Spatial Agencements~A Research Ecology of Making

Thursday, 17 July 2025

Wednesday, 16 July 2025

Naked~Nude : On The Corporeality Of The Drawn~Drawing Body

Outpost 230323

Drawing, depicting something found through the process of making visible.

The Luminescence Of Space.

An Archaeological Inquiry Into Drawing.

Correspondences/Reclaiming the drawings.

The Affect and Memory of Drawing.

To interrogate ways of seeing/looking, John Berger.

The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all 'present' at the inception of the work.

Colin Renfrew.

The Myth of Butades.

Figure/Ground Relationships.

Theoretical Thought : Diagram and map.

Neo-Sumerian temple plan on clay tablet from c. 2100BC.

The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.

Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.

Drawing/Substance/Memory/Display.

The artist's creative act, is of a self amongst others.

Material/Thinking Matter.

Drawings mediated by the distance of memory.

Art Works, subtle embodiments, visual markers both spatial and sociological.

Life/Drawing/Figuring It Out.

The Luminescent Dematerialization Of The Subject.

Expressions Of Both Figuration And Abstraction.

Phenomenological approaches to Drawing/Looking/Others.

Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.

Walking/Movement is quiet literally what made us human.

The walk is a 'mark' laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.

Richard Long/Colin Renfrew.

Charles Mausson.

Walking Man, No. 3. 1990.

Oil, crayon, 203.0 x 137.0 cm.

Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.

Robert Combas. 1993.

The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet.

Sophie Dupont. 1995.

The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.

The legibility of the photographic image was denied by the process of blurring the image.

Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.

William Jeffett. 1995.

Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.

Figural Expressions.

Figural dissolution of a nude descending a staircase, Marcel Duchamp.

Stop-motion photography of the human body in motion, Etienne Marey.

Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.

Notations.

Contemporary Drawing as Idea and Process.

Fred Sandback.

The Drawing Room.

The Secret Theory of Drawing.

Jim Dine.

Figure Drawings, 1975-79.

The Drawings of Richard Diebenkorn.

John Eldenfield.

Manuel Neri.

Drawings/Relief Sculptures.

Naked To Nude.

Life Drawing in the Twentieth Century.

Georg Eisler.

Monday, 14 July 2025

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

Saturday, 28 June 2025

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

Documentary of ceramic artist Enric Mestre (English dubbed version)

Friday, 27 June 2025

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.

Thursday, 26 June 2025

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