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.
Bringing things back to life, to switch our perspective from the endless shuttling back and forth from image to object and from object to image, that is such a pronounced feature of academic writing in the fields of anthropology, archaeology, art and architecture, to the material flows and currents of sensory awareness in which images and objects reciprocally take shape.
Diffraction, understood as a material-discursive phenomenon that makes the effects of different differences evident.
Karen Barad.
Troubleyn Laboratorium, Jan Fabre.
The Empty Space, Peter Brook.
Verb List Compilation/Actions to relate to oneself, Richard Serra.
Ceramics.
Slab built architectural forms and crucible raku bowls.
Raku bowls thrown and turned in a coarse clay with wide flat rims inspired by crucible forms for melting materials.
Architectural slab built pieces investigate ceramics as a dwelling place or a model for a building construction.
Undercroft Exhibition Norwich.
Anglian Potters.
Notion of a moment of impeding transposition.
Transformation of derelict buildings into newly evocative spatial experiences.
Building Cuts/Physical Alteration to a space is a revelation of a particular response.
The Body To The Building.
Social Activism/Mindful Lawlessness.
Gordon Matta-Clark.
Performativity, subject and object do not pre-exist as such, but merge through intra-actions.
Karen Barad.
Architectural Body/The Organism That Persons.
Madeline Gins and Arakawa.
You cannot see me from where I look at myself.
Francesca Woodman.
Thinking Bodies/Becoming Woman.
Images that created a sense of confinement, a temporal identity for herself, a place for a personal resonance/self inquiry.
The body as architecture itself as the support that constitutes the spatial agency of photography.
Negative Capability.
The Link Gallery, Winchester.2013.
Morn Hill Winchester.
Site of the corporation or the master, brethren and sisters of the blessed Mary Magdalene hospital near Winchester erected in 1148 and demolished in 1772.
Founded on the eastern hill in remote antiquity for lepers.
The Hospital of St. Mary Magdalene.
Raymond Elliott. 1994.
Becoming Decay.
Clemintina and Francesca.
Domestic Liminality, a psychological, neurological, or metaphysical subjective conscious state of being on the threshold of or between two different existential planes.
Places where we make new domestic worlds, where we reconstitute family.
Carol Mavor.
Figurative Drawings and Sculptural Reliefs.
Matters of Form/Construction.
Manuel Neri.
Norton Star Atlas
Map 1
Epoch 2000.0
Stellar Magnitudes
Double or Multiple Stars
Variable Stars
Novae.
Alternative Darkroom Photography
Corporeal/Astronomical
Body/Cosmos/Imagination
Scale/Proximity/Vastness
spatial practice, alternative photography, fine art, ceramics,making,Russell Moreton,
Drawing away from descriptive depictions that illustrate preconceptions/aesthetics.
Julian Stair.
Quietus. 2012.
The Vessel.
Death and The Human Body.
There is an alchemy to making ceramics. We take an inert material, fashion it, dry it and expose it to heat and flame. The practice of cremation, of exposing the body to fire, going through an alchemical change, echoes and parallels the process of firing.
Julian Stair.
The materials he works, lead and clay are dense, both physically and emotionally. But Stair’s use of these materials is not representational. These objects do not depict or illustrate, instead they enact and embody.
Stair’s achievement in this cyclical exhibition is to have expressed both the universality and the specificity of death, each as an aspect of the other.
The great hand-thrown jars that stand at the heart of the exhibition exemplify this doubleness. Though completely abstract, they exist at the scale of the body. They invite a tactile response, visitors might stroke the ridges circumscribing the jars or tap them, or even give them a gentle hug.
Glenn Adamson.
Life drawing on the psychology of nakedness and the human body in contemporary art.
Life-Class/Anatomy/Pathology.
The practical and theoretical problems of the confrontation with the human form.
Georg Eisler.
Herbert Boeckl.
His nudes speak a physical language, interpreting life and death in terms of human bodies, of functioning muscle and bone and the tactile aspects of flesh, and the knowledge of what lies beneath/behind it.
Alfred Hrdlicka.
A Group. 1973.
Proximity does not read as intimacy, the entangled naked bodies convey a sense of insecurity.
The Posed/Nakedness/Social Scrutiny.
The Life-Class.
Isabel Bradshaw/Michael Grimshaw
Drawings/Sculpted lines that bring sensations onto the surface of the paper.
