Russell Moreton : Matter(s) in Correspondence

 Outpost 130423

The Changing Culture of Display.

How things work in museums.

Body/Mind/Movement/Material/Craft

Dynamics of Display inside The White Cube.

Liminality of glass display cabinets, spatialities of object narratives, forms and materials.

Artist as ‘interventionist’ in specific settings, such as collections and places of distinctive architecture.

The more ‘aesthetic’ the installations, the fewer the objects and the emptier the surrounding walls, the more sacralized the museum space.

A new generation of complex narratives and juxtapositions in museum displays has evolved as a challenge to the minimal installation.

Civilizing Rituals.

Inside Public Art Museums.

Carol Duncan. 1995.

The formal qualities of the ‘objects’ and their haptic qualities directly speak to the visitor.

Julian Stair.

Giving ‘Pots’ universal aims and characteristics/utilities.

Ceramics.

Philip Rawson.

In this land we placed baptismal fonts

And an infinite number were baptized

Americo.

Patti Smith.

Refraction phenomena produce a particular magic in architecture that is adjacent to or incorporates water.

Parallax.

Steven Holl.

Site specific artworks/research responding to themes initiated by Water.

To explore ‘water’ as both a spiritual and corporeal source and vessel for artworks.

Gathering research and responding to the historical site of St Peter Hungate.

To further develop exploratory working ideas through site specific research using drawing, cyanotype printing, leaded glass, clay.

Hungate, Norwich. 2023

A child ‘concretizes’ its existential space.

Existence-Space and Architecture.

Christian Norberg-Schulz.

Architectural Body.

Organism/Person/Environment

Gins and Arakawa.

‘Lever’ 1989-92

Antony Gormley.

Indios Verdes No 4 1980

Manuel Neri.

Figure 2. Upright human body, space and time. Space projected from the body is biased toward the front and right. The future is ahead and ‘up.’ The past is behind and ‘below.’

These objects are moving through time and space.

The temporal enactment/kinaesthetic relationship with how things operate/work through the body

Key Words: Profane, Sacred, Past, Left, Right, Front, Back, Horizon, Future. Upright Human Body, Space, Time,

Experiential Values.

Responding to Quietus and the liminality that is created.

The passage from life to death and the stillness and presence of the objects as generative of a particular kind of haptic and visual experience.

Making art that is the pivot for human behaviour.

Pots operate on so many levels.

When we appreciate/apprehend objects, touch them, hold them in our hand, somehow its a material reinforcement of our physical selves as we negotiate our way through life, both physically and intellectually.

Pots can become invisible, so familiar that they disappear.

My interest in pots is in making an art that one engages with, an idea of art operating in a social context, in which the experience of the everyday is important. I have come to realise is that I want to make art that shapes human actions, and is also like an active narrative through the body.

The Presence of Unglazed Clay.

Seeing Raw Material.

Working Vessels.

Quietus, 12 years in the making.

A ‘Well Conceived Idea’ an exhibition about pots and death.

In the mechanics of appreciation there is both the optic and the haptic.

I wanted to see if I could keep hold of that idea of a single stand-alone object that existed on its own, in its own space, form and surface colour, but on a larger architectural scale. So it was not just about holding a body, but about holding architectural space including outside areas.

I didn’t even have an idea of what I was going to make. The making process is absolutely central to the evolution of the idea. If you sit down to work, in six months you can be in a totally different place, so that decisions are made in an incremental way.

Critical thinking/theory is really empowering to me, equipping myself with knowledge has enabled me to chart my way through the present.

Archaeology of an Exhibition.

Quietus-Reviewed. 2013

Julian Stair.

It would probably not be wrong to define the ex­treme phase of capitalist development in which we live as a massive accumulation and proliferation of apparatuses.

To recapitulate, we have then two great classes: liv­ing beings (or substances) and apparatuses. And, be­ tween these two, as a third class, subjects. I call a sub­ject that which results from the relation and, so to speak, from the relentless fight between living beings and apparatuses. Naturally, the substances and the subjects, as in ancient metaphysics, seem to over­ lap, but not completely. In this sense, for example, the same individual, the same substance, can be the place of multiple processes of subjectification.­

I shall call an apparatus literally anything that has in some way the capacity to capture, orient, determine, intercept, model, control, or secure the gestures, behaviors, opinions, or discourses of liv­ing beings.

What Is an Apparatus? Giorgio Agamben 2009.

Alternative Photography : Photography and Architectural Space.

Photogram, a numinous construction, spaces amongst and within other spaces

Catching The Light.

The Entwined History of Light And Mind. Arthur Zajonc

PROXIMITY OF SPACE

INTIMACIES IN SOCIAL SPACES

SCRIPTORIUM

THREE STAGE METHODOLOGY (Kikutake) Mitsuo Taketani

KA ‘ESSENCE’

KATA ‘SUBSTANCE’

KATACHI ‘PHENOMENON’

Characteristics of an architect

CHI ‘BLOOD’

TACHI ‘TEMPERAMENT’

KATACHI ‘EMBODIMENT’

The Phenomenology of Reading. GLAS, Derrida Literature and Language.

The Stride of The Mind

Reading Rooms. Figuring Space. Text/Fumiture/Dwelling Reading with Paths

The Production/use of Space into Places to engender Societies.

A site specific induced inquiry into dwelling and building through/by way of an attentive awareness (anthropological) to people and place.

‘What I am post interested in now is inverting the structure of a culture that is centred around the city.’

‘The richness and strength of that (their) culture cannot be understood until one has worked with the people who live their- until one has eaten their food, drunk their sake, talked together with the craftsmen and made things with them.’

