Life Search, Time-Life Books.
05/03/2013
Outpost 100223
Spatial Bodies~Environments : Matter(s) of Interference
Architecting and its ecologies/matters of concern.
Circulating Objects : Lines/Holloways.
Making~Journeys.
The items shown in the image are ceramic sculptures by artist Russell Moreton.
These pieces are part of his exploratory, architectural-themed work.
They are characterized by a processual nature that focuses on the imprint of the artist and the material itself.
The sculptures often feature a raw, distressed finish, incorporating white paint and visible construction marks.
Moreton's practice in these ceramics investigates themes of silence, architectural space, and the interconnectedness of interior spaces.
The image displays a workspace cluttered with various documents, papers, and art-related materials, suggesting an environment dedicated to research, archival work, or artistic preparation.
Workspace Setting: The desk is heavily organized with stacks of papers, binders, and printed documents, which is characteristic of an academic, curatorial, or creative office space.
Artistic Materials: A large, black-and-white print or photographic work is prominently displayed on a board in the background, surrounded by smaller reference materials pinned to the wall.
Documentation: The presence of extensive paperwork and what appears to be exhibition or research documentation suggests the space is used for managing art projects, publications, or historical research.
Professional Environment: The overall composition implies a professional or semi-professional setting, likely related to art history, gallery management, or creative practice, where the physical handling of documents and visual references is central to daily work.
The body's participation in explorations, engagements and its care in attending to the values of immediacy, vulnerability, fragility, improvisation, performance, movement, multiplicity and becoming.
Apparatuses and their ecologies for learning.
The choreographic object/agent.
The role of the body is scored through a shifting agency and the power of techniques of things.
Theoretical objects of things which do theory without us imposing it, on them.
Oren Lieberman. 2013.
The Production of The Unexpected.
The Joy of Speculative Play.
Perception/Thought/Action
A caring curiosity that wants to know and understand and explore relations.
Projective Speculations.
Ecologies/Locations.
Questioning/Research.
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The objects in the image are slab-built ceramic sculptures created by the artist Russell Moreton.
Artist: Russell Moreton.
Medium: Clay.
Technique: Hand-built using slab construction.
Style: The works are processual in nature, featuring raw, distressed finishes and architectural themes.
Inspiration: The artist's work often explores the interconnectedness of interior spaces, architectural settings, and the imprint of the maker.
Processual learning occurs in movements, gestures, postures, expressions and exchanges with other bodies and things.
Landscapes Of Actions.
Modalities Of Intravention
Constitutive Qualities Of Dance.
Ephemerality
Corporeality
Precariousness
Scoring
Performativity
If we start by moving, by thinking through moving, and by living through moving. We'll arrive to that disturbing vision : that the predicament of dance is to be an art of erasure. Dance always vanishes in front of our eyes in order to create a new past. The dance exists ultimately as a mnemonic ghost of what had just lived there.
Lepecki. 1996.
Bodily interactions highlight the entanglement of material through a process/processual understanding and situated analysis.
The Archive.
Matters of Concern.
Terms of Engagement.
Interrogate with descriptors and new issues of practice.
Bringing Things to Life.
Starting conditions for responsible and curiosity driven engagements with the world.
Place-Refreshed.
New-Agencies
The Interconnectedness of Places.
For Ingold, congealed places become relationships/connections for lines of occupation.
Curriculum making/experience as the enactment of dwelling in places.
Landscape Constructions/Observatory/Garden.
Raveningham, drawing,mapping, landmarking paths, wayfinding, territories.
Ceramics and Architecture
Marking The Line.
In response to Sir John Soane.
Joanna Bird. 2013
Arranging the physical space/circulation to receive forms/intraventions.
Christie Brown, her practice engages with mythology and narrative and the parellels between psychoanalysis and archaeology through figurative work, which references archaic collections and the significance of inanimate objects in human lives.
Carina Ciscato, relocated to London in 1999, where she worked in the studio of Julian Stair and Edmund de Waal. The move, the contrast in culture and in attitudes to ceramics, has seen her work grow in confidence and move in exciting new architectural directions.
Nicholas Rena, his art is concerned with reconciling the domestic and the sacred, through the medium of the vessel, a form that reveals in a single look an exterior, the figure- and an interior – the inner life. Rena's strong , expressionist forms make explicit this duality, this communion and tension between our inner and outer life. His intensity and feeling for interior space imbues his work with immense presence and stillness.
Clare Twomey is an advocate for craft as commensurable to the wider visual arts. Her practice can be understood as 'post studio ceramics' as her work engages with clay yet often at a critical distance.