Lines of Movement/Vectors
Lines of Static Forms/Boundaries
Mark-making, rendering the spatialities of the human form.
Form-Movement
Mass-Volume
Skin-Surface
Line is only the visual interpretation of an extremity of a volume. Mark-making on a drawing becomes a conduit for a sensation of seeing others.
The concept of anthropomorphism is central to the identity of pottery. We use bodily terms such as a neck, shoulder, hip and foot to describe the constituent parts of a pot. And the very nature of the vessel as a container, a holder of things, is analogous to the idea of the body as physical container for the soul or spirit.
Drawing, depicting something found through the process of making visible.
The Luminescence Of Space.
An Archaeological Inquiry Into Drawing.
Correspondences/Reclaiming the drawings.
The Affect and Memory of Drawing.
To interrogate ways of seeing/looking, John Berger.
The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all ‘present’ at the inception of the work.
Colin Renfrew.
The Myth of Butades.
Figure/Ground Relationships.
Theoretical Thought : Diagram and map.
Neo-Sumerian temple plan on clay tablet from c. 2100BC.
The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.
Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.
Drawing/Substance/Memory/Display.
The artist’s creative act, is of a self amongst others.
Material/Thinking Matter.
Drawings mediated by the distance of memory.
Art Works, subtle embodiments, visual markers both spatial and sociological.
Life/Drawing/Figuring It Out.
The Luminescent Dematerialization Of The Subject.
Expressions Of Both Figuration And Abstraction.
Phenomenological approaches to Drawing/Looking/Others.
Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.
Walking/Movement is quiet literally what made us human.
The walk is a ‘mark’ laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.
Richard Long/Colin Renfrew.
Charles Mausson.
Walking Man, No. 3. 1990.
Oil, crayon, 203.0 x 137.0 cm.
Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.
Robert Combas. 1993.
The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet.
Sophie Dupont. 1995.
The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.
The legibility of the photographic image was denied by the process of blurring the image.
Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.
William Jeffett. 1995.
Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.
Figural Expressions.
Figural dissolution of a nude descending a staircase, Marcel Duchamp.
Stop-motion photography of the human body in motion, Etienne Marey.
Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.
Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.
Research as a discursive activity gathering new forms of expression. Duration, Steven Holl
Building/Uncertainties into the explorations of making. Rem Koolhaas.
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REVIEW into INTERIORS MA UCA 2013-15 Research into new forms of translation/transmission
MAKING vibrant gaps/assemblages between the texts/images/objects and everyday things LANDSCAPES OF AFFECTIVE AESTHETIC ATTRACTION
MATERIALS THEMSELVES become the TOOLS of PERCEPTION
Enchantment from the potential of things.
The Fabric of thoughts
The invisible within the visible (energy,magic,causality)
RELATEDNESS, connected to the Place and Function of Things within a Field.
Texts, form their own contexts/reflexivity, breaking down phenomena into meaning, conclusions and critique, they render phenomena and its psychic information redundant.
We think we know how we should feel sociologically, yet in doing so we deny ourselves the direct affectiveness of people and objects that can provide different perceptual relationships.
EMBODIED KNOWLEDGE=ECOLOGY Lygia Clark : A Space open to time. Cornelia H. Butler
The World is a Collage
Collage and montage are quintessential techniques in modem and contemporary art and filmmaking. Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble.
Juhani Pallasmaa
Hapticity and Time
Notes on a fragile Architecture
The Perception of the Environment Essay in Livelihood, dwelling and skill Tim Ingold
See Yourself Sensing Redefining Human Perception Madeline Schwartzman
STILLNESS IN A MOBILE WORLD Bissell, Fuller
ECOLOGICAL approaches/affordances to aesthetic perception ART and AESTHETIC PATTERNS : into an ecology of mind.
Going beyond what it may represent into the important psychic information that it contains. Camouflage is addressed, perhaps, less to architecture itself than to the subjective processes by which
human beings experience architecture. Illustrated by the photographic practice of Francesca Woodman, we see her seemingly absorbed by her environment in way that shows a desire to both identify with, and become part of her surroundings.
A desire/transgression met and mediated through a certain sensitivity and openness to the environment, fostering a sense of connectivity between human beings and their environment.
