Experimental Artist/Into Beautiful Privacy : The Blurring of Art and Life

Essays on The Blurring of Art and Life, Allan Kaprow.

Kaprow_Allan_Essays_on_the_Blurring_of_Art_and_Life_with_Impurity_Experimental_Art_The_Meaning_of_Life_missing.pdf


Architectural Inquiry :  Medieval Windows

Architectural Inquiry : Archaeological Remains

Immaterial Architecture : Waverley Pavilion

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


Building The Drawing

The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing and building.

Immaterial Architecture
The Illegal Architect
Jonathan Hill

Oak Tree
Oil
Paper
Plaster
Rust
Sgratfito
Silence
Sound
Steel
Television
Weather

Frosted Light
Index of immaterial architectures

TRANSPARENCY : LITERAL AND PHENOMENAL
Colin Rowe, Robert Slutzky

Interactions of the Abstract Body
Josiah McElheny

Object Lesson
Interactive Abstract  Body (Square)
The Spatial Body (After Fontana)

Tracing Eisenman
Stan Allen
Indexical Characters

FABRIC=MASS+ FORM
Alan Chandler
The interest in fabric formwork is in its deployment in a building process, which is faster than conventional formwork. Fabric formwork is inherently more sustainable due to the minimising of both concrete and shuttering, and more radically, allows the constructor to intervene in the process of casting even as the cast is taking place.


ANTI OBJECT
Kengo Kuma
We are composed of matter and live in the midst of matter. Our objective should not be to  renounce matter, but to search for a form of matter other than objects.
What that form is called- ARCHITECTURE, GARDENS< TECHNOLOGY is not important.

ReThinking Matereriality
The engagement of mind with the material world
Elizabeth DeMarrais, Chris Gosden, Colin Renfrew

The Affordances of Things
Towards a  Theory of Material Engagement
Aesthetics, Intelligence and Emotions
Relationality of Mind and Matter

Material Agency
Towards a Non-Anthropocentric Approach
Carl Knappett, Lambros Malafouris

At The Potter's Wheel : An Argument for Material Agency
We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.

The Neglected Networks of Material Agency : Artefacts, Pictures and Texts

Material Agency as Cognitive Scaffolding

The Cognitive Life of Things
Material Engagement and the Extended Mind
Lambros Malafouris, Colin Renfrew

Minds, Things and Materiality
Michael Wheeler

Communities of Things and Objects : A Spatial Perspective
Carl Knappett

Imagining the Cognitive Life of Things
Edwin Hutchins

Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts
Charles Goodwin

Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach

Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life

Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they  need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)

The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from  the message they convey.

MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas

PLENUMS : RETHINKING MATTER, GEOMETRY AND SUBJECTIVITY
Peg Rawes

ARCHITECTURE
IN THE AGE  OF DIVIDED REPRESENTATION
The Question of Creativity in the Shadow of Production
Dalibor Vesely
The Nature of Communicative Space
Creativity in the Shadow of Modern Technology
The Rehabilitation of Fragment
Towards a Poetics of Architecture

The Projective Cast
Architecture and its Three Geometries
Robin Evans
Architects do not produce geometry, they consume it

Analysing ARCHITECTURE
Simon Unwin
Geometries of Being
Architecture as Making Frames
Space and Structure

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

The Waverley Project : Working Notes/Collages : Exploratory Project MA Interior Design

SPACE SITE INTERVENTION Through Performative Archaeological Methods.

A space has been created, allowing for a different construction of what may be significant in these circumstances, relative to objects found in association with each other. (Robert Williams, Disjecta Reliquiae The Tate Thames Dig)

Associations and coincidences that become meaningful (or are unearthed) within the context of the activity.

Erika Suderburg. On Installation and Site Specificity

The Waverley Project 2014, UCA  Farnham, Interior Design MA. 

THE WAVERLEY PROJECT, methodologies in the making.

This research and its design proposal are centred on the arts and the humanities and their ongoing function in our contemporary society. The emphasis of this inquiry is located by the spatial practices of architecture, fine art and performance. My project is a field event and symposium that would be able to host intellectual dialogues, lectures (TED) workshops, performative events and exhibitions. I am particularly interested the relational production of social spaces and the aesthetics of builtspaces, both historical and ephemeral. The proposed use of Waverley Abbey near Famham as a possible site and retreat for this venture is valid as it links a possible interdisciplinary territory of anthropology, archaeology, art and architecture. Tim Ingold (Making) Colin Renfrew (Figuring it Out) and others have for many years been researching and mapping this new spatiality.

