About A Discursive Practice – A Discursive Practice.
Russell Moreton, Spatial Practitioner of vocational creative processes/strategies and social dialogues.
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ArtSlant – Plan View : Cathedral with occupants..
Full Artwork DetailsArtist: Russell Moreton Title: Plan View : Cathedral with occupants. Date: 2011 Medium: Cyanotype print from original site drawing/event ( Space for Peace) mapping. Original Dimensions: 42×28 cm Copyright: Yes Primary color: Tags: Cyanotype, documentation, Space for Peace, Winchester Cathedral, architects plan, blue-print, contact print, sun print, hybrid processes, alternative photographic processes, abstract, photography, painting, drawing -
“We live our lives sunk in vast forgetting.” Milan Kundera, IGNORANCE., a photo by Russell Moreton on Flickr.Human mapping of social groups from the occupancy of the Cathedral, Space for Peace 2011.
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The Poetics of Space : The house, from cellar to garret. The significance of the hut.
“He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar.”
Gaston Bachelard.
UK based,visual artist working in experimental photography,drawing,ceramics,glass and spatial practices.
Spatial Practices MA Canterbury
Visual Fine Art BA Winchester
Sculpture and Contemporary Craft NCFE
Ceramics HSND Epsom
via Russell Moreton.
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Leylines: St Bartholomew’s Church and Hyde Gate/Chamber. Winchester SO23 7DF. www.hyde900.org
“Leylines” has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has also produced insightful local knowledge from those dwelling nearby.
Beams and Netting: Negotiations in the chamber.
Clay, Hessian, drawings and transparencies from architectural openings, drawing frame, antique glass, lead and nylon lines.
This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber, and these drawings also reference the supportive ironwork (Ferramenta) which has been playfully re-registered as a graphic leyline . A drawing frame similar to that used in archaeology for drawing has been adapted to illustrate the relative positions of the leyline as registered by the ordinate survey, both terminuses being labelled on the frames periphery.
The Poetics of Space : The house, from cellar to garret. The significance of the hut.
“He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar.”
Gaston Bachelard.
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Leylines: St Bartholomew’s Church and Hyde Gate/Chamber. Winchester SO23 7DF. http://www.hyde900.org
“Leylines” has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has also produced insightful local knowledge from those dwelling nearby.
Beams and Netting: Negotiations in the chamber.
Clay, Hessian, drawings and transparencies from architectural openings, drawing frame, antique glass, lead and nylon lines.
This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber, and these drawings also reference the supportive ironwork (Ferramenta) which has been playfully re-registered as a graphic leyline . A drawing frame similar to that used in archaeology for drawing has been adapted to illustrate the relative positions of the leyline as registered by the ordnance survey grid, both terminuses being labelled on the frames periphery.
The Poetics of Space : The house, from cellar to garret. The significance of the hut.
“He will revive the primitivity and the specificity of the fears. In our civilization, which has the same light everywhere, and puts electricity in its cellars, we no longer go to the cellar carrying a candle. But the unconscious cannot be civilized. It takes a candle when it goes to the cellar.”
Gaston Bachelard.
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Russell Moreton : Matter(s) in Correspondence 