Clay/Ideas in motion : Emergent Physical/Processual Matterings

 Clay is always and idea~relation enbedded in its own movement of processual emergence.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Diffractive Reading : Slow Philosophy

 

Orange School Graph Books

Harleston 2020-2021

A Species of Spaces

The Social Turn

Museum Site and Display

Political Philosophy

Makers work in a world that does not stand still

Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations

Tim Ingold 2010

The social life of making

Making speaks in vivid dialogue with two associated themes, material and skill

Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve

Making becomes a process of iteration, and a maker works with this iteration prolifically

Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force

Vibrant Matter, A Political Ecology of Things

Jane Bennett 2010

Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds

Tim Ingold 2010

New Urban Adventures in Collaboration/Conceptual Ceramics

Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay

The transformation of the material is a central concern and semiotic significance unfolds with making

Seeking a symbiotic relationship between idea and object

Materials are substances in becoming

Karen Barad

Towards an Ecology of Materials

Tim Ingold 2012

From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis

Materials-Centered Perspective

Making, almost defies precise definition

The composition and/or manipulation of materials that bring into being new or revised objects

Tim Ingold 2010

Cultures of thrift and scavenging, maintenance and repair

Making encompasses the ingenuity of fluid, locally situated and adapted technologies

Materials carry on overtaking the formal destinations that, at one time or another, have been assigned to them

Sensibilities and dispositions that are centred on a deep and considered relationship with materials

The Craftsman, Richard Sennett 2008

Crafting, often reconnects mind and body in the sites and processes of production, thereby potentially reconstituting labour processes in ways that ascribe agency to workers

Makers finding ways to resist norms of gender and neoliberal entrepreneurial subjectivities, finding ways and spaces for ethical practice to predominate

Contemporary conceptual ceramics operates at the permeable boundary between art and craft, partaking of aspects of both, and ultimately demonstrating (or performing) that permeability

The emergence of the museum as proactive laboratory of social evolution

Extradisciplinary Investigations/Operative Principle

At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice

Microtopias, small contained sites of functioning democracy

Tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline

The New Institutional Practice

Projective Enterprises (should unsettle, activate, and raise questions)

The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary

So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes

Site-Specific Art and Locational Identity

Miwon Kwon 2002

Collaborations and its Discontents

Claire Bishop 2006

The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions

A complex environment, awash in affect and subjectivity

When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour

New curatorial initiatives must unpack the terminologies we use to distinguish one project from another

A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives

Unsettling-Complicit

Provocative-Strategic

Interventionist-Collaborative

Perforative Curating/Prescribed Participation

Creating new/more coded patterns of behavior/conventions/role play for visitor's

New Institionalism and the Exhibition As Situation/Social Experiment

Claire Doherty 2006

Participation

In which people constitute the central artistic medium and material

In the manner of theatre and performance

Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it

The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations

The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end

Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries

Artificial Hells (exposing the political and aesthetic limitations in the work)

Participatory Art and the Politics of Spectatorship

Claire Bishop 2011

Site-Specificity/Spatial Practice

The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate

Miwon Kwon 1997

Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames

Participation, creating a bridge between socially engaged practice and the permanent collection

Expressing itself expressing

Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions

Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact

The strategy of making artworks as response

The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement

Making vessels, beyond the examining and intellectually impoverished questions

A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside

Few boundaries are impenetrable

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

Like the vessel, the house shapes and nurtures the life contained inside

The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community

In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others

Clare Twomey, Lead artist at Tate Exchange 2017

Post Studio Ceramics

Interfaces between Making-Makers-Museums

Exploring object engagement beyond the known historical models of clay practice

'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital

Clare Twomey

Ceramics In The Environment

An International Review

Janet Mansfield 2005

With Fire, Richard Hirsch

A Life Between Chance and Design (invites the unknown)

Scott Meyer 2012

Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility

Raku as an Ideology

Breath-Energy-Immanence

Raku, A Review of Contemporary Work

Tim Andrews 1994

The Poetry of The Vessel

A calm invitation to thought and imagination

Chris Tyler

The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world

Arte Povera/Germano Celant, an aesthetic-philosophical movement

An eclectic synthesis of knowledge fields, that emerges into a total space where disparate categories can meet; a art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Drawing/Sociology/Art : Figuration/Flesh and the Body.