Twomey's work negotiates the realms of performance, serial production, and transience, and often involves site-specific installations. She is especially concerned with the affective relations that bind people with things, and how objects can enable a dialogue with a viewer.
Joanna Bird Pottery
Director of the Joanna Bird Foundation.
London.
Ceramic Forms and Paintings.
Materials/Substances on a drawn and constructed surface.
Drawings, wax and yellow ochre on layered canvas and paper.
Water : A Phenomenal Lens.
The transformative properties of the substance.
The 'void space' water gardens and the interior ceilings of the adjacent apartments are connected by reflected light from the ponds. These 'void spaces', three inches of water over black smooth stones from Ise, are analogous to a sacred space within the every day world of domestic urban life.
An attention to phenomenal properties of the transformation of light through material can present poetic tools for making spaces of exhilarating perceptions.
Imaginative metaphysics shows that man becomes all things by not understanding them- for when he does not understand he- becomes them by transformation himself into/with them.
Refraction/Reflection/Spatial Reversal Phenomena.
Time : Duration and Perception.
Duration as a multiplicity of secession, fusion, and organisation.
Henri Bergson.
One's perception modifies consciousness, attention is broadened, time is distended, just as in the density of language.
Thus when I measure time, I measure impressions, modifications of consciousness.
Saint Augustin.
Time conceived as the analog between architecture and cinema, passing time was measured and observed in a precise strip of sunlight which slowly formed different reflections as it passed across the glossy lack floor.
The physical and perceptual experience of architecture is not a scattering or dispersion, but a concentration of energy. This physically experienced 'lived time' is measured in the memory and the soul in contrast to the dismemberment of fragmented messages of media..
Steven Holl.
Hungate, Norwich.
Anglian Potters
Undercroft, Norwich. 2023
Helgate Proposal
Exploratory Ceramic Practice.
Clay Making.
Plaster Work.
Commissioning of Gas Kiln for large scale works.
Glass Tech Kiln.
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Outpost 300823
Mediums To Correspond With.
The Situatedness of Sinuous Form/Animacy Dancing.
Living/Learning with intensity/shelters and camps, Architectural Association Field Projects.
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Garden Constellation.
Raveningham Transductive Mapping/Diagram.
Cyanotype Spatial Drawing.
Transducers convert the 'ductus' the kinetic quality of the gesture and its flow or movement from one register of bodily kineasthesia to another of material flow.
Brockwood Teaching Academy. 2011.
Speculative Learning Environments.
Brockwood Park Grounds.
A walk in the landscape whilst moving-making with clay.
Developing a mindfulness that is immanent in the attentiveness to ones surroundings through the playfulness of material and others.
Brockwood Park Library.
Hidden Curriculum.
Assemblage in the library for the re-imagining of architectural thinking and spaces for learning.
Architecture without architects.
Throwing Sticks.
The energies of the work,come from the gathering of materials and the gesture that animates them. For Goldsworthy the strength of the work lies precisely in the energies emanating from materials in their movement, growth and decay, and in the fleeting moments when they come together as one. Throwing as Goldsworthy shows us is not so much the outward effect of an embodied agency as the propulsion of animate being as it pulls, spills out into the world, it is the propulsion of life itself.
Ingold/Goldsworthy
Relationscapes/Erin Manning
Making.
The Propulsion Of Animate Being.
Tim Ingold.
The Clay-The Potter-The Wheel.
The potter's feeling flows in and out in a correspondence with the clay.
You do not need clay to 'interact' with the wheel, but you do need a wheel to 'correspond' with the clay. In pottery the mindful or attentive bodily movement of the practitioner, on the one hand and the flows and resistances of the material on the other, respond/correspond to one another in counterpoint of affective resonances, sentient awareness, and the flows/currents of animate life.
The distinction between interaction and correspondence if that, interaction is the dance of agency between definable points and objects, whilst correspondence can be seen as the dance of animacy weaving between all things and their phenomenal flux in the world.
In the dance of animacy bodily kinaesthesia interweaves contrapuntally with the flux of materials within an encompassing morphogenetic field of forces.
The flow of air, the wind, the breath of life are all the very antithesis of embodied agency.
For Ingold the very idea of agency and agents is the corollary of a logic for a closed system of embodiment, a system of closing things up in themselves.
Making/Intuition In Action.
Beyond mere human embodiment and objects and into a world full of correspondences/animacies that propel things and phenomena into the world.
World Without Objects, Tim Ingold.
