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

  • Atmosphere and Surrounding Objects : Loose Assemblages/Living Emotions/Theoretical Gaze

    Atmosphere and Surrounding Objects : Loose Assemblages/Living Emotions/Theoretical Gaze Paintings being living emotions. Mark Rothko The atmosphere of a work of art, what surrounds it, that ‘place’ in which it exists – all this is thought of as a lesser thing, charming but not essential. Professionals insist on essentials … not understanding that everything we…

  • Sketch Books/Strange Loops : Drawings, Materials, Annotations, Collages and Constructions 2018-20

    Sketch Books/Strange Loops : Drawings, Materials, Annotations, Collages and Constructions 2018-20  OUTPOST STUDIO 3.16 Agency through sketchbooks Apokatastasis : Jim Jarmusch, Jozef Van Wissem Spatial Asperity/Mesh, Membrane and Gauze Drawing and its attempts to map out/make visible contingent things Contingency, is what remains, as it comes up against causality/constantly passing through Objects/Things conceptualized by the…

  • Camouflage/Concept and Design : Re-Working Aesthetics/The Everyday

    Camouflage/Concept and Design : Re-Working Aesthetics/The Everyday Everyday Aesthetics : Ordinary Lives 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…

  • Composite Bodies in Spaces : Drawing into the contemporary sociological imagination

    Composite Bodies in Spaces : Drawing into the contemporary sociological imagination Drawing into the contemporary sociological imagination Intermezzo : Nomadic Photographic Assemblage a thousand plateaus Deleuze, Guattari Assemblage Becoming Body Without Organs Nomad Rhizome Smooth Space State War Machine www.rhizomes.net/issue5/poke/glossary.html The Uberficiation of the University BY MARK CARRIGAN ON NOVEMBER 22, 2016• ( 0 )…

  • Cyanotypes : Creative Ecologies

    Cyanotypes : Creative Ecologies The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen. The Drowned World, JG Ballard. Blueprints : Anthropological Forms Botanical…

  • Figure/Foreground/Afterimage : Drawing

    Figure/Foreground/Afterimage : Drawing In drawing the moments of choice have been kept visible. John Berger, Berger On Drawing. A drawing is essentially a private work, related only to the artists own needs. The Drawn Line-A Recession-A Past Statement Brought Forward The Body of Drawing Drawings by Sculptors South Bank Drawing registers the transforming effects of…

  • Opening Collages : Ambiguous Borders

    Opening Collages : Ambiguous Borders Curatorial Practices The Alchemy of Building Collages/Inclusions : Creative Ecologies Yvonne Buchheim Wish you were here to trip up memory lane. Belfast 2000 http://www.acid.uwe.ac.uk/buchheim/belfast1.htm Alberto Perez-Gomez POLYPHILO or The Dark forest Revisited An Erotic Epiphany of Architecture Robert Mangold Sarah Purvey Landscape Series, Rhythm. 2012 Crank vessel with slips Robert…

  • Mapping Relationships : Contexts and Locations #3

    Mapping Relationships : Contexts and Locations #3 Collage and drawing with cyanotypes, photographs, negatives and painted surfaces. The Laboratory , Canterbury 2009 Tim Ingold MAKING 2013 Anthropology, Archaeology, Art and Architecture. Practical Geometry The Architect and The Carpenter The Cathedral and The Laboratory Templates and Geometry The Return to Alchemy Cyanotype image from pinhole camera…

  • Working Collage : Marking the Line/Art, Architecture and Craft Narratives.

    Working Collage : Marking the Line/Art, Architecture and Craft Narratives. Architecture, Nature and Subjectivity. Atmospheric ecologies/architecting through situated learning. Is there still an aesthetic illusion? And if not, a path to an “aesthetic” illusion, the radical illusion of secret, seduction and magic? Is there still, on the edges of hypervisibility, of virtuality, room for an…

  • Hans Coper : The Shape of Time/Working Notes/Diagrams

    Hans Coper : The Shape of Time/Working Notes/Diagrams Sainsbury Centre UEA Norwich Hans Coper : Working Notes Crafts Study Centre. 2014. Extracts from catalogue “The Esssential Potness, Hans Coper and Lucie Rie 2014” “I become part of the process, I am learning to operate a sensitive instrument which may be resonant to my experience of…