What remains of Waverley Abbey and its sense of place are critical to the holistic and contemporary underpinning of this experiential event. Founded in 1128 it was the first Cistercian Abbey to be built in England. It is recorded that Cistercian life was initially based on manual labour and self-sufficiency, this was further supplemented by other activities like agriculture and brewing that enabled the abbey to support itself. Later over the centuries education and academia began to dominate the concerns of the abbey. The abbey was suppressed with its dissolution in 1536, although records show its activities were already at this time substantially diminished. The ruins and their site then enter into the imaginary realm through classic literature in the novel Waverley by Scott. Further on a pictorial reference from an engraving shows the ruins now incorporated as a fashionable landscape feature within the newly built Waverley Abbey House.

On a contemporary note Waverley Abbey has featured in a number of films ranging in genres from period costume dramas through to fantasy, together with post apocalyptic visions of dystopia. A recent film shoot required the construction of a sixty-foot tower made from internal scaffolding with a skin that recreated the adjacent ruinous fabric of this historic site.

Encountering the site is currently only manageable by foot; this short walk in the surrounding landscape sets up the sense of place and prepares our own subjectivities to its reception. It is in this expectation, this thinking in the landscape that the pastoral and educational aspects of the site become apparent. Currently access is only available through one directed pathway; a multiplicity of other access points and even other structures (bridges, earthworks and thickets) could begin to open up the spatial palimpsest already located at Waverley. What remains of the architectural fabric with its diminished interiors still grants a hospitality and refuge for both the body and the imagination. This activity opens up the experiential space of encountering ourselves through the enjoyment/entanglements of layered social space.

Waverley Abbey is a public monument in the custodian care of English Heritage. It can only be accessed by walking about a quarter of a mile from the limited parking spaces.

Waverley Site

Hortus Conclusus Sensing Spaces

Peter Zumthor, Hortus Conclusus 2011.

Directors’ Foreword: Julia Peyton-Jones, Hans Ulrich Obrist.

Zumthor’s architectural design practices consider each project in terms of a comprehensive and encompassing sensory experience. Looking at more than the physical fabric and form of the building, he often draws inspiration from memories of childhood experience. His projects aim to reference all aspects of sensory perception, addressing the relationship between the human body and the ways it may interact within the built environment. Many of Zumthor’s projects have been specifically noted for their thoughtful and evocative play on scale, colour, material and light in harmony with the buildings function and surroundings. (Peyton-Jones 2011: 9)

Using spatial practices as an inquiry into issues of “site” through architecture, art and performance.

What are the possible phenomenological assets of the site?

What remains of the interior spaces of the architecture and how much of the ruin has been submerged into the parkland setting?

How might these be explored and subsequently re-presented into the public realm?

A SITE BASED Symposium on ‘Making’ as experienced through the palimpsest of place.

Featuring the ‘Reading Room’ an ephemeral interior space, which gathers-up the experiential values of ‘Ruins’ and re-enacts them as a site to explore the architectures of images.

Library of Contents/Taxonomies Knots of Reference/Lines

Humanity, An Emotional History:

The Poetics of Space:

Architecture and Allegory:

The Psychoanalysis of Fire:

Existential Space in Cinema:

Natural History:

Sculpting in Time:

Land Drawings, Installations and Excavations:

The Physical Self:

Archaeology:

Making:

Politics of Rehearsal:

Palimpsest usage by Historians as a description, of the way people experience time. That is as a layering of present experiences over faded pasts. The production of augmented realities brought about by the melding of layers of material place with virtual representations.

Accumulated iterations of a design or site, evidence of the former use remains.

A kind of forensic science used to describe objects/things placed over one another to establish the sequence of events of an accident or crime scene.

The Concept of Palimpsest, a way of describing how generations alter the landscape.

Heidegger. Jung. Archetypes. Pottery

Architecture

Building Practices

The Everyday : The Jug.

The Dwelling Place : The Bridge Mediators for spatial experiences.

Libraries with research conduits for immersive and interactive cognitive mappings, allowing a praxis to enter the practicability of the everyday, a crafted philosophical inquiry, building new livelihoods.

Colour

Texture Surface Enclosures Voids

Sample Materials

Relationships through Localities/Mood Boards/Technical and Physical Details. Erasure  in  drawing  and  architectural  planning  (space  voids)  as  a  methodology  to superimpose multiplicities.