The choreographic diagram/proposition generates less the stability of a complex of form, than the foregrounding of a field of resonance that defines a certain quality of activity. It speaks/seeks to create a drawing/diagram that captures in a fleeting moment the very qualities of movements and their expressibility such that their force of form can be felt.
Erin Manning.
Drawing, seeing made visible, through the pencil as transducer, not a vector of projection or a bridge between the architects imagining mind and the image on the paper.
The mark on paper leads as much as it is led.
Tim Ingold 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.
Individuation's Dance, pushing your consciousness deep into every atom and cell.
Atom and Cell, Nine Horses, David Sylvian.
Correspondences.
The Material of Life.
Drawing into the animacy of things and feelings.
The drawing that tells is a correspondence of kinaesthetic awareness and the line of flight, it is a correspondence that is alternatively sewing the line into the mind and the mind into the line in a suturing action that grows tighter as the drawing proceeds.
The Stage of Drawing, A Walk for Walks Sake, Bryson.
Instead of dictating a thought, the thinking process turns into an act of waiting-listening-collaborating-dialogue in which one gradually learns the skill of co-operating with one's own work. This thinking, this imagining goes on as much in the hands and fingers as in the head, it is strung out in the lines of practice.
Pallasmaa/Ingold.
Thinking Through Drawing.
Barry Phipps.
Drawing is a gathering and a co-operating with one,s own work, a pulling together closer of the lines of inquiry.
Drawing The Line.
Making/Transduction and Perdurance.
Tim Ingold suggests colour saturates consciousness, line leads it. Thus if the line traces a process of thought then colour is its temperament. Both line and colour are modalities of feeling, but where line is haptic, colour is atmospheric.
All Buildings are Drawings.
Simon Unwin.
Only in the eyes of the architect is the trowel a bridge between the initial design and the final construction. For the builder it allows him to navigate the treacherous waters that flow beneath.
Tim Ingold.
When one is young and narrow minded, one wants the text and the drawing to concretise a preconceived idea, to give the idea an instant and precise shape.
Juhani Pallasmaa.
Existing between the subjectivity between things.
You Are The Weather.
Roni Horn.
Clouds and Clocks.
The project arises between a dialectic between the poetic and the systematic.
Between Science and Art.
The Embodiment of Minimal Gesture.
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Wanderlust, A History of Walking.
Rebecca Solnit. 2002
The Mind at Three Miles an Hour.
Everyday Aesthetics : Ordinary Lives
What shall I do next?
Tim Ingold.
Finding enlightenment in the ground beneath one's feet.
J. G. Bennett.
Tim Ingold is an anthropologist who has looked at the interface between people and the environment. In The Perception of the Environment, he argues that ecological psychology and the philosophical writings of Heidegger and Merleau-Ponty share the view that the world becomes meaningful through active inhabitation, or 'dwelling', rather than cognitive representation.
Curriculum Making : The Enactment of Dwelling in Places.
In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'
Tim Ingold
Raveningham/Scripted Places
Garden/Ground/Circulation Diagrams.
Doing Slow Philosophy : Materials/Objects/Things/Walking/Listening to the wind
Boundaries/in the making between the personal and the commonly shared.
A space where the individuals mental reality meets cultural narratives.
Few boundaries are impenetrable
They are rather, semi-permeable membranes providing housing while allowing selective commerce
In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'
Tim Ingold 2011
The Autonomy of The Natural Environment.
Sculpture/Playing with the existence of things.
Field Studies : Pathways around the Sun.
Drawing : Assemblage of Lightness and Weight.
Enmeshed Space : Working Drawing with Handwritten Notes.
Lawn Deliberations/Mappings of Human Agency/Space/Time.
Space projected from the body is biased towards the front and right.
The future is ahead and 'up.'
The past is behind and 'below.'
Time as a structure/place to observe things in constant motion/relation.
Drawing Site/Spiral Windings/Diagram/Spherical Markers
Terracotta, lime wash/lamp black/blackboard paint/chalk/ink
Ground Pegs/Labels/Text Markings/Archival Information
Points becoming lines, Tim Ingold.
Reading Matter/Rooms.
The Lake of The Mind.
Stochastic Thinking.
Steven Holl.
Raveningham : Site-specific project place
The Garden of Ongoing Differences.
Diffraction/Energy/Analysis/Attunement
Site Cyanotypes/Drawings/Intermediaries
Spatial Collages Reconfigured
Walking/Thinking with Ideas/Observations.
Site Drawings and Observational Mappings.
Cultivation Field.
The circle and square together embody what I think of as human nature.
Dark Room, Garry Fabian Miller.
