Spatial Practices : Experimental drawing and alternative photography.
Slab built ceramic from templates and drawn annotations added throughout the construction process.
Working with an attention to material : Architectural forms as the excitement of making/building/dwelling.
Dwelling.
Rethinking the animate, re-animating thought.
Tim Ingold.
Ingold insists on a flat, continuous and processual ontology of dwelling and becoming.
Year
2024
Medium
Ceramic
Size
220mmL x 240mmH x 60mmW 130mmL x 240mmH x 90mmW
Air/Place/Breath/Light/Architecture/Ritual/Social Spaces
Evaluation
Russell Moreton is a visual artist interested in gathering research and responding to the historical site of St Peter, Hungate. He has explored the exhibition theme ‘Water’ as both a spiritual and corporeal inquiry for site-specific artworks. He has spent time developing working ideas that have an affective resonance to the architectural setting of their presentation. His use of slab built ceramics vessels echo the stillness and muted silence experienced within the medieval fabric of the Hungate. He has used a figural drawing on Chinese paper, processed by the evident passage of water to explore the representation of the human form in this particular place.
Date(s)
23/06/2023
Venue
The Hungate
Location
Norwich
Exploring Water in Architectural Art at Hungate
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Russell Moreton’s Ceramics: A Reflection on Water and Place
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Site-Specific Art: Water and Space at St Peter, Hungate
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Assemblage of spatial components centred around speculative interiors as discursive spaces of study and making.
Year
2024
Medium
Ceramic, Wood, Lead, Glass
Size
200mmL x 420mmH x 200mmW
Artist Books : Ceramic Scriptorium.
Artist books from visual art practice, housed in a ceramic slipcased/scriptorium space.
Year
2023-2024
Medium
Ceramic, Paper, Photography and Collage.
Size
440mmW X 120mmH x 295mmD
Exploring Speculative Interiors in Contemporary Art
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Ceramic Scriptorium: A Fusion of Art and Writing
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Artist Books: Merging Ceramic Craft and Visual Storytelling
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Description
Numinous Odyssey : Architectural Canvas/Painting in an English Garden. Raveningham Architectural Canvas/Form
Framed-Un-Framed Construction Sensing/Site 2020
Aesthetics between objects
Fragments from note books
Art Works, a constellation of coincidences/intuitions resting the not being made
Re-animating context
Aesthetic perception, how aesthetics are represented in a object by philosophers and scientists
Espace-Milieu : Painting as environment entanglements
Painting in a landscape situation.
Canvas as spatial phenomena, reading both sides.
Asymmetries between a particular past and a general future
The passing of the present through the pure past
Difference and Repetition : Production/Synthesis of Temporality
Art Practice/Gathered from Everyday Life : Micropolitics of slowness and repetition.
The Living Present, constructed from habits, anticipations and recurrences
Chaos, territory, art Deleuze and the framing of the earth Elizabeth Grosz
Evaluation
Architectural form/canvas submitted as part of the Raveningham Sculpture Trail. A spatial practice that explores the fragility of a painting in the landscape. This work continues themes and feelings evoked by an earlier intervention, Sensing Space, Raveningham Sculpture Trail 2018.
Collected Notes : Raveningham Sculpture Trail 2020
Studio Blackboard
ODYSSEY Aesthetic Intervals/Timbre/Traces
Immateriality/Temporal/Transitions material and movement/Human agency
A Species of Spaces
Construction/Making/Collage
Forming, slowness and repetition, elements of painting
Assemblage, sensation, surface, objects and spaces between them gathered/thresholds
Sheltering/Weathered/ Exploring a fragility of a painting in the landscape
Robert Mangold, Paintings and Architectural Forms
Fragments from sketchbooks
Ephemeral Architecture
Canvas as spatial verb
Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles, Wood, Lead, Nails
Canvas as folded construction/shelter/place
Operative Design, A Catalogue of Spatial Verbs
Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things
Date(s)
24/07/2020
Venue
Raveningham
Description
Diffractive Readings/Blue Spaces Of Everyday Enchantments.
Spatial blueprints/propositional diagram on the speculative readings from The Order of Time. Carlo Rovelli.
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.
Evaluation
Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable
If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence.
ARCHITECTURAL Body An ORGANISM that PERSONS Gins and Arakawa 2002
Date(s)
01/09/2022
Venue
Outpost Studios Members Show
Location
Norwich
Exploring Blue Spaces in Everyday Enchantments
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The Drowned World: Reflections on Crisis and Space
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Rovelli’s The Order of Time: Architecture and Human Condition
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Interstitial Workings of Minor Gestures : Clay~Ceramic
Conceptualising Environment(s) Continuity and Change.
Slab built forms from clay slabs that have previously been drawn into and brush marked with slips. Assemble forms then divided into several spatial interiors. Piercings through the surface set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering my discursive researches and readings into a performative spatial body.
Year
2025
Medium
Ceramic
Size
240mmL x 270mmH x 70mmW.
AI Overview
These are likely ceramic or mixed media architectural art pieces by artist Russell Moreton.
The artist is known for exploring themes around “making” and the metaphysical immersive nature of materials, often using clay as a primary medium.
The works investigate the interconnectedness of making interior spaces.
The raw, distressed appearance suggests an interest in material vocabulary and process-based inquiry.
The pieces are potentially part of an exploratory research project titled “CLAY/WITH FIRE : Thinking Architecture/Exploratory Research/Vocabulary”.
These are untitled clay and mixed media artworks by British visual artist Russell Moreton.
The pieces are part of his exploratory research into “Spatial Bodies” and “Thinking Architecture”.
The artist uses materials to explore a sense of place and time, with the act of drawing adding a performative element.
The work often involves layers that peel and reveal their own histories, like those seen on the surfaces of these pieces.
Moreton’s practice investigates the interconnectedness of making interior spaces.
Exploring Continuity and Change in Ceramic Art
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Russell Moreton’s Spatial Bodies: A Ceramic Journey
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The Metaphysical Nature of Clay in Architecture
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Show all
The image provided is an art collage incorporating diagrams and text snippets from the book Space and Place: The Perspective of Experience by geographer Yi-Fu Tuan. The artwork explores concepts of human spatial perception and time.
Key Concepts
Spatial Bias: The collage uses a specific diagram to illustrate that “Space projected from the body is biased toward the front and right”. This suggests a natural human tendency to perceive and prioritize space differently depending on its relation to our body’s orientation.
Time Perception: The diagram visually represents the future as “ahead and ‘up’” and the past as “behind and ‘below’,” linking spatial metaphors to human conceptions of time.
Art and Perception: The text “Ceramics a spatial sensitivity, forms governed by their vessel and void” suggests the artwork itself is a study in how form and negative space interact to create meaning, a common theme in art and design that explores kinaesthetic and multisensory perception.
This collage integrates geographical, psychological, and artistic ideas about how humans experience and structure their environment.
Affective Poetics: Exploring Ceramic Practices
This title emphasizes the emotional and artistic aspects of ceramics, appealing to an audience interested in creative expression and poetics.
Crafting Care: Ceramics and Built Environments
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Speculative Ceramics: Knowledge and Practice
By framing ceramics as a speculative practice, this title positions the content within contemporary discussions of knowledge creation and interdisciplinary work.
Inhabiting material spaces of reading and making into affective poetics that comes into play through working clay into forms of ceramic.
Gatherings on Care. Working Party SPAB Lime mortar repairs.
Built Environments : Complex Ecologies~Anthropocene Aesthetics.
Speculative Applications on Ceramics : Slow knowledge over a post disciplinary field of making. Spatial Bodies : Interiorities and their entangled relations.
Year
2025
Medium
Ceramic
Size
200mmL x 270mmH x 80mmW.
Moreton’s site-based practices using clay as his principle material further develops his inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased.
His practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.
Assembled forms are then divided into several spatial interiors, in which the use of piercings are used through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.
For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His finished fired constructions could become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s).
AI Overview
These are ceramic sculptural objects created by artist Russell Moreton, likely part of his “Clay with Fire” series.
The works are processual in nature, developed from an inquiry into making interior spaces.
The material is part of the vocabulary of meaning, with the artist interested in how ceramics can draw an analogy with architecture.
Moreton has a background in ceramics, glass, and construction.
The pieces are one-of-a-kind artworks, with some related works being photography of “landscape shelters”.
The work is an exploratory, ceramic-based inquiry into architectural and contemporary art, focusing on the concept of “spatial bodies”.
It explores the interconnectedness of making interior spaces.
The piece incorporates clay slips and incised marks, which are interwoven into the spatial forms.
The assembled forms are divided into several spatial interiors, utilizing piercings through the surface to allow light to enter.
The image is a photograph of an abstract, mixed-media artwork, possibly ceramic or a painting with significant texture.
The piece features a combination of earthy colors, including white, beige, and brown.
It incorporates various textures, likely from layered materials like clay, paint, or plaster.
Several small holes are visible, adding to the raw, industrial aesthetic.
The composition is abstract, focusing on form and surface details rather than a representational subject.
Composite assemblages developed around spaces, interiority and aesthetics.
Year
2024
Medium
Ceramic, Lead, Wood.
Size
190mmL x 230mmH x 80mmW 220mmL x 230mmH x 100mmW
Water at Hungate. 2023
Hungate Architectural Explorations.
Air/Place/Breath/Light/Architecture/Ritual/Social Space
Cell-Court-Domain.
Hungate Vessels, Architectural Explorations, 2023, Ceramic, 165mmW x 250mmH x 90mmD.
Russell Moreton is a visual artist interested in gathering research and responding to the historical site of St Peter, Hungate. He has explored the exhibition theme ‘Water’ as both a spiritual and corporeal inquiry for site-specific artworks. He has spent time developing working ideas that have an affective resonance to the architectural setting of their presentation. His use of slab built ceramics vessels echo the stillness and muted silence experienced within the medieval fabric of the Hungate. He has used a figural drawing on Chinese paper, processed by the evident passage of water to explore the representation of the human form in this particular place.
For Marcel Mauss, real-life human beings inhabit a fluid reality in which nothing is ever the same from one moment to the next and in which nothing ever repeats. In this oceanic world every being has to find a place for itself by sending out tendrils which can bind it to others.
Thus hanging on to one another beings strive to resist the current that would otherwise sweep them asunder. Things do not aggregate and they do not fuse. They do however interpenetrate their many tendrils and tentacles interweave to form a boundless and ever extending meshwork.
On The Gift~Octopuses and Anemones.
The Life of Lines.
Tim Ingold
Processual Drawing~Interiorities of Atmosphere and Sentiment.
The Fluid Reality of Marcel Mauss: Understanding Interconnectedness
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Exploring Tim Ingold’s Perspective on Mauss and Human Connection
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Interweaving Tendrils: The Dynamics of Human Connection
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Phronesis~Poetics only encountered in movement. Generative Claywork. Correspondences in Ceramics. Mutant Sponge : Spatial Bodies~Human Bodies~Performativity.
Exploring Movement in Generative Claywork
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Spatial Bodies and Human Performativity in Ceramics
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Correspondences in Ceramics: A Study of Poetics
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russellmoreton.com 