Erasing : Kirosan Observatory, Anti-Object, Kengo Kuma. Multiplicities and Memory, Peter Zumthor.

Learning  Spaces  as  a  performative  spatial  practice  through  a  process of tuning and minimising (Minimising, NO stage in the forest, Kego Kuma).

NAVIGATION AND CRITICALITY THE READING ROOM

ORGANISATION IN THE FIELD OF RUINS COMPONENTS, AGENTS AND ARCHIVES.

Categories of Architecture as Categories of Perception. Architecture and Nature.

Architecture as a reflecting/gathering of the phenomena of human nature/Nature.

The exhibition and research relationships around the nature of things.

The architecture provides a point of intersection between mass and its sublimation in imagery and thought, between immateriality and its reification. It allows apparent opposites to be seamlessly united - or parted again, at the whim of the weather god. (Building with Images, Herzog and De Meuron’s Library at Eberswalde)

Robin Evans. Translations from Drawing to Building

Figures, Doors and Passages

Essays and Other Texts (AA Documents 2)

The Social Condenser in Operation.

Five figures and a stature distributed evenly in its isotropic space-a picture of the socialized as opposed to the sociable.

Figures, Doors and Passages, Robin Evans. 1978 (Titled Image) Robin Evans (1944-1993) Historian of Architecture.

His writings covered a wide range of concerns such as society’s role in the evolution and development of building types, together with interests on architectural representation, aspects of geometry and modes of projection. Evans always drew on first-hand experience from direct observation to arrive at his insights. These insights ‘open up the way for alternative constructions of everyday reality-a reality, an architecture, which bears the traces, albeit invisible, of its own provisional circumstances.’(Mostafavi,Mohsen, Paradoxes of the Ordinary. 1997)

Peter Greenaway. Architecture and Allegory 

Gaston Bachelard. The Poetics of Space

The Psychoanalysis of Fire

Herzog and De Meuron. Natural History

Eberswalde Library (is both a concrete cube and a

pictorial skin)

Western Culture ‘Is a culture of blending and mixing substances until they are unrecognisable producing products fated to harden into a useless degenerative state in a dump or depot.’

Alchemy of Building using Images (Eberswalde Library).

Herzog and De Meuron have a sensitivity to irreversible, entropic processes. 

Since the 1980s Herzog and De Meuron have been actively working with an art praxis that has positively saturated some of the outer skins of their buildings with images. Herzog himself acknowledge that it is impossible for him to be able to art and architecture at the same time, and he comments that ‘there is no longer any need to express himself other than in architectural terms. ’

Beauty and Atmosphere/ Science and Art in Motion.

Dialogues of built works between sites of collection/classification and construction. Building on the threshold of tensions (human fabrications/craft and social interactions) between the material and the metaphysical, between evanescence and substance and illusion and specificity.

Much of Herzog and De Meuron’s practice has focused on museums and libraries, or represented other transformative ventures around winemaking and medicine.

Tony Fretton. The Architecture of the Unconscious Collective

Abstraction and Familiarity Buildings and Their Territories

The Lisson Gallery, London. 1991

This was a building that had more in common with the sculpture of Donald Judd and Dan Graham than with any known architectural tendency. Like that work , it is presented less as an object demanding scrutiny in its own right and rather as an instrument (Observatory, Kengo Kuma) that directs the viewers attention to their relationship with the wider world, (bdonline.co.uk, Tony Fretton’s Fuglsang Art Museum 2008/Ellis Woodman)

Library as a ‘type’ of spatial classification (architectonics) through visual vocabularies and working practices.

Derrida. GLAS

This ‘Anti-Book’ (see also Anti-Object, Kengo Kuma) stages a kind of linguistic battle between philosophy and literature as it creates playful interrogations/situations around the methodology of reading. Derrida cites and grafts from the works of Hegel and Jean Genet. The physical qualities of the book are arranged in such a way as to make it read like a collage open for subjective and subversive interpretations. Its boundaries and borders, paragraphs and spacings are constantly becoming merged as a fugitive entity. In fact GLAS has an excess of boundaries (The Postmodern) that seek to divide it up inside itself (Deconstruct). Its fragments (What Remains from its reading) offer multiple beginnings and endings (or maybe Openings and Conclusions, see Lefebvre).

Kate Whiteford. Land Drawings, Installations, Excavations (Fictional Archaeologies)

Colin Renfrew. Remote Sensing (Subtle Transpositions between media)

The whole landscape is a palimpsest of human activities: lines (See also Ingold) which experience has etched on the ageing face of the past. Landscape history. Where does history stop and art begin?

