to let them go.

Drawings That Shrink.

Drawings that are extremely tense, a sign that the object/model is resisting.

Relations on the figure and the rejected lines and their borders on the drawing.

And so Yanaihara tilted and shrank, and sank down towards the bottom of the frame. As he shrank down, he also shrank away, back in space, away in time and perhaps in imagination, away from firm memory and towards insecure recollection. At some point Giacometti abandoned the drawing and began another.

Giacometti was fastidious about the placement of the easel, the canvas, and Yanaihara's chair, and he put little red blocks of clay under the stretcher to keep the canvas at a precise angle. None of that helped him anchor the figure: still it kept shrinking. The principle of its shrinking is clear in the dozen preparatory drawings, because many of the rejected lines remain visible. What mattered was the relation between the head and the borders of the drawing. That's why the drawings have drawn borders with lines scattered like matchsticks inside them.

On Drawing/Seeing to abolish the principle of disappearance, but it never can, and instead it turns appearance and disappearance into a game.

The crucial sadness of drawing  is it is unsurpassably close to the object, but always separated from it. Drawing bends my thoughts towards the nearly indescribable distance between the model and the motions of my hand, or should I say between the movements of my eyes as they pass over the model, and the sweep of my hand as it moves across the paper. Or the feel of the model, as I imagine it, and the texture of the paper as it slides under my hand.

The game of drawing is intricate enough with its slant rhymes between the feel of the model in my mind and the feel of the paper. It is made more difficult because drawn lines have the power to remake my own imagination. Every line I draw reforms the figure on the paper, and at the same time it redraws the image in my mind. And what is more, the drawn line redraws the model, because it changes my capacity to perceive. 

As I draw, the model becomes defective. The image in my mind is marred by the marks I put on paper. And so because a drawing cannot quite be touched, because it shifts when I try to fix it on paper, because it does not simply transcribe something in the world, because it can never bring back what I once loved – because of all that, drawing is an intense expression of the defect of distance.

John Berger.   

Between Science and Poetry/Bachelard.

 

Between the abstract and the figural.

Cyanotype Process/Drawing Boundaries/Bodyscapes.

https://visualartpractices.wordpress.com/

https://russellmoreton.tumblr.com/

Objects and Traces/Map Reading : Visual Archaeology/Anthropology in Social Space

The map fosters interpretation and exploration

Inseparable Attendant : Place and Process

Assemblage and blueprint : Site drawing/Leper Graves

Drawing figure/ground, documentation of work in progress.

Life "drawing" trace on paper with water and field chalk. Work submitted to Interfaith Group Show at the Link Gallery, Winchester 2010.

"This particular event invokes for me the notion of simple material relations and collaborative gestures that underpin human agency. Art space/practice can promote these working intimations."       Artist's Statement (archive)  07.12.2009.

Anthropological Landscape : Morn Hill, Winchester

Panspermia : Cyanotype Drawing
150x240 cms
Human form drawn on paper with cyanotype and black ink. Astronomical data and traces of seed heads together with reference material/notes (directed panspermia) in pencil.

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