If the everyday can be considered an ecology where passions circulate in a perpetual state of intensification and entropic decline, the empirical self (and not just David Hume's version of it) is essentially in a state of flux. This posits the human as an organism constantly adjusting to its passionate environment, with a self that is constantly appearing and disappearing, crystallising and dissolving.
Ben Highmore
Rich Lyrical Motifs.
Brilliant Trees.
Within each lesson lies the price to learn.
David Sylvian.
Artist's Development.
Planting Research
Vital Nourishment.
Raveningham Garden Project.
Circle/Linear Time/Centred on objects.
Spiral/Deep Time/Awareness between things.
Architectural Ceramics.
Inseminations/Sketchbooks
Cell/Seeds/Dispersal/Cloud
Organism-Person-Environment
Working Ideas/Proposals into Matter/Making
Contents/Description/Instructions/Diagram/Drawing
Presentation/Ritual/Repetition.
Art is contemplation and must act upon our consciousness.
Objects/Things are part of the artist's immediate existence.
Contemplative experiences become truly meaningful when they occur in everyday life and when nirvana or the state of superior awareness blurs into samsara or ordered time.
For Tapies, repetition is above all else a perpetual questioning or a perpetual becoming.
A working process that is additive, which incorporates changes and accidents and as such his methods are hardly erasing anything that is already present on the canvas.
A Summer's Work, Antoni Tapies.
The Garden/Material of/for Forking Paths.
The Diagram/The Program/The Inquiry
Marking Durations.
Ground Mappings.
Solar/Daylight Observed/Shadows Recorded
A Garden Observatory/Philosophy of Silence/Solitude.
Raveningham Sculpture Trail.
Site Visit 160423
Sculptural Spacings and Sensual Engagements.
Showing Points/Lines/Vectors of Change/Movement.
Dwelling Demarcations/markers of temporality and disappearance.
A poetics derived/driven from both the systematic and the small wonders of the everyday.
Circular Breathing/Cyclical Lines.
The Peripheral Movement/Moment
The Space/Time between things.
The Concept of Sculpting Invisible Materials.
The Array, a phonographic inquiry recording transits of the suns pathways across the sky.
Wanderings, caught up in the wanderlust of stillness and slowtime.
Paths of movement, paths of observation, paths of existential abstractions following daylight.
The artist's creative act of a self amongst others.
A sculptural deliberation that engages with the experiences of working a site in the landscape.
Curatorial.
Spatial Practice.
Practice/Display/Audience.
Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a project of the mind.
Tim Ingold 'Making'
Camouflage : Neil Leach
Camouflage offers a mechanism of locating the self against the otherwise homogenising placelessness of contemporary existence. It thereby promotes a sense of attachment and connection to place.
Camouflage may therefore provide a sense of belonging in a society where the hegemony of traditional structures of belonging - the family, church and so on - has begun to break down. This aesthetic sense of belonging can be compared to other modes of belonging, such as religious devotion or romantic attachment.
Aesthetic production should maintain the capacity to operate as a mediation between the self and the environment, but only aesthetic production whose design has been carefully controlled can achieve this. The difference between productive and unproductive modes of expression is therefore a question of design. In this respect we can recognise the important social role of design in providing a form of connectivity for ‘cognitively mapping an individual within the environment.
Design becomes a crucial consideration for the effective operation of camouflage.
In highlighting the creative capacity of human beings to adapt to their environment, this book offers a more optimistic account of human existence, which valorizes the present as the site of productive endeavor.
The thing contained is not the thing contained.
Manifesto for explorations of 'IN'
Steven Holl.
A sanctuary for promise.
Clay+Ceramic : Complexity grounded in basic things.
A source of energy, intense and exuberant in the early days, more subtle in later decades, but always leaving its mark on so many artists' work.
The Archie Bray Foundation : A Legacy Reframed.
Patricia Failing.
But the Bray energy field left its mark on ceramics history did not emanate from the early production pottery alone. The Foundation provided unique opportunities in the early 1950s, and not all were associated with celebrity visitors. LaMar Harrington remarked on one of the most significant contributions the Bray made to Peter Voulkos's artistic development:
It was the sheer abundance of material. He could be as prolific as he could be and throw the biggest pots he could throw in part because he had carloads of clay-enough clay to absorb his tremendous energy. I don't think he would have become the artist he did without that opportunity. I also think the look of the brickyard-the slag heaps and misfired bricks-had some effect on the style of his later work. As for Rudy Autio, the slab constructions he made for architectural commissions at the Bray gave him some of the insights that came together in those large figurative pieces of the 1960s.
The Ceramics Reader.
Fired Clay : Markings and Volumes.
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