Ceramic Deconstructions of Hidden Architectural Interiors : Spaces/Surfaces/Interiors on Solitude/Sensuality

Sensing Architecture : Movements of  Human Bodies/Spatial Bodies.

Thinking/Making within gestures of drawing spatial speculation.

https://www.flickr.com/photos/russellmoreton/53757637955/in/dateposted-public/

Materials as Leaky Things/The Correspondences of Surfaces  : For Tim Ingold.

A Philosophy of Solitude.1933

In Defence of Sensuality.1935

John Cowper Powys

Exploring the space of solitude, to explore ideas and thoughts with a public. The hermit as a proto-performance artist displaying qualities of spirituality, intelligence, artistry and sensuality.

Anne Douglas.

The Hermit Project.

The Follies Journal. 2003

The House Fifteen Foot Square.

The proposed Hermitage at Cadland (drawing).

Interior Spaces.

The Alchemy of Imagination.

In the dead linen in cupboards I seek the supernatural.

Joseph Rouffange.

The wardrobe is filled with linen, there are even moonbeams which I can unfold.

Andre Breton. 1932

The Permanence of Childhood.

On Poetic Imagination and Reverie.

Gaston Bachelard.

While the child was dreaming in solitude, he experienced a limitless existence. His reverie was not merely an escape. It was a reverie of flight. Dreaming of childhood we go back to the den of reveries.

All the ideas that I want to put forth in this chapter tend to establish the persistence in the human soul of a nucleus of childhood. Of a motionless but enduring childhood outside of history, hidden from others disguised as history when it is narrated, but having real existence only in its moments of illumination which is to say in its moments of poetic existence.

Chamber Music/Reverberations.

Constructed Space/Ceramic Forms.

On Silences, Surfaces, Interiors and Depths.

Wardrobes with their shelves, desks with their drawers and chests with their false bottoms are veritable organs of the secret psychological life, indeed without these 'objects' and a few others in equally high favour, our intimate life would lack a model of intimacy.

They are hybrid objects, subject objects, like us, through us, and for us they have a quality of intimacy on the shelves of memory and in the temples of the wardrobe.

But the real wardrobe is not an everyday piece of furniture, it is not opened everyday and so like a heart that confides in no one, the key is not on the door. Many a time we dreamed of the mysteries lying dormant between its wooden flanks.

Rimbaud designates a perspective of hope, what good things are being kept in reserve in the locked wardrobe? This time it is filled with promise, it is something more than a family chronicle.

Exaggeration is always at the summit of any living image, and to add fantasy to linen is to draw a picture, by means of a volute of words off all the superabundant blessings that lie folded in piles between the flanks of an abandoned wardrobe.

Material Matters : When your mind starts moving~mattering spaces between actuality

Making : The Processual Character of Attentionality.

An Ecology of Materials.

https://www.diaphanes.net/titel/an-ecology-of-materials-3064

Clay.

Dwelling.

Rethinking the animate, re-animating thought.

Tim Ingold.

Ingold insists on a flat, continuous and processual ontology of dwelling and becoming.

A Practice of Transformational Modalities.

Making/Curriculum/Dwelling/Landscape/Place.

The Processual Character of Form.

Organic life, as I envisage it, is active rather than reactive, the creative unfolding of an entire field of relations within which beings emerge and take on the forms they do, each in relation to the others. Life is the very process wherein forms are generated and held in place.

For Ingold, there is no environment without the folding and enmeshment that is the process of life. Organisms are not folded in on themselves and surrounded by an 'environment'. Instead organisms are points of growth of environment, and whose relations are rhizoidal; and the environment is better understood as a domain of entanglement.

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

 

Making Correspondences : Anthropology Alongside Visual Art Materialisms

 

Visual Art Archive : Russell Moreton

russellmoreton.com

Making : Anthropological Objects~Fabrications on Humaning.

Tim Ingold.

Ceramics~Fired Clay.

https://www.curatorspace.com/artists/russellmoreton

Russell Moreton : A visual fine artist is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is interested in developing collaborative and speculative making spaces where craft, theory, art and architecture can come together.

A site-based practice that further develops into speculative learning, creative propositions for knowledge production through Spatial Practices.

Moreton's site-based practices using clay as his principle material further develops his inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased.

His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.

Assembled forms are then divided into several spatial interiors, in which the use of piercings are used through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.

For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His finished fired constructions could become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s).

Interior Design MA, UCA Farnham. Spatial Practices MA, Canterbury School of Architecture. Visual Art BA Hons, Winchester School of Art. Ceramics HSND, Epsom School of Art and Design.

Russell Moreton Saatchi Artist.