Neil Leach
EXISTENCE, SPACE and ARCHITECTURE Christian Norberg-Schulz
A child ‘concretizes’ its existential space.
Developing the idea that architectural space may be understood as a concretization of environmental schemata or images, which form a necessary part of man’s general orientation or ‘being in the world.’
SUBSTANCES guide the kinds of practical actions that the organism senses from elements of the environment, creating affordances/utilities for the human body.
SURFACES separate substances from medium, the wall and roof of my house afford comfort by separating me from water and too much air.
AFFORDANCES as aesthetic sensations determined both by the environment and qualities we impose through observation, sensation and perception.
Without arousal of perception, no aesthetic experience is possible. The rational organization of society has its own Aesthetic Attraction
Symmetrical Patteming/redundancy : provides for the observing mind a maximum of insight with a minimum of intellectual effort.
Colour Light Time
Quintessentially relational phenomena in which location, background, density will provide for different perceptual relations.
Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.
WORKING TEXT: 16/May/2020 The R Value in Academia
Reading/Reflexivity/Research with precision and indeterminacy
Research Material : Studio/Archive 2004-2020
The Language of Specitivity/Places of Inquiry Extradisciplinary Investigations
Social Utilities/Contemporary Art Practices imported from Political Philosophy
The return of limited and ancillary projects where the human being is the fulcrum and the fire of research in replacement of the medium and the instrument.
A whole range of materials and topics that do not fit, that can create an eclectic synthesis of knowledge fields.
Arte Povera, an aesthetic-philosophical movement, artists that chose to live with direct experience and feel the necessity of leaving intact the value of the existence of things. An art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen.
Germano Celant 1940-2020
Developing discursive reading
WORKING DOCUMENT/LANDSCAPE LANDSCAPES/Thinking Spaces
Concepts of space-time/Ecologies, embodiments through identity, individuality and environments. Our universe is evolving in time as our views are evolving
RIVERS/Eddies and husbandry
(in/with the phenomena of water, thinking with the fish in mind)
Research as a discursive activity gathering new forms of expression. Duration, Steven Holl
Time is only understood in relation to a process or a phenomenon.
The duration of human beings alive in one time and place is a relational notion.
The time of one’s being is provisional; it is a circumstance with an adopted aim for the time being. SPACE-and ARCHITECTURE-exceeds the provisional
Spatial Practice, Culture, Creativity and Environment
Diffractive erotics of the body in her speculative post studio practice
Asperities of flesh, dirt and the built environment
Neil Leach, Camouflage, F Woodman
The Enchantment of Modem Life.
Attachments, Crossing and Ethics
The performativity of social representations
When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.
Jane Bennett
Be not inhospitable to strangers lest they be angels in disguise
Jackie Leven, The Dent In The Fender And The Wheel Of Fate David Childers, Heart In My Soul
Spatial Practice Interior Design
Building a precision/working praxis that is both aesthetic and technical that can give an intimate understanding of the material and its situation.
Subjectivities interwoven through light and media Asperities of fabric and texture : White Collaged Postcards
CREATING AN ANTHROPOLOGY TOR BEING IN THE LANDSCAPE DEVELOPING MATTER AND DESIRE IN ART BASED ACTIVITIES
WORKING NOTES, 24 October 2018
SETTING UP THE CRITICAL DISTANCE / DISCURSIVE FIELDS OF ANALYSIS MEASURING AFFECT
PERFORMATIVITY ITS EXPERIENTIAL QUALITIES/PSYCHIC IMPACT RESEARCH IN LANDSCAPE AND ENVIRONMENTAL DESIGN Visiting the Archive : Exploratory Workshop
September 1, 2018. W&BA Harleston
CREATING THE FEEDBACK LOOP
BLURRING THE BOUNDARIES BETWEEN PARTICAPANTS AND ARTISTS RADICAL INTERVENTIONS INTO THE EVERYDAY
Walking and Making with Clay, Brockwood, Speculative Learning Program
‘ the clay itself seemed to absorb them into a wandering relation with the landscape’ A Field Guide To Getting Lost, Rebecca Solnit.
In this investigation into loss, losing and being lost, Rebecca Solnit explores the challenges of living with uncertainty.
Tracks Across The Landscape
Setting up a critical spatial practice within the walking landscape of the everyday. Edward Thomas, Paths
John Piper, Covehithe, South Bank Show, painting/drawing both on site and in the studio.
Watts Gallery, analysis and audit of activities from which to develop visitor programs and the experiential circulation of those who visit.
Melancholy and The Landscape, Jacky Bowring.
Locating Sadness, Memory and Reflection in the Landscape. Investigation into the creative membership and activities of W&BA.
From newsletter to art themed walks, Historic Culture/Landscape and Tourism Plotting points of social interactions, asking Why Here, Why Not There?
What directs events, governs outcomes? Success and failures?
Management and event led, members as audience? MA Arts Management
New Cultural Diversities
10 Days at the Laundry, Winchester 2009.
Group of creatives based in and around Winchester School of Art, use of fallow site in which to respond and to create for 10 days a contemporary arts festival. This original event ‘fused’ new creative partnerships that went on to produce other groups and exhibitions. The follow-up event 10 Days in the City, was funded, had more prestigious venues, but lacked the cohesion and community of the first site.
Supplementary content, resources, dossier outlining the inquiry of which the work is a part. MOVING THE CULTURE
DISCURSIVE FIELDS FOR NEW TYPOLOGIES/OPERATIONS AND TACTICS CONCRETE POETRIES
LOWER GREEN, NORWICH
‘ At the surface, the gorgeous materiality of Okon’s work is seductive but her intention to breach superficial readings is much more serious. This conjugation of material is also a conjuration, an earnest attempt to attempt to imagine and materialise new possible realities.’
Matter and Desire, An Erotic Ecology, Andreas Weber.
SITE SPECIFIC EMBODIMENT, working, making, discovering. Post Studio Practices, Daniel Buren. Deep Arts Ecology Investment and Nurturing, ‘it always begins with the art, Hans Ulrich Obrist.
The heavy, awkward investment of actually getting people to ‘place’ to participate is difficult. New technologies could offer solutions that could in turn promote innovative creative ecologies.
NEW TOPOLOGIES FOR BEING IN THE LANDSCAPE NETWORKS, MESHES, NODES, CONNECTIONS
Becoming embodied within the making of the work, within an intimate dwelling place. Strange Tools, Art and Human Nature, Alva Noe.
Crafted Scenography,
Exhibition,
Visual Art, Tacita Dean
Shadowcatchers
OUTPOST
STUDIO as a discursive site for un-doing and re-making relations/aesthetics between objects/the social/the everyday.
STUDIO ANALYSIS 2018-2020 21 September 2018-19 August 2020
Art School Spaces Outpost Studio Spaces Urban Fallow Institutional Buildings
Open Plan Office Spaces
Studio 3.16, Central Norwich, nearby parking, Floor area/footprint 5.0mx5.0m, wall spaces 2×2.4mx5.0m, well lit, open plan, large making table 1.2mx2.4m. Electricity, small heater, lighting, running water WC, access 24/7.
Projects/Contexts bought into the studio space
Drawings/Southampton roof rubbing, drawings/art works as sociological shelters/habitats Immaterial Paintings/Cyanotype, layered papers
Raveningham sculpture elements from intervention Cley, sketch books and paintings
Re-presentation of drawings/collages with new research material/contexts
Paintings displayed with large analogue phonographic images and collages Architectural concerns, coloured glass, aesthetic surfaces, paintings with raw materials Installation of research bookcases as diffractive elements/spatial practice within the studio White paintings, used layers of paper texts, meshes and cloth
Ceramic objects on field paintings/grounds
Research material, folders, wrapped ceramics with fabric, yellow ochre on paper
Research as a discursive activity gathering new forms of expression.
Duration, Steven Holl
Time is only understood in relation to a process or a phenomenon.
The duration of human beings alive in one time and place is a relational notion.
The time of one’s being is provisional; it is a circumstance with an adopted aim for the time being.
SPACE-and ARCHITECTURE-exceeds the provisional
The Enchantment of Modern Life.
Attachments, Crossing and Ethics
The performativity of social representations
When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.
Jane Bennett
Be not inhospitable to strangers
lest they be angels in disguise
Jackie Leven, The Dent In The Fender And The Wheel Of Fate
David Childers, Heart In My Soul
Collage Works : Architectural Studies. Outpost Studios, Norwich.
Studio Works : Praxis between theory and practice. Outpost 2020.
photographic surface, asperity, poetics of process, studio
Palimpsest/Surface Sprays : Spaces Between Objects
Site based inquiry for sculpture trail at Raveningham
collage, research, spatiality, art practice, alternative photography,
drawing, architectural, intervention, visual fine art, craft
studio, metaphysical space, collage, Palimpsest, Cristina Iglesias, Steven Holl, Jackie Leven, Tim Ingold, Julian Stair, drawing, sprays, Jane Bennett, Russell Moreton, Lucio Fontana,
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.
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 image?
— Jean Baudrillard, The Conspiracy of Art, 2005
Jana Sterbak
Remote Control 1989
A heuristic technique (/hjᵿˈrɪstᵻk/; Ancient Greek: εὑρίσκω, “find” or “discover”), often called simply a heuristic, is any approach to problem solving, learning, or discovery that employs a practical method not guaranteed to be optimal or perfect, but sufficient for the immediate goals.
The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing and building.
Immaterial Architecture
The Illegal Architect
Jonathan Hill
Oak Tree
Oil
Paper
Plaster
Rust
Sgratfito
Silence
Sound
Steel
Television
Weather
Frosted Light
Index of immaterial architectures
TRANSPARENCY : LITERAL AND PHENOMENAL
Colin Rowe, Robert Slutzky
Interactions of the Abstract Body
Josiah McElheny
Object Lesson
Interactive Abstract Body (Square)
The Spatial Body (After Fontana)
Tracing Eisenman
Stan Allen
Indexical Characters
FABRIC=MASS+ FORM
Alan Chandler
The interest in fabric formwork is in its deployment in a building process, which is faster than conventional formwork. Fabric formwork is inherently more sustainable due to the minimising of both concrete and shuttering, and more radically, allows the constructor to intervene in the process of casting even as the cast is taking place.
ANTI OBJECT
Kengo Kuma
We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects.
What that form is called- ARCHITECTURE, GARDENS< TECHNOLOGY is not important.
ReThinking Matereriality
The engagement of mind with the material world
Elizabeth DeMarrais, Chris Gosden, Colin Renfrew
The Affordances of Things
Towards a Theory of Material Engagement
Aesthetics, Intelligence and Emotions
Relationality of Mind and Matter
Material Agency
Towards a Non-Anthropocentric Approach
Carl Knappett, Lambros Malafouris
At The Potter’s Wheel : An Argument for Material Agency
We should replace our view of cognition as residing inside the potter’s head, with that of cognition enacted at the potter’s wheel.
The Neglected Networks of Material Agency : Artefacts, Pictures and Texts
Material Agency as Cognitive Scaffolding
The Cognitive Life of Things
Material Engagement and the Extended Mind
Lambros Malafouris, Colin Renfrew
Minds, Things and Materiality
Michael Wheeler
Communities of Things and Objects : A Spatial Perspective
Carl Knappett
Imagining the Cognitive Life of Things
Edwin Hutchins
Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts
Charles Goodwin
Leach Pottery, Studio and Museum
A Potter’s Book
Bernard Leach
Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life
Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)
The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from the message they convey.
MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas
PLENUMS : RETHINKING MATTER, GEOMETRY AND SUBJECTIVITY
Peg Rawes
ARCHITECTURE
IN THE AGE OF DIVIDED REPRESENTATION
The Question of Creativity in the Shadow of Production
Dalibor Vesely
The Nature of Communicative Space
Creativity in the Shadow of Modern Technology
The Rehabilitation of Fragment
Towards a Poetics of Architecture
The Projective Cast
Architecture and its Three Geometries
Robin Evans
Architects do not produce geometry, they consume it
Analysing ARCHITECTURE
Simon Unwin
Geometries of Being
Architecture as Making Frames
Space and Structure
Rutile/Yellow Ochre/Red Iron Oxide/White Raku Slip/Transparent Raw Glaze.
The Moon Tower, Nina Hole. 2000.
The Watchdog, Michel Kuipers. 1990.
Intertwinining Thinking and Making.
Painting in Form of a Bowl.
Quietus, Cinerary Jars.
The Vessel/The Human Body.
Volumes/Voids
Clare Twomey.
Tony Cragg.
Eduardo Chillida.
Paul Soldner.
Julian Stair.
Bryan Newman.
Gordon Baldwin.
Hans Coper.
Lygia Clark.
Richard Hirsch.
Edmund de Waal.
Juhani Pallasmaa.
Steven Holl.
Ceramic vessels and surfaces for a reflective solitude, an architecture of light,silence and innerness.
Spaces between Objects/Things/Making, Giorgio Morandi.
The House is all about the poetry of shelter and siege from the elements and cosmos.
Gaston Bachelard.
Volume And Space.
Alberto Giacometti’s sculpture, ‘Man Pointing,’ is an important statement in Western art for many reasons, not the least of which is what it says about volume and space. The elongated and spindly form gestures vaguely in the vastness of the space surrounding it. The gesture seems more about the space opened up by it and around it than it does about the physical. There is power in space more palpable than substance. This also is the conceptual heart of the Japanese garden.
Scott Meyer.
Paintings of nothing, ceramic, raw material, dry pigment, wax.
With Fire.
Richard Hirsch.
A Life Between Chance And Design.
Scott Meyer.
The Psychoanalysis Of Fire.
Gaston Bachelard.
Gaston Bachelard was intrigued by the process of imagination, the way in which the pensive mind brings to any given reality a multiple perspective. About many substances such as earth, air, water, and fire, he contended, we harbour subconscious convictions which modern science may disprove in fact but cannot seem to eradicate from artistic reverie.
Northrop Frye. 1964.
Against Hylomorphism.
Gilbert Simondon. 1964-89-2005.
Individuation, the generation of things, should be understood as a process of ontogenesis in which form is ever emergent, rather than given in advance.
The Clay can take to the mould and mould the clay.
Simondon, took the essence of matter or the material to lie in form-taking-activity.
Brian Massumi. 2009.
Concepts rendered into material relations.
Making new aesthetic utilities, materialities for thinking about the world.
Making is central to our legacy as a society, materially, economically, ecologically and socially.
A modern version of hylomorphism is enacted by a culture that furnishes the forms and nature the material. In the superimposition of one upon the other, human beings create the material culture with which, to an ever increasing extent, they surround themselves.
Georg Simmel and the Aesthetic Ecology of Things. 2016
Eduardo de la Fuente.
The tool/the thinking hand, has grown to be a part of the hand, using a tool is both a practical and aesthetic action involving the artful manipulation of material by hand.
Juhani Pallasmaa.
Affordances of Things.
Affordances provide strong clues to the operation of things. A psychology of causality is at work as we use everyday things.
Donald Norman. 2002.
Ecological Approaches to Aesthetics.
Aesthetic Patterning/Matters in Everyday Life.
Organism-Person-Environment
Ecological, interested in the organism-environment relationship.
An aesthetic ecology, each thing is a mere transitional point for continuously flowing energies and materials, comprehensible only from what has preceded it, significant only as an element of the entire natural process.
Theory/Culture/Society, Simmel 1994.
Matter and materials are lively and require attention.
Materials continue to thwart us in unpredictable ways.
Jane Bennett.
Aleatory, by chance, lots of the ‘acts’ of nonhuman agents are aleatory exactly because they are not directed by any intension.
In And Out Of Material. 2007.
Tony Cragg.
All our senses scan the space in front of us; the future, in both a literal and metaphorical sense, lies before us.
Tony Cragg, 1998.
Cutting Things Up.
Material In Space.
Scale.
Impulses through Drawing.
Working Things.
A diffractive methodology is a knowledge making process, understood by the physical phenomenon of an energy or force as it flows across an obstacle. Diffraction is the process of ongoing differences, and ass such it can be used as a tool for analysis, as it attunes us to the differences generated by our knowledge.
Karen Barad.
Areas Of Presentation and Participation.
Historic and Social Sites, Art Venues and Exhibitions.
Making Theoretical Objects, Installations and Interventions.
Generation/Generative/Material.
I think mass and energy need to be generated, any effective change has to be generated. It’s to do with a positive directed initiative to change things.
“Generative” for me, in terms of my work, is the fact that within my own work, within any given period the work generates itself and there is a self-generating characteristic. The work I’m making today is only possible because of the previous work of three or four months ago and that was only possible because of the work of nine or twelve months ago.
Even if it’s not a linear thing, things are generating. There is a sort of self-propagating, self-generative energy that is inherent in the material, I think. And even in the term “generative”, from “genus”, is the idea of making a family group of things, whether making an associative group of things or creating a population, a species of things which “relativise” generation.