Drawing/ Being Part of Space and Time : A DISPERSION
Antony Gormley

Drawing is the most immediate way of making your ideas, sensations, and information explicit.
Euan Uglow

What do we look for from the nude today?
Drawing/Man : Oskar Schlemmer

The use of pure line compels the artist to a process of abstraction.
Energy/Tension : The Social Form of Living Flesh

To create a new intellectual image of reality

Line has an autonomous relationship with surface (a rhythmic lineation)
Rhythm is the means by which all kinds of movement are delineated.
It follows that the physiological movement of the body is rhythmically organised.

The figuration of the contemporary body through abstractions and representations.

INTERIOR : Environment, physical and psychological realms.

INTERIORITY : SELF.

The Picture Plane
Composition, elements and scale
Context-Content-Beginnings
Relationships- Figure- Ground, becomes psychological state of a figure both becoming and entropic

All pictorial representation is an intellectual and visual organisation.
Flesh follows the physiological movement of the body and is rhythmically organised/balanced.

ANTHROPOMETRICS
THE FIGURE IN SPACE
Performative, Sociological ; Structure and Agency (Klein)(Duality)
Measurement, Reach/Movement/Proportion

Making relationships between the spatial figure and the spatial arrangements of the picture plane. Bringing the spatial figures into the system of axes of the picture space.
Schlemmer's plane and spatial prospects contain architectonic motifs, which are presented orthogonally or in exaggerated perspective.

Anthropomorphic Collage
Morn Hill, chalk grave/leper hospital
Joseph Beuys/Reg Butler

Deleuze, Francis Bacon
Haptic Vision/Colour Space

Light is time, but space is colour.

Carnality/Sensation/Logic/Colour Space
Entropic/Seeing/Haptic/Violence

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

On Land/Ambiguous Temporality : East Anglia/North Sea/Boundaries of Subjectivity

As time itself becomes anachronistic through the process of the darkroom.

The handcrafted image, resurfaces in its uncanny return, comes to rest as spatially marginal.

Both a slowing down and a quickening at the very moment of exposure.

23022022

Photographs haunted by the memory of their production.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Human Bodies/Spatial Bodies : Theoretical Spaces between Objects.

Childhood a density of life not yet sensing the weight of living.

Expanding the space of the forgetting which is infinitely more creative/active than the space of what you remember.

Events manifested through drawing, navigate spaces and their relations between/amongst/entangled by human bodies and spatial bodies.

Outpost 031224

longing to see a woman's face/the words that maketh murder

PJ Harvey, let England shake. 2010

Helena Eflerova,

Wolvesey Castle. 2007

Site Space-Movement/Earthing The Body.

100 Childhood Voyages of Play : The Boat.

The work doesn't fail, it just looses clarity, it retreats.

On Ceramic Spaces/Silences.

Creating and then investigating a silence in its surroundings. A silence that participates in the perception of things it attends/surrounds and resonances with.

Reclamations:

Missing and Abandoned Contexts.

Visual Fine Art 2004-2008.

Winchester School of Art.

On developing subjectivities through contemporary art practices and research strategies. 

Philosophical theory/The Poetics of Space (Bachelard) documented alongside visual material/objects/images/installations.

Relationscapes: Human Body/Spatial Body.

Workings On Affective Potential.

Glenn Ligon: All Over The Place

The Fitzwilliam Museum.

On The Temporality Of Events.

Zuzana Kovar.

That they happen, that they occur, but they do not exist. They are virtual and always in process.

We cannot say that they exist but rather that they 'subsist' or 'inhere' ( having this minimum of being which is appropriate to that which is not a thing, a non-existing entity). They are not substantives or adjectives, but verbs. They are neither agents or patients, but results of actions and passions. They are impassive entities, impassive results. They are not living presents, but infinitives, the unlimited Aion, the becoming which divides itself infinitely in past and future, and always eludes the present.

Deleuze.

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience