A humble, passive, somewhat absurd object, yet potent, mysterious, sensuous : Hans Coper

Hans Coper, Theory and Object Analysis, Crafts Study Centre, Farnham.

MA Interior Design

A vessel (as membrane/threshold that can hold social rituals/traditions and memories) seems to occupy space but simultaneously be occupied by space.

Theories of relativity and uncertainty have shown that all matter, even the airy oxygenated void inside a vessel is energy, and that it is composed of the same building blocks generated from exploded stars. (Daintry2007:10)

Water, although fluid it is supremely germinative and represents the condition of all potentials.(Eliade Mircea l983)

Permeable in flux, water and water’s symbolism became the pagan’s way of intuitively knowing the world. Matter was plastic, fluid and changeable. The body was plastic with parameters defined not only by individual consciousness, but also in relation to other realms of the physical world.

The pagan participated in a vast mythology where his identity changed according to narrative fantasies that combined and recombined human and animal activity endlessly, weaving together memory, reason and sensation. In this permeable world there is no sharp division between things or between life and death. It is a world of energetic flow where bodies can indifferently become attached or unattached from myriad objects and forms. (Daintry2007:9)

Flexible Ways of Seeing/Re-Making the World.

“A large part of the reason for making is to see things that I have never seen before, to build something which I cannot fully understand or explain.”

Artist Statement, Ken Eastman.

Drawings in the form of tracings were gathered from the flat planes of the display cabinet; these were further superimposed in an attempt to map the surface and forms of the Hans Coper pots and to explore their volumes and interior spaces. These new sight lines subjectively link surface details with profiles into the possibility of new spatial forms. These plans and mappings became the starting point for a series of slab and thrown assemblages. Thrown and slab worked clay forms in T Material, preliminary drawings done in-situ some with annotations. (Russell Moreton. 2014)

Rotterdam Exhibition with Lucie Rie. 1967 Hans Coper.

His arrangement was highly original and innovative, he showed his families of vases in groups, emphasising their subtle differences in form and surface treatment. The space between the pieces was just as important as the objects themselves. The architectonic character of Coper’s pots become visible through their dry, stone like skin and the sophisticated way in which Jane Gate photographs the work.

“Potters of reconciliation, they sought a marriage of function and beauty.” Douglas Hill SF author/intro to exhibition.

Craft Study Centre Publication 2014

Object Analysis

Name of object:   Vase, flattened oval form on a cylindrical stem, pinkish cream to grey glaze over                                       manganese on exterior, manganese over interior and recessed foot. It is decorated                                    with incised lines on back and around the stem with concentric rings incised on the                                   foot

Accession number:                P.74.28

Maker:                                   Hans Coper

Construction techniques:

Materials:                               stoneware

Dimensions:                           22.2 x 18.8 centimetres

Date made:                             1960s

Provenance:                           Made in Hammersmith, London. UK

Given to Muriel Rose by Hans Coper in 1966

This thistle-shaped vase is constructed from five individually thrown pieces. The joints making up the pot have been selectively accentuated with the residues of the manganese engobe. Incised geometric marks remain from the initial turning process of the component parts, prior to the construction of the pot. (Russell Moreton. 2014)

Name of object:     Vase, unglazed rim. manganese interior, decorated with vertical scoring on the                                         exterior

Accession number:                   P.74.103

Maker:                                       Hans Coper

Materials:                                  stoneware

Dimensions:                              12.7 centimetres

Date made:                                1950s

Provenance:                               London. UK

Single thrown form with the remains of the sgraffito technique after the ceramic has been heavily abraded after firing. The vertical lines of the sgraffito technique and the form itself are similar to Lucie Rie’s flower vases, see Lucie Rie by Tony Berks page 112.

This single thrown form perhaps best illustrates the creative union of both Coper’s and Rie’s practices, the form almost a kind of beaker might itself been inspired by the “dark pots” Lucie Rie found whilst visiting Avebury Museum. (Russell Moreton. 2014)

Name of object:     Squeezed ovoid-shape vase with flower holder inside, manganese interior

Accession number:                    P.74.30

Maker:                                   Hans Coper

Materials:                              stoneware

Dimensions:                          22 x 22 centimetres

Date made:                            1970s

Provenance:                          London. UK

Wheel thrown forms, comprising of bowl, open cylinder and an interior ring acting as a flower holder. The bowl form has been turned before being jointed with the upper section. The piece was then indented at four points to form an ovoid form. Pronounced incised horizontal marks remain from the joining, which has been further transposed by the action of becoming ovoid. Very subtle and restrained use of the manganese engobe followed by Coper’s characteristic post firing technique of abrading the surface of the ceramic. (Russell Moreton. 2014)

Hans Coper : Working Notes CSC/10 March 2014.

Notes re/statements

1.   Specific to the form in question.

2.   Context in relation other similar forms.

3.   Key Words: Impregnated, Incised, Eroded, Reduction, Surface, Soil, Abraded Surfaces, Machining, Grinding, Assemblage, Components, Parts, Groups, “Aryballos,Spade, Thistle, Diabolo, Cycladic, Spherical,” Sculptural, Pottery, Architectonic, Space between Forms, Spatial, Sensuality, Form and Fold, Bodily Spaces, Light and Dark, Clay, Water, Fire, Agency, Difference,

Extracts from catalogue “The Essential Potness, Hans Coper and Lucie Rie 2014”

“I become part of the process, I am learning to operate a sensitive instrument which

may be resonant to my experience of existence now.”

“My concern is with extracting essence rather than with the experiment and exploration. The wheel imposes its economy, dictates limits, and provides momentum and continuity. Concentrating on continuous variations of simple themes I become part of the process.”

Artist Statement, Victoria and Albert Museum/Collingwood, Coper Exhibition 1969. Small Beige Spade 1966.

The body comprises a thrown circular form, from which the bottom has been flattened into an oval and the lower section has been pressed together.

Throwing rings are visible on the inside.

Areas of the white engobe have loosened from the underlying layer during firing and formed blisters.

Cycladic Vase 1973.

Blisters in the slip have been sanded down to reveal a rust coloured underlying layer. Medium Sized Spade 1973.

There is a clear delineation between the light upper section and the rougher and darker lower section.

Small Thistle Shaped Vase 1973.

There is a large incised circle on one side of the disc and a smaller circle on the other. Hans Coper’s characteristic use of light engobe and dark manganese oxide has produced a hazy texture.

Black Aryballos 1966.

This ceramic form has its origins with the Oil Flask used by athletes in Greece and Asia Minor.

Tall elongated diabolo forms.

After being thrown the cup has been formed into an oval and then indented at four points.

Text Fragments. Momentum Wheel.

It is difficult to determine in which order the parts were assembled.

The underlying surface is showing through the grooves that are linking the body and the base.

The manganese engobe is demarcating dark and light zones through an undulating incised line.

“Rings” caused by the placement of a prop in the kiln. Brown-Beige Colorations.

Sensations caught within the form.

Soil like deposits/remains.

Reductions of the fired surface.

Abraded Surfaces

Incised Line.

Droplet.

Blisters, pricked open and sanded after firing. This process has produced an irregular, patch surface.

Parallel lines have been incised with a pointed object on the exterior of the base. Thistle Shaped Vase 1966.

The dark brown patches (around the jointing of the pot) and flecks appear randomly distributed but have been purposefully placed to accentuate the structure of the vase. This flat vase with the contour of a stylised thistle flower is made up of five individually thrown pieces. The tall cylindrical foot supports a vertical disc, comprising of two individually thrown flat plates. It is as though the disc has sunk approximately ten centimeters into the foot.

Spherical Vase with Tall Broad Oval Neck 1966.

The transition from sphere to neck is accentuated with darker colourations.

Hans Coper

Hans Coper’s iconic assembled ceramics frame the later part of the twentieth century with an ambivalence of both alienation and reconciliation. His pots reveal differences that have resisted the homogenizing effects of the culture of the time. They embody and are a physical testament to what the potter himself has reflected on his life, “endure your own destiny”1 2 within the space and time of the human condition.

Bom in 1920 into a prosperous middle dass background, his childhood years were spent in the small town of Reichenbach in Germany. In 1935 his father Julius, is singled out like many other Jewish businessmen for harassment and ridicule

under National Socialist Party. This would result in the Coper family moving frequently to escape the attention of the Nazis. Tragically in 1936 Julius takes his own life in an attempt to safeguard the future of his family. The remaining family. Erna Coper and her two sons return to Dresden. In 1939 Hans at the age of 18 leaves Germany for England, the following year he is arrested in London and interned as an enemy alien. He spends the next three years first in Canada then returns to England by volunteering to enroll in the Pioneer Corps. In 1946 a meeting with William Ohly who ran an art gallery near to Berkeley Square, brought about an opportunity for a job in a small workshop run by Lucie Rie, a refugee potter from Vienna. Hans Coper now began earnestly through his engagement with ceramics to reveal a continental modernity “whose work seemed uncomfortably abrasive to the traditionalists.”*

Hans Coper and Lucie Rie worked together at Albion Mews for 13 years forming a friendship and a working relationship that was mutually reciprocated through practical concerns, innovation and experimentation. There is a creative synergy in place through their mutual sharing of process and experimentation within the practicalities of the studio space. A documented instance of this reciprocal inventiveness is in the appropriation of the technique of “Sgraffito” which Lucie Rie employs after being inspired by some Bronze Age pottery at Avebury Museum bearing incised patterns, which are displayed with some bird bones, which may have been used as tools to incise the pottery. These “dark bowls of Avebury”3  are transposed through the use of manganese engobe and a steel needle into Lucie Rie’s ceramics, Hans Coper although not present appropriates the bird bone for the engineered steel of a pointed needle file and uses the action of an abrasive hand tool to remove layers of the manganese engobe. In this way Coper is enacting onto the surfaces of his ceramics, the very agencies that Modernism was acting out in the realms of architectural space and surface treatment of materials. In 1959 a move to Digwell Arts Trust would bring to a close his working relationship with Lucie Rie. Coper now became involved with a number of architecturally based projects through the Digswell Group of architects and building professionals. Coper’s engagement with the Digwell Group was not without problems and creative frustrations, but seen in retrospect it became an experimental period where Coper was strengthening his ability to bring his pottery into a spatial communion with the modernist architectural sensibilities of the time. However it was a wartime friend Howard Mason who introduced Coper’s work to Basil Spence, from this introduction Hans Coper was commissioned to design the candlesticks for the new modernist cathedral at Coventry. The Six Coventry Candlesticks completed in 1962 explicitly reveal a sensitive and progressive spatial awareness to the architectonics of built spaces. The candlesticks delicately tapered and waisted are made in sections and assembled on site onto rods set into the architectural interior. These assembled thrown and fired towering forms seem to be more about a presence than their actual physicality. They appear to paradoxically transcend the monumentality of their setting through their very immateriality, their slight of form being perfectly balanced to accommodate a single candle and its temporal flame.

As a maker of pots he was in constant touch with his working process, an analogue process, a creative membrane that surrounded the agency of making and thinking. He was able to pursue his vocation “My concern is with extracting essence rather than with the experiment and exploration”4 His resultant works reflect what might be termed a “machining in” of a creative durability that is both ancient and modern that contains both tensions and fragility, and that above all seems to exist in a state of timelessness.

His assembled “pots” are constructed from thrown components, “throwing” as o process that he remarks on “I become part of the process. I am learning to operate a sensitive instrument, which may be resonant to my experience of existence now”. It is through the wheel, the body and the interplay between clay and air that the inner space that defines the form is created. Adam Gopnik writing about the art of Edmund de Waal describes what I might be termed a spatial sensibility “the pot-ancient as it is. is the first instance of pure innerness, of something made from the inside out.”5 Hans Coper further adds sensuality to this “innerness” when he encloses it in a skin that appears archaic through a deeply physical surface treatment of engobes, incised grooves and scratching of the raw pot; then when finally once fired the dry vitreous surface is further machined and abraded to give a graphite-like sheen.