Peter Zumthor. Multiplicity and Memory

Thinking Architecture Atmospheres

Heidegger for Architects

Juhani Pallasmaa. The Eyes of The Skin

Identity, Intimacy, Domicile, the phenomenology of home. The Thinking Hand

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

Sensing Spaces : Working Assemblage~An extended phenotype of creativity.

13/10/24

Painting/Assemblage/Ceramics.

Ceramic Vessels on Site Specific Ground.

On the sensorial nature of creative inquiry

Indexical markings into the aesthetic realm between objects.

Making With Clay.

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

Relationscape between organism-person-environment.

Architectural Body.

Arakawa/Gins/Manning

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

Documentary of ceramic artist Enric Mestre (English dubbed version)

Thresholds of The Body Image/Body Boundary

Outpost 291223

Drawing/Dwelling.

Thresholds of The Body Image/Body Boundary.

Drawings and their haptic experiences which include the entire body give fundamental meanings to visual experiences. The extra-personal space of drawing, haptically and psychically touching the space occupied with others. The body is the source of a 'personal world' which generates many of the meanings by which we experience the whole world. When we consciously stare at an object, the body boundary 'hardens' and there is a heightened sense of separation, whereas a casual viewing weakens the sense of separation and encourages instead a psychic fusion with the object.

Seated Woman with bent knee.

Her haptic experiences of space, the push and pull of gravity on her sense 'inside' of a centred body.

The Artist's Wife.

Egon Schiele. 1917

Readings beyond the success and failure of Life Drawing.

Art/Effrontery-Affect/Attraction/The Abject 

Drawing/Feeling through the framework of the body

Bachelard, on images, of pulling away from framing concepts.

The Drawing/Physical Self, with others in the  life class/in solitude in the studio.

Drawings/Graphic Correspondences, represent time spent searching the figure, finding its form.

Drawings present ways of/responses to seeing feelings.

Working From Corporeality.

Skin/Sensuality/Tensioned/Compressed Flesh.

The Situation/Observation and Criteria of Drawing from The Body.

Drawing on the hapticity of the living/sensing body.

Drawing from/present with the Body of Others.

Drawing from/working from the Images of Others.

Departures/Innovations/Differences from 'institutional drawing' situations and their outcomes.

The Figure/Human Form scrutinized/represented via the framing nature/device of the picture frame and its sensing gathering surface.

Painting/Drawings, mark making through abstraction and figuration.

Drawing intimacy/closeness with the drawn images, sensing self from their physical presence.

Life Drawing Re-Imagined.

Drawing from the Human Form.

The Nude in Art.

The Naked Human Form in Contemporary Art.

Drawing Bodily Transactions.

Private and Social Properties.

Egon Schiele.

Eros and Passion.

Klaus Albrecht Schroder.

In Schiele, the artist is always there, similarly in the drawings the exaggerated perspective, the striking angle of sight which situates every viewer of a Schiele drawing in a specific location of observation which defines the active relationship between artist and model. Schiele makes the process of observation his theme by giving thematic status to the observer.

Schiele's nudes are unsanctioned by any artistic genre, in his art  aesthetics disowns itself and art disowns its tradition.

Squatting Couple. 1918

Egon Schiele.

This painting appeared in the 1918 Secession catalogue as Squatting Couple, but after the death of Schiele and his wife it was retitled The Family.

Body-Fragmented-Modernity.

The Body of the individual in terms of isolation and alienation.

Fractured figures, bodies made from parts/areas of bounded/blemished flesh.

Schiele's fractured 'figure types' make visible the conflict, archetypal of its period between the whole and its parts. The points, areas of fracture, the angularities of their crooked members show each part independent of the others.

Drawings made of parts, areas constructed by components resulting in bodies being isolated from a somatic whole. Balanced though Schiele's compositions are in physical terms via his sureness of hand, the figures themselves have no core, the mobility of their limbs does not derive from any psycho-physical centre.

Looking Into Other Criteria.

Drawings Unpacking 1997-2017.

Expressive Content/The Body Exposed.

Selected From Living Bodies.

Selected From Other Images.

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

re:publica 2016 – Richard Sennett: The City as an Open System~Flesh and Stone

Flesh and Stone : Folder~Documents~Inquiry

The Body and the City in Western Civilization.

2017

Visual~Art~Materialisms : Exploring Materiality and Connectivity.

Dissolutions and Structures. 2013

Sun based temporal documentations. 

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