Outpost 280122
The World on Edge
The Body and Spatial Boundaries.
russellmoreton.com
Tim Ingold.
From science to art and back again: The pendulum of an anthropologist.
https://ojs.unica.it/index.php/anuac/article/view/2237/2055
Merleau-Ponty, intertwining of vision and movement into an embodied knowledge.
The body and space are reflexive/diffractive and interdependent, we need spatial contexts/entanglements for our physical bodies and the intangibles of our inner beings.
The un-doing of place/sites of making
Responses to place and interventions on temporal space.
A spatial practice cannot be divorced from its response to the specificity of place.
Acts of exploratory dissection, in which one is un-making/making into a space with new realms of sensory engagement.
Architecture comes from the making of a room, a room is not a room without natural light.
All spaces need natural light, That is because the moods which are created by the time of day and seasons of the year are constantly helping you in evoking what a space can be if it has natural light and can't be if it doesn't. Artificial light is a single tiny static moment in light and can never equal the nuances of mood created by the time of day and the wonder of the seasons.
Louis Kahn, 1959.
Light forms a real presence in empty space, and even within/between physical things, its vibrant intensity stemming from a complex interaction of light with matter and the way in which solid volumes could throw attention to the flowing energy they trapped and displayed.
The Architecture of Natural Light, Henry Plummer, 2009.
She rarely used artificial lighting and instead relied on the often sharp geometries of a room's natural daylight.
He created new openings, that welcomed new infiltrations of light, sound and smells all revealed through the previously unseen materials and their structural layers.
It was the urgency of the forthcoming demolition that Matta-Clark inserted himself in order to artistically deconstruct, while also reconstructing to produce radical spatial interventions.
Beyond privileging her body as subject and ruinous spaces as sites, Woodman made certain methodologies and technical approaches characteristic aspects of her spatial practice in furthering the effects of the body and the space it encounters.
Spaces to be activated by her performative body, offering new photographic carnalities of flesh, taken from imprints of the bare, textured concrete walls of the factories interior.
Exploring the surfaces and movements of her own body, by transferring traces of the surrounding architectural material onto her skin by pressing her skin into the wall.
Francesca Woodman's work, although performative, is explicitly photographic, her work is not only informed by a history of photography, but it is also actively engaged with addressing some of the medium's limits and possibilities.
The relationship between self and objectified image through a re-staging of the drama of the photographic medium process on her own skin.
Skin, Surface and Subjectivity
Harriet Katherine Riches, 2004.
A generation of young photographers were becoming more and more interested in how the photograph sees than what it sees. Woodman's method of exploring and exposing the process of image making itself also resonates with the critical framework in which photography was being interpreted at the time. Her work is a critique on the way in which the photographic medium is itself a means through which meaning is fixed, identity lost and subjectivity de-formed.
Woodman's work could be read as a post-modern project of appropriation and de-familiarisation.
Woodman draws attention to the way in which the subject always evades the frame/framing of the photographic representation.
Using the terms of the medium, to draw attention, to evasion or disappearance, to using and re-situating the cropping edge onto her body, and ultimately diffusing her image by the light on which the photographs visualisation depends.
Movements/thinking, staged within photographic moments of capture, producing, entangling and amalgamated, overwritten subjectivities presented on the photographic surface.
By frequently configuring the photograph's relationship to her body as one that is tenuous or fragile, fleeting in which a subject is captured in flight, as if slipping from its surface reality, its situation.
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