Hans Coper’s pots speak in silence of this interior “architectonic” space that is itself reverberated through an almost archaic modernity. He seems to be able to tune the interior, to load its mass, its void.

There is a strong sense of the vessel, the concrete with the emptiness, even an analogy to corporality set in motion by his treatment of the surface and interiors of his pots. The pots themselves belong to ever extended families, to new familiarities created by the subtle interlays between the negative spaces created through the spatial awareness that has been crafted into their very making. The pots through proximity with each other are in a spatial communion, they act to define particular spaces by defining boundaries and creating thresholds between exterior surfaces and space. These pots are themselves are ‘encounters’ they ask us to be attentive to the responsive sensory inner space set up in residence by the permeable world of the ceramic vessel.

1 Birks. Tony. 1983. Hons Coper. London. William Collins Publishers. p75.

2 Birks, Tony. 1983. Hans Coper. London. William Collins Publishers p22.

3 Birks. Tony. 2009. Lucie Rie. Catrine. Stenlake Publishing ltd: p44.

4 The Essential Potness. Hans Coper and Lucie Rie 2014. Collingwood and Coper Exhibition 1969. Victoria and Albert Museum.

5 Gopnic.Adam 2013. The Great Glass Case of Beautiful Things : About the Art of Edmund de Waal. New York; Gagosian Gallery: p6-7

 

Hans Coper, Theory and Object Analysis, Crafts Study Centre, Farnham. MA Interior Design A vessel (as membrane/threshold that can hold socia…

Source: A humble, passive, somewhat absurd object, yet potent, mysterious, sensuous : Hans Coper

Vessels of Retreat/Dark Pots : The Body and its Entanglements with Things/St Ninian’s Cave, Scotland.

Vessels of Retreat : Dark Pots around the Innerness of Ceramics

Curriculum making as the enactment of dwelling in places

Thrown ceramic vessels fired on the remote beach at St Ninian’s Cave, Scotland.

 

These vessels were originally thrown on a momentum wheel situated in the small niche like space of a scriptorium. The interiority of the bowls seek to reflect the quietness and openness of a ‘retreat’ through material and the muted light of its surroundings. A post firing process was employed of removing the bowls and their still molten interior into a chamber excavated on the beach to become reduced by local organic material and to cool. Once cooled the bowls were washed in the Irish Sea to reveal their glazed interiors for the first time.

Heidegger’s topology, Being Place, World.

Jeff Malpas on the concept of place and how it relates to core philosophical issues found in Heidegger’s engagement with place, his philosophical starting point: of finding ourselves already ’’there” situated in the world, in “place.”

Clarifying the relation between space and place which contains inherent difficulties in as much as they are necessarily connected (inasmuch as place carries a spatial element within it even while space is also a certain abstraction from out of place), but there has been a pervasive tendency for place to be understood in terms of purely spatial. Jeff Malpas

SPACE= ROOM TO MOVE

or as a verb To Make EMPTY, EVACUATE, EMPTY OUT. The Production of Space/Human Agency/Place

PLACE=VTLLAGE, TOWN, or OTHER SETTLED LOCALITY.

PLACE=HOME

PLACE=A VERY SPECIFIC FORM OF BOUNDEDNESS/GATHERING As a gathering of elements that are themselves mutually defined only through the way in which they are gathered together within the place they also constitute.

DESIGN=TO PUT IN PLACE

Place referred to merely in the sense of position or location – usually the location or position of some already identified and determined entity.

Slippages, Anomalies and liminal spaces. Our relationships with space and place.

THE MEMORY OF PLACE

A PHENOMENOLOGY OF THE UNCANNY

Dylan Trigg’s The Memory of Place charts the memorial landscape into the body and its experience of the world. Trigg analyses monuments in the representation of public memory, “transitional” concepts such as airports and highway rest stops; and the “ruins” of both memory and place in sites such as Auschwitz. The Memory of Place argues that the eerie disquiet of the uncanny is at the core of the remembering body, and thus of ourselves.

STOA, a complex topology.

The Stoics took their name from the place where they met. In the stoa they talked as they walked along the long shaded alcoves. The stoa offered shelter from the sun and rain without becoming an enclosed room. It was an in-between and transitional space, neither outside nor inside. Conversations could commence through casual interruptions in a site of gossip, rumour and information.

We imagine the stoa as a spatial metaphor for the emergence of critical consciousness within the transnational public sphere. It is a space for criticality without the formal requirement of political deliberation and for sociality without the duty of domestication.

The stoa is the pivot point at which private and public spheres interact and from which the cosmopolitan sense of being and belonging from the vantage point of the stoa, then the telematic linking of two screens in the public squares of Australia and Korea can be viewed in a new light.

The linking of these screens creates a new transnational public space, a space for the creation of a new discourse on the topology of the cosmopolitan imagination in contemporary art practice.

Thinking the place of art within this context is more than jumping from either the local to the global, the private/oikos to the public/bouletrion, or even the singular to the universal. It is more like the liminal zone of the stoa.

Public Screens and Participatory Public Space Nikos Papastergiadis, Scott McQuire

Flesh and Stone,

The Body and the City in Western Civilization. Richard Sennett.1994

Basically a long shed, the stoa contained both cold and hot, sheltered and exposed dimensions; the back side of the shoa was walled in, the front side consisted of of a colonnade which gave access onto the open space of the agora. Though free-standing the stoas were not conceived as independent structures, but rather as edging for the open space of the agora.

Sennett: Flesh and Stone, page 50. Bringing Things to Life

Creative Entanglements in a World of Materials Tim Ingold

EWO= The Environment Without Objects

THINKING AT WAVERLEY, as a site of multiplicity and memory. Walking is Thinking, Richard Long

Heidegger-To participate with the thing in its thinging

Our most fundamental architectural experiences, as Juhani Pallasmaa explains, are verbal rather than nominal in form. They consist not of encounters with objects – the facade, door-frame, window and fireplace – but of acts of approaching and entering, looking in or out, and soaking up the warmth of the hearth (Pallasmaa 1996: 45).

