“I can take any empty space and call it a bare stage”
An energetic and first-person account of the work done by ‘the group’ in the nineteen-sixties and seventies at the International Centre for Theatre Research.
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.
recent posts
- Hortus Conclusus~The Troubled Hospitality of Interiorities 2026
- Permeable Chambers ~ Modular Outliers ~ Withdrawn Ceramics~Diffractive Hospitality
- Attentiveness as a Sensate~Heuristic Inquiry : A Spatial Practice.
- Ecology of Asperities. Notes on a Particular Spatial Practice
- Attentiveness as Sensate Inquiry
about
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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