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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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.

Category: Uncategorized

  • Winchester Cathedral, plan view on foam board. on Flickr. (Source: http://www.flickr.com/photos/russellmoreton/6863761949/)

  • the-rx: James HENKEL. Sun Spots, 1996http://www.jameshenkel.com/

  • Found Object: Weathervane (relocated) #2 on Flickr. (Source: http://www.flickr.com/photos/russellmoreton/6862022653/)

  • Pastoral Scene:Networks and Visible Phenomena. on Flickr. (Source: http://www.flickr.com/photos/russellmoreton/6862015567/)

  • Russell Moreton.Postcards from Kilquhanity 2011 ” Back to free school:Drawing out the archive”.

    As part of my residency I undertook to turn the space of a pottery into a “Camera (room) Obscura”. In this space I exposed directly the view gathered from “outside” onto photographic paper as a collage of interwoven documents. The cyanotype printing process was employed in  field-studies using the sun to recording the movement of…

  • curatingwomen: THE TOMB OF THE UNKNOWN CRAFTSMAN CURATED BY GRAYSON PERRY // THE BRITISH MUSEUM It has taken me too long to see this exhibition, the critics have raved about it, my friends… a mixed review. So despite a general wariness I knew I was going to be intrigued, at least due to the unusual…

  • curatingwomen: ROTHKO IN BRITAIN // WHITECHAPEL GALLERY I am always excited by the Gallery 4 / Foyle Reading Room exhibitions at The Whitechapel Gallery. Utilising the gallery’s extensive archives self-conscious ‘meta exhibitions’ (an exhibition about an exhibition) analyse the impact of past Whitechapel shows in terms of their engagement with the surrounding community, broader public…

  • The Garden.Document on the building of an inquiry. #1 on Flickr. The Garden of Sensory Experimentation (Source: http://www.flickr.com/photos/russellmoreton/5785708499/)

  • Panspermia Exodus 2011 on Flickr. Material Memory. Piercings and Imprints (Source: http://www.flickr.com/photos/russellmoreton/5517957450/)