As inhabitants, we experience the house not so much as an object but as a thing. (Ingold 2008: 8)

Curriculum making as the enactment of dwelling in places

Ceramic Gate/Waverley Stoa : Objects in a landscape/studio space of Gordon Baldwin

One Place After Another: Notes on Site Specificity, Miwon Kwon. 1997

The Reading Room (a library of subjective taxonomies on the alchemy of building)

The Listening Room (a soundscape interior in time with its environment)

The Sheltering Corridor (a modernist Stoa as a place for encounters/dialogues)

The Pot Room (a installation of thrown objects creating the interior partitions)

The Empty Studio (a adaptation of architecture through the ritual of creativity)

Kengo Kuma, Anti-Object, mindfully and experientially explores voids, vernacular materials and agency of spaces.

Utsu means nothing or emptiness, the void.

Wa means the border between nothing and something.

I want to make what we don’t see, and that means I must make what we see. My work is a container for what we don’t see.

Taizo Kuroda, Potter.

Natural Connections, Exhibition Proposal.

Humanities about the processes and experiences that map the evolving human condition.

Humanities and the Arts.

The Body and its Entanglements with Things.

The Ceramic House,

A space of life.

Exhibition

Architecture of the ceramic vessel

Ideologies of Innerness

The Archive

Flesh can house no memory of bone; only bone speaks memory of flesh. Voids, spaces between the bones, residues of the flesh

Flesh and Stone, Richard Sennett

Understanding the beliefs and practices that enable Relational Egalitarianism

Kuper, Tim Ingold

Exhibitions, Pavilions, Huts and Observatories.

The Parallel of Life and Art, Alison and Peter Smithson The Physical Self, Peter Greenaway

Thames Dig, Mark Dion

The Barcelona Pavilion, Mies de Rohm

The Solar Pavilion, Alison and Peter Smithson

Field Photography: Light on Natural Phenomena and Site.

Pinhole photography and photograms on light sensitive paper with annotations from both research material and working practices. Visual material and artefacts acquired from archaeological sites whilst participating in recording the archaeological process at St Mary Magdalene Leper Hospital, Mom Hill, Winchester. The work explores subjectivities in the recording of natural phenomena, the spirit of place and its scientific inquiry and production of fabricated forms in the realm of a contemporary art context.

 

Vessels of Retreat : Dark Pots around the Innerness of Ceramics  Curriculum making as the enactment of dwelling in places Thrown ceramic ves…

Source: Vessels of Retreat/Dark Pots : The Body and its Entanglements with Things/St Ninian’s Cave, Scotland.

Spatial Agents/Local Materials : Kilquhanity Free School/The Yard and Link Gallery, Winchester.

Camera Obscura : Kilquhanity 2011

Dark Session’s : Shadowy speculations in the pottery. Kilquhanity 2011

Silver gelatin prints from a “room obscura” set up at Kilquhanity, Scotland 2011 as part of “Back to Free school, Drawing out the Archive.”

Thoughts relating to Spatial Practice as a site of operation in which to locate my practice. Use of spatial correspondences (place, identity gesture and resonances) as a means of mapping the diversity of human presence and passage into architectural space.

Possibilities of using methodologies and aptitudes gained from visual fine art and experience with glass and ceramics as architectural interfaces to instigate situations and promote a sense of an interactive spatiality through the role of the viewer becoming an active interlocutor into the dynamics of the site.

Artist Statement, re Galloway/Kilquhanity excursion Easter 2010.

My work utilises simple scientific phenomena and by appropriated registering apparatuses ( chambers to act to become placed in relations to place, this placement is in effect an act of intervention and place becomes site, a proposal is delivered through this action. This proposal is in the form of a relational device/threshold that attempts to fold into the place, a site of creative intervention around a paradoxical inquiry, into objectivity and abstractions, between embodied knowledge’s and findings. These

“working Sites” attempt to engage the interlocutor on their own theoretical and subjective relations and to reveal and form their own singularities from the experience of becoming placed. This immersion into the objective, the philosophical, and the poetic, could be seen as trying to create a “metaphor around dwelling/becoming.” A subjectivity enlightened by theorising around issues of the production of space and the notion that time is both a structure and an event. The interlocutor (the

view/relation of others present) becomes brought into “place” becoming as it were a ’’guest” of place through this placing inquiry, place can become ones own familiarity of space.

The Yard Studios, Winchester.

Multi-disciplinary practice, drawing on a long association with Art, Craft and the Building/Construction industry. Working mainly on drawing/mapping with local materials ( Arte Provera), alternative photographic processes and architectural interventions/installations that explore our sense and experience of place. Interested in the intimacy and mobility of “Artists” books and journals as a device to accompany the experience of place. My work commands and demands a need for a reflective solitude, a sense of dwelling amongst absences, that have themselves been transposed into another physicality. Interested in using drawing and materiality as a site of exchanges, traces formed into inclusions within its own experimental field of experience. The practice is continually informed by contemporary practitioners such as Roni Horn, Melanie Counsell, Christopher Bucklow. My work sets out to contains its own sense of a consolidation of time through ephemeral processes and reflection. The use of elemental mobile photographic devices is being investigated as a means of “registering” durations of human occupation continually superimposed amongst the agencies of “Place” and “Time”. The use of the human body as a trace allows my drawings a direct spatial encounter of absence. This method of working directly with the body is a direct result of earlier sculptural works in concrete and clay.

Artists Information & Material For

Interfaith-Group-Show: STRONG VOICES part of Hyde 900/2010

Co-organised & curated by Stephen Cooper & Arielle Klobusiczky

Russell Moreton

Process  &  Materiality:  mirror  arcane  symbols  ranging  from  science  – humanity spiritual -pagan mythology & Christianity

Symbol & Vision: 3 Layers containing a portable space of vision/ thought

Binding Factor : Layers & Locality (Non places)

Layer I

Lyrical  intervention  with/&/or  of  Space  particular  Non  spaces

Tracing activity contain in suspended materiality placed in space

Layer II Consolidation of Time

Capturing  notion  of  time  bound  process,  performance  and  procedure

Documentation of resulting absence from ephemeral activity

Layer  III

Surface & Traces

Sense  of  Equilibrium  between  matter  and  process  material  &  activity  paused

Haptic Tactile resonance

Locality

Site Specific

response to space, architecture and surroundings including work

of others issues of frontality versus experiencing 3d work over come by designing samples/glimpses of concepts II!

