Russell Moreton : Matter(s) in Correspondence

Spatial practices of clay, ceramic, drawing, bodies, places and making.

Spatial Practice

Architecture, sites, spatial situations, bodies, inhabitation, installations, spatial propositions.

Ceramic Bodies

Clay, ceramic sculpture, vessels, apertures, surfaces, firing, ceramic interiors, ceramic atmospheres.

Drawing / Image

Drawing, cyanotype, photography, diagram, mapping, collage, visual experiments.

Interiority / Atmosphere

Bachelard, refuge, reverie, innerness, thresholds, chambers, light, shadow, atmosphere, sensing.

Making / Materiality

Studio practice, making, material resistance, gesture, process, firing, construction, surface, force.

Research / Working Texts

Reading, theoretical writing, notes, research propositions, older texts being re-entered, speculative learning.

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Making is the production of relations through material events. What I think is emerging is an ontology of making. The clay isn’t the subject. The object isn’t the outcome. Even process isn’t the central concern. The central concern is relation. Relation between body and matter. Relation between force and resistance. Relation between object and space. Relation between time and form. Relation between making and knowing. Visual artist working in the UK. UCA Farnham, Interior Design MA. Canterbury School of Architecture, Spatial Practices MA. University of Southampton, Visual Fine Art BA hons. Epsom School of Art and Design, Ceramics HSND.

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The first daguerreotype of a solar eclipse

The first correctly-exposed photograph of the solar corona was made during the total phase of the solar eclipse of 28 July 1851 at Königsberg (now Kaliningrad) by a local daguerreotypist named Berkowski. Berkowski observed at the Royal Observatory following a proposal by its director A. Busch. A small refracting telescope (D = 6.1 cm, f = 81.2 cm) was attached to the hour drive of the 15.8-cm Fraunhofer heliometer, and a 84-s exposure was taken shortly after the beginning of totality. After the eclipse, Busch (who did not observe the eclipse at Königsberg but at Rixhöft), published some details about the daguerreotype (without mentioning Berkowski’s first name) and ordered a local artist (R. Trossin) to make an enlarged steel engraving from the daguerreotype plate. On the original plate the moon’s diameter is 7.85 mm, and at least 5 prominences are well visible on the limb of the sun. Later Berkowski himself made some daguerreotype reproductions from his original plate.

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