Waiting Room Installation 2007 : Visual Art Winchester School of  Art.

Outpost Studios, Gildengate House. Weather world correspondences, stained glass, plastic tape.

Textual Readings~Documents in Movement~Thought.

Changefulness : Clay inscriptions carried through to fired clay. 

The Sympathy of Painted Light (detail). 2025, Ceramic, 170mmW and 270mmW x 260mmH x 80mmD.

Fired Clay Books~Folded and fabricated interiors. 

Making~ Developed from earlier craft based methodologies of working in ceramics, glass and construction. My practice now embodies professional studies in visual art, spatial practice, interior design and teaching art in education.

https://axisweb.org/artist/russellmoreton

For Bachelard : Reverberations~Conduits between philosophy~poetic writing relations of human and spatial bodies.

The artwork featured in the image is titled "Apparatuses: A Litany of Echoes~Resonances" by the visual artist Russell Moreton. 

Artist's Practice: Russell Moreton is a visual fine artist who explores themes surrounding "making," architectural space, and the interplay of materials like clay to demarcate and construct environments.

Materiality: His work frequently investigates the imprint of the artist and the metaphysical, immersive nature of his chosen media, often utilizing processes that evoke construction and the physical manipulation of materials.

Architectural Inspiration: Moreton is notably drawn to the solitudes of libraries and the sounds of construction, often using his practice to engage with the concept of architecture as tranquility.

This item is a sculptural work by fine artist Russell Moreton. It is a slab-built ceramic piece, often exploring themes of architectural space, silence, and materiality. The artwork is part of his practice involving the investigation of interior spaces and constructing space through clay. 

An Armada for Childhood : Proposal for Southampton Art Vaults 2008

Possible Worlds

The Sensual Reciprocity of This Enchanted Isle 

Peter Woodcock.

Installation using large paper boats (1.5m long) and mouldmakers plaster for a subterranean  space under the cities walls.

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

Making Apparatuses/Fictioning Space : Reading with Deleuze and Spinoza~Radical Intuitions : Interacting through abject(ions) between clay+ceramic.

Speculative and Exploratory Field Works.

Practical Philosophy ~in~the~making~

Asking of those that create things through material engagements, all the poetics~makings are crafted from modalities of becoming affective abject(ions)~aesthetics~

Inscriptions, handwriting, cognitive connections across visual art materialisms.

Gathered readings, walking across holloways and embodied dispositions, surfaces/inseparable cartographies of embodied experiences.

Undisciplined knowledge enables and sustains actions, gestures of a post disciplinary field.

Inseparable categories (containers and bodies) and their contents.

The Aesthetic,

The Economic,

The Political,

The Social,

Anthropological Concerns~Thing~Ties : The Social Life of Materials and Making

Creative Fictions/The Social Life of Thing~Ties.

Spatialities exploring dynamic inductive reasoning.

Making~Dissolution : Building Documents/Composite Bodies

Urbanism : Making Disorder

Urban Bodies : Disorder~Dwelling~Dissolution

Performing and Crafting Spaces.

Spatial Material : Making Learning Experiences~Holloways.

Vibrant Matter.

Studio Spaces : Undone by theory.

 

On Materiality~Ruination : Ceramics Of Scepticism.

Palimpsest Mapping, Site Occupations and Structures.

Scriptorium : Drawing~Listening~Reading : Spatial Document.

Listening Compositions~Bodies : Creative Matter(s)/Materialisms.

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

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

Making Affective Aesthetics~Vibrant Matter~Politics of Difference.

Foraging~Making : The Continuous Weather World.

Phronesis : Concerning entanglements of matter(s) of being, knowing and doing.

Making : Anthropology~Archaeology~Art~Architecture. Tim Ingold.

Industrial ceramics, kiln components and structural interiorities.

https://www.curatorspace.com/artists/russellmoreton

Tim Ingold.

https://www.taylorfrancis.com/books/mono/10.4324/9780203559055/making-tim-ingold

Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making, and all are dedicated to exploring the conditions and potentials of human life. In this exciting book, Tim Ingold ties the four disciplines together in a way that has never been attempted before. In a radical departure from conventional studies that treat art and architecture as compendia of objects for analysis, Ingold proposes an anthropology and archaeology not of but with art and architecture. 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.

Making offers a series of profound reflections on what it means to create things, on materials and form, the meaning of design, landscape perception, animate life, personal knowledge and the work of the hand. It draws on examples and experiments ranging from prehistoric stone tool-making to the building of medieval cathedrals, from round mounds to monuments, from flying kites to winding string, from drawing to writing. The book will appeal to students and practitioners alike, with interests in social and cultural anthropology, archaeology, architecture, art and design, visual studies and material culture.