Material & Process: all include water/moisture/ and light

Blue, Cyanotype ( Blue Print)

Off White, China Clay & /or Chalk

Negative Image, Pin Hole Camera

Orange/Brown, Rust

INTERFAITH GROUP SHOW AT THE LINK GALLERY 2010

Artist Statement

Spatial Practitioner using a multi-disciplinary art practice to explore relations in Architecture, Fine Art and Performance. Interested in the production of spaces that are relational and collaborative to both the practitioner and the visitor/interlocutor. My work utilizes simple indexical strategies to engender interest and perhaps a con spiritual enchantment for the everyday. These resultant correspondences “trace strategies” are open, active and present in-situ; they become “placed geographies around human relations.” Previous workings have used the agencies of natural light in both photographic apparatuses and projection through transparency and clay both as a material from which to retain impressions of mobility through its material memory and its analogy to the “Promethean myth” and its use of clay to fashion mortal man. This particular event invokes for me the notion of a shared humanity, a mutuality that could be understood as reflexive through simple material relations and collaborative gestures. Art space can promote these working intimations that are in the realms of beliefs.

Working Notes for Proposal

Notion of a shared hospitality/threshold that excepts diversities through a simple gesture. Explorative/relational surface or device to register and contextualize spatial relations produced by the participation of this event and its reception.

Artist Statement, re proposal for “Strong Voices”.

It is my intension to utilise the ambiguous and strangely intimate nature of a continuous line around a human being to act as a site for the viewer to inhabit an engagement with the work. I am interested in utilizing the “open space” the territory within the traced outline as a sort of vessel for the temporary thoughts and reflections of others. This space hopes to set up a condition, a place that allows a dispassionate observer or thinker time to find and form their own thoughts. The use of material residues left from enactments seems to concur a metaphysical presence to that of the inner trace. The use of simple materiality (clay, chalk, rust) invokes a notion of a shared simple relation, to the human form; these sensibilities are reflected in artists like Giuseppe Penone and other Arte Povera artists. The use of light sensitive materials, liquid light and cyanotype brings the representation of worlds into proximity of a human absence. Photographic processes also bring with them a surface of compressed and superimposed time, an event through which time has left behind, like the trace we are left thinking and reflecting a loss that creates equilibrium in the present. To add a presence of temporality and nowness, water vapour has been sprayed onto the chalk creating moisture a breath around absences.

The Link Gallery , Winchester. Strong Voices, part of Hyde 900

Untitled 2010

Wax, field chalk and pencil on paper 230×150 cm

This work utilises the ambiguous and strangely intimate nature of a continuous line performed around a human being to act as a site for the viewer to inhabit an engagement within the work. I am interested in the performativity of this “open space” the territory within the staged trace, creates an outline as a sort of absent vessel for the temporary thoughts and reflections of others. This space hopes to set up a residency, a place that allows a dispassionate observer or thinker time to find and form their own thoughts.

Wax, Field Chalk and Pencil on Paper, focuses our attention on the vulnerability and finitude of the human condition through a representation of its absence given only in the traces of past gestures. Inviting meditation, the simplicity of the materials and their use, directly evokes an emotional register and aesthetic sensibility tied to the human form. In the open space performed by a continuous line, the work seeks to offer us a temporary haven for reflection, a quiet space of respite, shielded from the incessant press of events.

What is the aspect of Faith/Belief in this work?

Personal Statement.

The work allows for me a space for reflection, however awkward its present location engenders. This drawing its manufacture and its materiality for me speak of the intimate space of a domicile, a domesticity and a sense of a proximity to material and geographical relations. For me there exists within its presence a space to ponder issues, some relevant to ones own intimate beliefs and observations. The poetics engendered by the materiality seek a sense of encounter harboured by territory of a human gesture. This encountered materiality is explicitly subtle, yet it is for me raw, open, unclothed and perpetually awkward. For me the confrontation of this awkwardness reveals the trace as being both vital and mortal. It is into this state of the vital and mortal I can begin to harbour my sensitivities and those of others.

 

Camera Obscura : Kilquhanity 2011 Dark Session’s : Shadowy speculations in the pottery. Kilquhanity 2011 Silver gelatin prints from a ‘room …

Source: Spatial Agents/Local Materials : Kilquhanity Free School/The Yard and Link Gallery, Winchester.

Drawing, a place of exchange : Social Mappings : Traces and Indexical Wanderings, containing the anticipation of loss

 ART AS A CUSTODIAN WITHIN ARCHITECTURAL SPACE.

INTERLOCUTOR between ART and ARCHITECTURE

AS AN “OBSERVER” AS IN CONSTRUCTIVIST THEORY

The evidence of this correspondence is fabricated in the situation and its attendant traces and material residues, the “indexical” knowledge and its familiarity are encountered in this fabrication of the observer, as “being of human sensibilities”.

Phenomenological traces begin this process of observational identity as a condition of being human, we see as we know ourselves to be seen, we comprehend ourselves in the knowledge and existence of others.

The anticipation of an appointment, situation grants a sense of autonomy in as much as the potential of expectation is still fluid, unfixed in the location of others.

Espace-Milieu : Painting as Environment

Aerial

Social Mappings : Winchester Cathedral

Space for Peace 2011

Drawings more than ever have become the site of investigations and correspondences in the search of an authenticity, fidelity and truth; they indorse the activity. comment and energy of the artist.

The trace seems to emit a contaminating sense of communication based around proximities and their anarchical sensibilities, it attempts to develop a language brought from a contaminating communication in as much as it is not based on a subject as such, rather the trace of an occurrence now dislocated by that very action.

