Russell Moreton : Matter(s) in Correspondence

Art Education : Brockwood Art Barn Exhibition AS/A2

  Aerial/Generative Drawing.

Social Mappings. Winchester Cathedral :

Space for Peace 2011.

Cyanotype from performative drawing.

 Hungate

Work In Progress

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On Constructing Creativity.

Wondrous Engagements.

Light/Substance/Ritual/Memory/Display

WATER

Conduits of inquiry into the sacred and the secular, the spirit and the body.

Cleansing Vessels.

Piscina/Niche/Wall/Building

Art/Archaeology

Ritual/Display

Corporeal/Spiritual

Beuys, was involved in questions of form, material processes and social sculpture, he believed that art and the insight gained through art becomes a formative influence on life. He wanted a situation where life and art become one. Academicians sense that in this ideal state, an Academy would be superfluous.

Raw materials/substances/tools all used as symbols with their own unique properties and qualities.

Beuys brought things into forms, in which the material and the forms are really in accord with each other, and are satisfied and want to keep on living. He was constantly moving material between two opposed poles, undetermined chaos (a blob of melted fat) and determined order (a box of things).

Selected Research.

Being mindful that material can lead the way.

Beuys/Cragg on matter and materials beyond the hylomorphic model.

Gaston Bachelard, on intimate, watery spaces and the imagination.

Poetics Of Space.

Juhani Pallasmaa, on reading and experiencing architectural spaces at The Hungate.

The Eyes Of The Skin, Architecture And The Senses.

Proposals into working practice/ideas.

Returning to direct site based experiential drawings/templates/mappings/rubbings.

Fluidity between surfaces and things, of dampness, stains and porous plaster.

The molecular interstitial spaces of light, air and water.

Sacred water washing the soul (the font), secular water washing the body (the bath)

Bonnard, domicile paintings of body,water and the baptism of light.

Displacement of things (body/rituals) in vessels of water (bath/font).

The architectural interior, a historical place of shelter for beliefs.

The membrane, screen, between the cleansing nakedness of water.

https://www.flickr.com/people/russellmoreton/

Structural Modalities/Making/Tensions : Spatial Form to gather/interact with discursive research.

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Procedural Architecture

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture’s holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa

Working Notes/Holding in Place

Entanglement of Matter and Meaning

Intertwining Metamorphoses

Germano Celant

Giuseppe Penone

Diffractions : Differences, Contingencies, and Entanglements That Matter

Meeting The Universe Halfway

Quantum physics and the entanglement of matter and meaning

Karen Barad

Art and Technics

Lewis Mumford

James Turrell

Aten Reign

Miwon Kwon

Under The Volcano

Carmen Gimenez

Kees Goudzwaard

Assemblage

Pinholes and Dust

Grisaille

Transparent Body

Robert Mangold

Column Structure Paintings

Frank Stella Architecture

Architecture as a means towards creating space

The Optical Unconscious

To throw its net over the whole of the external world in order to enter it into consciousness. To think it

Rosalind Krauss

Postproduction

Nicolas Bourriaud

Body

Personal Relations

Spatial Values

Yi-Fu Tuan

Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive

From The Bookcase to The Field Table : Landing Sites of Inquiry

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer ‘cocooned’ within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child ‘concretizes’ its existential space.

A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus

Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham’s Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition, annotations, commentary, illustrations and photos.

Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of ‘meaning’ lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term ‘heuristic’ is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

Space Between People

Degrees of virtualization

Mario Gerosa

Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69

Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures

Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.

Speculative architecture

On the aesthetics of Herzog and De Meuron

Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)

Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff’s Newspaper Photos

Valeria Liebermann

Working Collages

Karl Blossfeldt

Sensing Spaces/Architecture Reimagined

Royal Academy of Arts

 Outpost 010323

The Parallel Visions of Artists and Archaeologists.

Figuring It Out.

Colin Renfrew.

Archaeologists/Artists, intuitively working with materials that are local and quotidian.

New insights into the way humans use things/people/the earth.

Encounters.

Art as archaeology, archaeology as art.

What is Art.

The tyranny of the renaissance.

Off the plinth.

Display and process.

The human condition.

Being and remembering.

The (al)lure of the artefact.

Baneful signs.

The archaeology of now.

Figuring it out.

The Indexical Body.

Corporeality/Aesthetics.

Contemporary Fine Art/Working from/with the body

Francis Bacon.

The figural body.

Manuel Neri.

The sculptural body in relief.

The Body/Spatial/Temporal

Rituals/Places/Vessels

Awareness/Repetition/Ritual can give meaning to existence.

What Are We?

Where Do We Come From?

The Anthropology of Art.

Constructed as a theory of agency or of the mediation of agency by indexes understood/conveyed through material entities which motivate/create inferences, responses and interpretations.

For Gell, art is not ‘axiomatic’ about a ‘matter of meaning communication’ but rather it is about doing that is theorized as agency in a process involving indexes and effects. Art, its actions and their effects are similarly not discrete expressions of individual will, but rather the outcomes of a mediated practice in which agents and recipients are all implicated in complex ‘participations, ways of relations and their diffractions.

Artists/Prototypes/Things/Recipients/Affect/Generative Relations.

Practical Experience/Cognitive Knowledge/Analysis.

Art and its complex participation/phenomena is distributed by an agent with other agents, the artist attempts to distribute elements of their own efficacy amongst others.

Artists are those who are considered to be immediately causally responsible for the existence and characteristics of indexes, artists/a person both distributed and implicated may also be vehicles of the agency of others.

Alfred Gell.

Conceptual Frameworks/Context

Axes of Coherence/Indexes/Formal Analysis/Repetition/Improvisation.

Resultants that incorporate the friction/asperity of their trajectories through a medium.

Tilt-up concrete construction, Chapel of St Ignatius, Seattle, Washington, USA.

Steven Holl.

Cathected, Aesthetic Phenomenon, Aesthetic Causality, Sensual Object, Allure,

The Projects.

Hungate.

Water, niche, Prisina, font, vessel, grounding body/spirit, apparatus, scaffold, un-doing of Place, Site, Reading the existential qualities of architectural spaces into the corporeal/haptic body, plaster, lime, canvas, whitewash, yellow ochre, water becomes a sacred conduit running through the architectural body.

Raveningham.

Ground Marking, ceramic spheres, Fontana, clay/raku. Movements/Durations on grass to leave temporal traces. String line, shadow sticks, involuntary markers, found objects, collected phenomena,

Undercroft Anglian Potters, Norwich.

Ferini Gallery, Lowestoft.