Tony Cragg.
The material is just part of the vocabulary of meaning.
Cragg wanted to give the materials ‘more meaning, mythology and poetry’ He used the skills available to him at the EKWC residency to create ambiguities and tensions, to suggest past and present, to complicate rather than to describe.
European Ceramic Work Centre, Netherlands. 1990, 1992.
With the return of Cragg to studio based work in the early 1990s, when he was experimenting with clay; ideas around humanness, archaeology, and ritual were being explored within different areas of the fine arts. In addition, studio ceramics were frequently using the vessel as an initiating point to develop new forms and sculptural ideas.
Laibe, with its rich possibilities of interpretation that incorporates the past in the present and the universal aspects of human survival within the ceramic vessel form, lies at the heart of these complex and overlapping areas of practice.
Imogen Racz. 2009.
The Ceramics Reader. 2017.
Andrew Livingstone.
Kevin Petrie.
Ceramics : Materiality and Metaphor.
Why are Ceramics Important?
The Existential Base, Philip Rawson.
Containers of Life: Pottery and Social Relations, Silvia Forni.
Ceramics and Metaphor.
Analogy and Metaphor in Ceramic Art, Philip Rawson.
Sculptural Vessels, Tony Cragg’s Laibe and the Metaphors of Clay, Imogen Racz.
Ceramics in Contexts.
Historical Precedents.
Studio Ceramics.
Sculptural Ceramics.
Ceramics and Installation.
Theoretical Perspectives.
Conceptual and Post Studio Practice.
Contemporary Clay, Clare Twomey.
Extending Vocabularies: Distorting the Ceramic Familiar
Clay and the Performative ‘Other’, Andrew Livingstone.
Gender, Sexuality and Ceramics.
Identity and Ceramics.
Image.
Figuration and the Body.
Ceramics in Education.
Ceramics, Industry and New Technologies.
Museum, Site and Display.
Re-defining Ceramics through Exhibitionary Practice (1970-2009), Laura Breen.
Ceramic Houses and Earth Architecture.
How to build your own.
Beginning.
Model Making.
We will begin practising by constructing a room and covering it with a simple dome or a vault.
Once a person has constructed a model, within hours, he or she is encouraged to learn and understand more. The knowledge thus gained will trigger quests in building with earth. It is possible to learn the basics of thousands of years of earth architecture within a day if it is taught in the simplest terms, and if all our senses are involved in the learning process.
Nader Khalili.
Re-imagining learning, workshop session, conducted and initiated a walk across a landscape with clay being actively manipulated by a number of participants as they engaged with the material, their bodies and the landscape.
Beach firing at St. Ninian’s Scotland, experimental kiln and site built reduction pits excavated from the beach. Pots fired and reduced with found materials, then washed in the Irish Sea.
Hans Coper, essay on professional practice, including his architectural ceramics.
Crafts Study Centre, Farnham.
Sectional Works.
Slab Constructions.
Plasterwork, Pressmoulding.
Working with materials/substances/drawing and traces of making.
Reduction materials, woodland branches through shredder.
Clay body additives, molochites, mica, vermiculite. other material,
Clay Tools : Block Strips and Combs.
Sound Vessels.
Capacitors/Insulators.
Passive, encapsulated layers.
Architectural Slab Works.
Ceramic and gesso/whitewashed/waxed/painted/bound/surfaces and structures.
The Chapel Of St.Ignatius.
House, Black Swan Theory.
Steven Holl.
Nail Collector’s House, New York.
White plaster walls, hickory floors, and cartridge brass siding nailed in pattern over a wood frame, create a tactile weathering for this structure, a poetic reinterpretation of the industrial history of the site and the pre-Civil War architecture of Essex.
The jewel-like Chapel of St. Ignatius contains the essence of Holl’s vision, his interest in the phenomenology of space, his passionate investigations of form and material, and his use of reflected light and colour.
The angst of a concept before spatial definition, interior and exterior are simultaneously explored.
The largest ’tilt-up’ slab weighs 80,000 pounds and is filled with reinforcing steel. Its greatest stress is during the lift.
Working from the specific towards the universal.
The Built and The Unbuilt.
A theory of architecture that is mutable and unpredictable.
The body as a theoretical object doing/architecture (architecting its situatedness, Oren Lieberman)
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