Cyanotype as a method of passing a “blueprint” a proposal to others, a working set of ideas for the transposition into a reality framed by a situation of realisation and construction.

Cyanotypes originally concerned with the production of things, not images rather working documents of both evidence and possibilities.

In the role of transposing scientific observations into the practical application of the everyday.

The theatre of experimentation, scripted between a proposal and its practical application in and amongst the spatial relations it is presented with.

The blueprint is presented as something proposed against an already present arbitrary and temporal reality.

Contemporary’ drawings are all about “thinking” to paraphrase Joseph Beuys. They are an intimate language, in fact the first visual language visible to both the artist and to others. Drawing is the beginning of the synthesis of internal thoughts being tentatively externalized in the search of a form they can inhabit. Drawing uniquely brings together a complexity of gesture attitude sensation and creative invention simultaneously into the light of the moment. Drawing could even be said to present a possibility as a fact, praesentia the fact in the light of its time. These values conspire to engender a presence, a semblance of some physicality that the artist is trying to form, a form that may be forever absent the drawing acting as a gesture of remembrance, or as an emergence, a premonition of an evolution of a per formative response to situation.

Drawing has always been a verb, and in the contemporarily of art it is the activity or performance that is of interest, a being in the intension of drawing. This sense of performance and the spatiality of both space and time have given rise to the notion of mapping with its direct correlation to the body. Drawing attempts to map the relationship of the body as a locus in its surroundings. We are now much more interested in the situation and immediate proximities that the artists body and its gestures being traced in spacetime. Drawings map dynamics and velocities, they interact with the fluidity of liquids and contingency. Materials are also bought into the arena, to act as indexical witnesses, to record and echo the gesture and act of drawing. The artist Monika Weiss writes with regard to drawing in her own practice, “Weiss makes marks, videos and objects, but she does not pour, drip or fling, she inhabits, smudges and draws. This is a distinctly female approach. Drawings more than ever have become the site of investigations and correspondences in the search of an authenticity, fidelity and truth; they indorse the activity. comment and energy of the artist.

Drawings by sculptors that place the relationship of the line derived from the body.- on the same field as material/media residues. These configurations give rise to conceptual associations and meanings. This contemporary ’approach is in evidence in  a  number of artists work where the per formative aspects of drawing are the key issue. To put it simply there is a growing awareness of the gesture of drawing as the work, and not just simply the representational merit of recognition that has previous acquainted skill and draughtsmanship. I am talking about the authentic gesture of inscription, the combination of both the trait and trace that the trait has circumscribed. This almost primal visual rendering from a sensation of blindness.

Life “drawing” trace on paper with water and field chalk.

Work submitted to Interfaith Group Show at the Link Gallery, Winchester 2010.

“This particular event invokes for me the notion of simple material relations and collaborative gestures that underpin human agency. Art space/practice can promote these working intimations that enter into  the realm of beliefs.”

Artist’s Statement (archive)  07.12.2009.

The human trace, a continuous line traced around the presence of a living body. Within its boundaries their emanates, a curious absent presence with its uncanny silence. These attributes give the trace its force of absence its haunting manifestation on the present. The human trace surrounded by indexical residues echoes an act of archiving within the materiality of the world. The work embodies both action and trace, it contains a drawing as a trace of an activity and beneath this its conceptual language with its associations to the proximity of the viewer. The performative ritual that the trace has undergone is now a meditation, a site of lament this confirmed signification endorses the fact of the performance having passed leaving a sense of the moment that is still resonating yet irretrievable. A moment suffused by the proximity of residues. The trace is not only an activity but it is simultaneously a phenomenological proposition .The physicality of the artists movement articulate an echo, a reverberation within the vacant zone of the absent body. This reverberation induces a compression of time and space between trace as act and trace as loss. This site of slippage is held by indexical residues that indorse its authenticity via its intimate proximities drawn on its surface. The relationship between an activity and its trace promotes a trajectory with a velocity that articulates and implicates the past in present. The very nature of the relationship between action and trace allows the past to manifest itself through traces which both act as records of the past, but also suggest future actions. The radical nature of the human trace amongst indexical residues conspire to create not only a comment of the time, but questions what other residues may the human trace be conceptually associated with in the future.

The notion of trace brings with it a sense of the traces embodiment in the particularities of a given time and place. This empowering which gathers into latency is marked by the traces occurrence its event of becoming. In the story of the maid of Corinth in which she seeks to trace the shadow of her lover, the trace literally underlines and implicates her proximity to her lover. The trace catches and snares them both in witnessing praesentia of candle light. They are forever bonded conceptually by this simple action; the fact of this action is brought into the eternal light of day. The almost mythic quality of the story its concise exactitudes that can be deduced from its very lightness evokes much said by Italo Calvino in his book “Six Memos for the Next Millennium” when he elaborates in the chapter centred around the values, qualities, or peculiarities of literature. The notion of lightness of fleetingness and a temporality of presence adheres to the veiy periphery of the trace as it viewed disconnected and dislodged from the encounter of its origin. The love of daughter is transcribed by the inscription around her lovers head into a conceptual truth enclosing a poetic proximity. This poetic notion of a semblance of a human body traced by the action of another’s activity is used by Tony Harrison in his short film Hiroshima.

The ritualistic repetition of this motif throughout the film adds to the sense of pathos that like the trace it emanates from seems to conjure up a Promeneathen Tragedy, reinstalled daily as if it can continually exist before history can grasp it. That the human trace replicates through our proximities to loss, a colossal conceptual depth of presence that reverberates in the mind, a sublime lightness of terror. For the daughter the trace is something more than mere representation it colludes in its very action to form a relationship with the moment that contains her fidelity to the performance of what will eventually site her loss. The trace has the ability to encapsulate and contextualize these actions and their possible propositions. The trace remains framed by indexical signs that emit residues from the activity of the drawing .Is the trace really just an action of drawing, a marked presence with that presence confirmed by the inscription of the moving point following a shadow. In the instant of its activity and in intimate proximity to its phenomenological origin ,the trace because as yet there is no absence, only a proposition of absence, cannot exist as such. The trace awaits in a state of expected latency, almost pregnant with loss. The marking and its referent hold the trace moribund inoperative, language seems to wait on events. The slippage that occurs will be in the instant of recognition when the physical separation of the lovers body is removed from the situation and leaving with him the gesture of the drawing, their collective mark as a perfomative entity without substance, yet still withheld within residues contained in the emergence of the trace. The trace may well be the conceptualization of a mark, its ability to give via proximities a deeper significance and connectivity, a site that conceptually has a latent quality that disrupts superficial perceptions. Something within the human trace radically assaults the primacy of language; it attempts to arrest the connectivity of the existing historical system, as if the trace is always in advance of existing language, or rather it proposes changes.