Kengo Kuma, Complete Works, (preface) 2012

Relativity/Relationality through Walking and Thinking. Subjectivity. Space – Politics – Affect

Waverley Abbey. Cistercian Monastery

The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre- spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.

The Aesthetics of Decay, An Uncanny Place. Dylan Trigg

Immaterial Architecture : The Glass Observatory

Photograph (132) Cyanotype Alternative Photography

Documents from research archive

Tracing Light: Petworth House, West Sussex 2000 David Alan Mellor, Garry Fabian Miller.

Light And The Genius Loci

For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in ‘a certain history of the relationships; earth/sun in the system of perception’.

Mutations Of Light

Petworth Window, 6 July 1999 Light’s Windows And Rooms

Passing towards the Invisible.

The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent theme in William Henry Fox Talbot’s early speculations.

CATCHING THE LIGHT

The entangled history of light and mind Arthur Zajonc

BROUGHT TO LIGHT

PHOTOGRAPHY AND THE INVISIBLE 1840-1900 Sight Unseen

Picturing The Universe Corey Keller

Invisible objects, penciled by nature’s own hand.

In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the ‘world itself.

The Social Photographic Eye Jennifer Tucker

Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.

An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand.

Invisible Worlds Visible Media

Tom Gunning

William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6×22.5 cm.

Techniques Of The Observer

On Vision And Modernity In The Nineteenth Century Jonathan Crary

The Camera Obscura and its Subject

Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject­ effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one’s relation to the manifold contents of the now ‘exterior’ world.

UNDER THE SUN

By The Light Of The Fertile Observer

Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.

An Epiphany Of Light

David Alan Mellor

Christopher Bucklow, Guests Jeanette Winterson, Gut Symmetries

Matter is provisional and that includes me. If the physics is correct then we are neither alive or dead as we commonly understand it, but in different states of potentiality.

From The Adamantine Land

Variations on the art of Christopher Bucklow David Alan Mellor

Etienne-Jules Marey

A Passion For The Trace Francois Dagognet

Painting, Photography, Film Laszlo Moholy-Nagy

A Bauhaus Book

L. MOHOLY-NAGY:

DYNAMIC OF THE METROPOLIS SKETCH FOR A FILM

ALSO TYPOPHOTO OSKAR SCHLEMMER

MAN

Interaction of Color Josef Albers

The Elements of Color Johannes Itten

Pedagogical Sketchbook Paul Klee

The New Landscape in art and science Gyorgy Kepes

The Colour of Time Garry Fabian Miller

The Majesty of Darkness Adam Nicolson

The Unmade

The Pregnant

The Half Erotically Unmade

Camera Obscura of Ideology Sarah Kofman

An optical instrument, which used in drawing, allows one to see at the same time the objects being drawn and the paper.

I Am Not This Body

Barbara Ess

Working Collages

Ann Wilde, Ulrike Meyer-Stump

A German Tradition of Photographic Typology

Collages made from contact prints from Blossfeldt’s negatives, showing the isolation of particular motifs. The working collages were an archive, not for the negatives but for motifs.

The viewer is less interested in the subjects of the pictures, than in the effect created by the formal system subsuming them.

His photographic archive of plant forms is not a finished work, but material awaiting processing.

Enchantments and Crossings : Somatic Effects

Spatial Methodologies. Worlds and Thresholds.

The Fanciful and The Scientific.

The Playful and The Reverent.

The Material and The Metaphysical.

Tensions in built spaces.

Between Evanescence and Substance.

Between Illusion and Specificity.

Between Slickness and Tactility.

Today there is not even a single instant in which the life of individuals is not modeled, contaminated, or controlled by some apparatus, In what way, then, can we confront this situation, what strategy must we follow in our everyday hand-to-hand struggle with ap­paratuses?

What Is an Apparatus? Giorgio Agamben 2009.

Making Places where times and tastes, human fabrications and accidents of nature, all collide; in these situations under the shelter of a forming/becoming architecture these ‘spatial texts’ or ‘visual conversations’ of one sort or another are suggested and are manifested and explored through a praxis of inquiry and making.

Facility and retreat for cross-disciplinary inquiry (Humanities and the Social Sciences).

Repository and archive of artefacts, texts and objects.

Exhibition and making spaces, workshops and residential living spaces. Walled garden complex containing a reading pavilion and library.

Philosophy of Solitude, thresholds/spaces of serenity, a poetics of dwelling.

Relationships between Art, Photography, Craft and Building. Expanded through Exhibition, Performance, Teaching and Making.

Realized as a dialogue/delivery (Built Work) into Architectural Terms between Sites of Collection and Sites of Construction.

Art as Spatial Practice.

Catalyst Events/Situations to engender the experience of learning.

West Dean, Singleton. Residential courses in the arts, both the grounds and the house are fully utilised in the social activity of learning.

Kilquhanity,Scotland. Free School in country setting, used as a site for exploratory fine art practices(converted a pottery into a camera obscura and drew a garden from the movements of the sun across a specific terrain).

Brockwood Park School, Bramdean. Re-imagining learning, conducted a walk across a landscape with clay, and hidden curriculum in the library with objects and texts centred around philosophy and architecture.

Space folds : Containing “Spatialities around historicality and sociality”

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

“All that is solid melts into air”

Karl Marx, Friedrich Engels,

(Poetic observation concerning the constant revolutionizing of social conditions)

 Outpost 060423

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

Searching For Redundancy/Making Patterns Making.

Time/Duration/Perception.

What Is An Apparatus?

Giorgio Agamben

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.

Tim Ingold.

Immaterial Architecture/Creation/Contemplation/Artist/Architect.

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