I propose to utilize the story of Plinys shadow to illustrate and elaborate the particularities of the human trace in its situation , activity ,action and proposition .I further wish to investigate the inherent intimacy of the human trace its sensuality brought by the sensibilities of proximity which become gathered and tethered by the trace of another. The story is about the maid of Corinth, this extract comes courtesy of Michael Newman, contained in his essay “The Marks, Traces, and Gestures of Drawing” this essay is included in Tate Moderns publication “The Stage of Drawing.”

“…all agree that it began with tracing an outline round a mans shadow..”

It was through the service of that same earth that modelling portraits from clay was first invented by Butades, a potter of Sicyon, at Corinth He did this owing to his daughter, who was in love with a young man; And she, when he was going abroad, drew in outline on the wall the Shadow of his face, thrown by a lamp .Her father pressed clay on this And made a relief, which he hardened by exposure to fire with the rest Of his pottery; and it is said that this likeness was preserved in the Shrine Of the Nymphs until the destruction of Corinth by Mummius.

The trace by the maid of Corinth, that of tracing her lovers shadow on a wall is essential a love story, it possesses a human quality that is felt by a feeling of a shared proximity. Emmanuel Levinas describes proximity as a communication of an anarchic sensibility that occurs before the subject can gather itself into a position in relation this otherness which cannot be assembled in a representational present. He comments further that rather than being apprehended by the subject, proximity is a signifying of an expositional, there is that is alien to but suspended in presence. The human trace has the ability to solicit this notion of proximity, signaling a sensibility which is different than that which occurs in experience and knowledge. The trace seems to emit a contaminating sense of communication based around proximities and their anarchical sensibilities, it attempts to develop a language brought from a contaminating communication in as much as it is not based on a subject as such, rather the trace of an occurrence now dislocated by that very action.

The human trace with its inherent sense of presence seems strangely unmarked except in the fact that it acts as a kind of residue of the indexical memory of its absent host. This unmarked quality allows proximity to dislodge ,knowledge and experience and induce a sense of the uncanny ,a familiarity without fore knowledge or experience. There is imprinted by the action of circumscribing an outline destined to become a trace an intimate betrayal, a boundary marked, a territory claimed whilst in a state of passitivity. The daughter due to the sensibility of her proximity to her lover may be to close to objectify this betrayal of intimacies. The fathers work which will hide all trace of authentic sensuality of the act, and render a mere likeness a representation culled from an action whose very performance was an expression containing the anticipation of loss, an anticipation now made permanent.

The trace through its indexical sign and its conceptual space latently awaiting a return of the sensuality of the act, like ”the Sirens with their elusive and forbidden form of the alluring voice. They are nothing but song.” Maurice Blanchot, Eurydice and the sirens. and Indexical  The human trace of another intimately marked in the proximity of a shared intimacy, now vacant, void by withdrawal, only the visible intimacy of a residue remains into which to harbour our sensibilities.

“They are nothing but song, no presence shimmers in their immortal words, they are pure appeal, an invitation to pause, a seduction.”

 

ART AS A CUSTODIAN WITHIN ARCHITECTURAL SPACE. INTERLOCUTOR between ART and ARCHITECTURE AS AN “OBSERVER” AS IN CONSTRUCTIVIST THEORY The e…

Source: Drawing, a place of exchange : Social Mappings : Traces and Indexical Wanderings, containing the anticipation of loss

Anselm Kiefer in Conversation with Tim Marlow

Posted by Russell Moreton at Monday, May 10, 2021  

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Labels: Anselm Kiefer, architectural works, making, matter, paintings, RA, re-combining poetics, sensing place, speculative assemblages, studio, substance, Tim Marlow

 

Source: Anselm Kiefer in Conversation with Tim Marlow

Conversations on Making – Edmund De Waal and A S Byatt

Posted by Russell Moreton at Monday, May 10, 2021  

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Source: Conversations on Making – Edmund De Waal and A S Byatt

Working Spaces/Six Memos : Sites of Inquiry and Dialogue/Investigative Thinking/Post Studio

Every action happens in its own right and every action is an analogy of something else.

What I do need be no more than what appears at the moment of the happening.

Peter Brook, The Open Stage.

BOUNDARIES AND JUNCTION POINTS ARE IN THE NATURE OF THINGS POINTS OF FRICTION.

Lefebvre, The Production of Space.

MAKING : Essentializing of site and community through artistic presentation and production.

ITALO CALVINO

SIX MEMOS FOR THE NEXT MILLENNIUM

LIGHTNESS

QUICKNESS

EXACTITUDE

VISIBILITY

MULTIPLICITY

CONSISTENCY not written at the time of the authors death.

SETTING UP THE IMMEDIATE THEATRE

MA Spatial Practices, Canterbury.

Project analysis and comment from Prof. Oren Lieberman, Dr Terry Perk, Dr Judith Rugg.

The desire to register working spaces is an interesting, and I believe fruitful, direction in the work. It is important that through this registration, you allow and encourage a theory to evolve. ‘Register’ is a useful term in that it accommodates both the index (through the notion of recording information) as well as the performative registering of, say, an opinion. As the pinhole apparatus registers ‘public’ spaces as well, it would be worthwhile assigning them the value of ‘work’ spaces also.

Also: you should understand the apparatus as a significant performative, spatial practitioner in its own right, and be careful about focussing only on the very engaging images produced by it.

Developing an engaging thesis exploring various forms and frameworks for thinking about thematics of photography and architecture in relation to space and its potential meanings and productions.

Using both practical workshops and theoretical enquiry to explore the differing values for both reading or engaging with the poetics of spatial formation in an ‘post’ sense of the studio.

The work explores the concept of the open text in various ways and traces a development of the research from various approaches. This is a useful document of investigative thinking around ways of working for the project.

There are some methodological approaches proposed here through a range of contestatory areas – in particular, the nature of the document and the text as spatial tools or ways of thinking about the interfaces between them.

Some fascinating areas of insight and propositions on the nature of space – especially concepts of latency, peripheral space and methods of interaction/intervention. How could this area be explored in conceptual and crucial terms for the development of the project? – Behind your fluid approach, there is a sense of the need of the relational.

The bibliography could be further developed in terms of defining its taxonomies and the rationale or relationships between them and with the proposal.

Marc Auge, Non-Places, introduction to an anthropology of super modernity (London: Verso, 1992).

Gaston Bachelard, The Psychoanalysis of Fire (Boston :Beacon Press, 1964).

John Berger, Berger on Drawing ( Aghabullogue: Occasional Press, 2005).

Peter Brook, The Open Stage (London: 1968).

Giuliana Bruno, Public Intimacy, Architecture and the Visual Arts (Massachusetts: MIT Press, 2007).

Italo Calvino, Six Memos for the Next Millennium (London: Jonathan Cape, 1992).

Martin Clark, The Dark Monarch, Magic and Modernity in British Art (London: Tate St Ives,2009).

Mary Douglas, Purity and Danger (London: Routledge, 1994).

John Houston, The Abstract Vessel, Ceramics in Studio (London: Bellow Publishing, 1991).

Lefebvre, The Production of Space (London: Blackwell, 1991).

James Lovelock, The Vanishing Face of Gaia, A Final Warning (London: Penguin books,2009).

James Salter, A Sport and a Pastime (San Francisco: North Point Press, 1967).

Richard Serra, The Matter of Time (Bilbao: Steidl Publishers,2005).

Rose Temkin, Thinking is Form: The Drawings of Joseph Beuys (London: Thames and Hudson, 1993).

Tracey Warr, The Artists Body ( London: Phaidon Press,2000).

Christopher Wilmarth, Drawings into Sculpture (New York: Fogg Art Museum,2003).

I propose to register a site by its boundary. This new space will attempt to represent the internal dimensions of the artist’s current working studio space and be given a similar terrestrial orientation. Into the interior of this marked space objects from the working studio are to be reinstalled. This intervention attempts to create a spatial temporality into which a contemporary art practice will act as a context. The intervention sets out to display the complexities of the contemporary practitioner, the research material and works completed and those that are to instigated as a direct adaptation/response to the situation and site at hand. The temporal nature of this staged work reflects issues of mobility needed by the professional practitioner to be able to set up working sites and the ability to transpose them into other hosting environments, other challenging opportunities.

BIBLIOGRAPHY OF DISPLAYED/BOOK MARKED MATERIAL.

Edward Casey, The Fate of Place (Berkeley: University of California Press, 1998)

Giving a face to place in the present,

By way of the body.

Yve Lomax, Sounding The Event (London: I. B. Tauris, 2006)

An impossible refrain,

Fortuity,

Giuliana Bruno, Public Intimacy, Architecture and the Visual Arts (London: MIT Press, 2007)

Modernist Ruins Filmic Archaeologies,

DRAWING SPACES.

This activity of marking out an elsewhere (the studio space) and presenting it here and now is a fundamental quality of drawing. The act of drawing is in itself a private act undertaken primarily for the artists benefit. The finalisation of the research project revolves around issues of public intimacy with art objects whilst being in public spaces. This investigation into public intimacy and the reception of contemporary art practice as an open site; complete with works completed but not yet “framed” for any given spatial or social context attempts to stage this reality. Together with supplementary material present including in some cases work in progress, this might allow the temporal space frame of an absent space the ability to create a privileged and therefore valued experience of art objects within and amongst the intimacy of their conception.

Letting the practice stage its own intimate theatre might engender more collaborate speculation and interdisciplinary workings. “Spatial Practices” envisaged practitioners from Architecture, Fine Art and Performance driven disciplines, my own research at Canterbury has attempted to orchestrate a spatio-temporal theatre of reception for this purpose.

The Architecture of Science in Art: An Anatomy Lesson,

The room as the real protagonist of the film.

Bridget Elliott, Peter Greenaway, Architecture and Allegory (London: Academy Editions, 1997)

On Common Ground,

Allegory as Architecture.

(Un)Natural Histories Collecting Cultures, Crossing Limits.

Ian Buchanan, Deleuze and Space (Edinburgh: Edinburgh University Press, 2005)

The Nomadic Subject in Smooth Space,

Territories and the Refrain,

The nomadic subject open to unconventional spatial orientations can make new connections in keeping with the movements of life as it unfolds.

Irit Rogoff, Terra Infirma, geography’s visual culture (London: Routledge, 2000)

Vicente Todoli, Time Zones, Recent Film and Video (London: Tate Publishing, 2005)

The Where of Now,

Bernard Poerksen, The Certainty of Uncertainty, Dialogues introducing Constructivism (Exeter: Imprint Academic, 2004)

Gerhard Richter, Zufall, The Cologne Cathedral Window (Koln: Walther Konig, 2007)

Glen Onwin, As Above So Below (Halifax: HMST, 1991) Caroline Christov, Arte Povera (London: Phaidon, 1999)

Guy Brett, Force Fields, phrases of the kinetic (London: Hayward Gallery, 2000)

The Laboratory : Spatial Practices,

Canterbury School of Architecture. 2009

Post studio practice/social processuality

Superimposition of studio space into the main foyer of a university. The disclosure of creative practices, spatial relations entangled by the private and the public.

Lefebvre in his chapter on Spatial Architectonics makes reference to the relationships established by boundaries and the relationship between boundaries and named places. These relationships promote significant and specific conditions or features to a space. This in turn results in various kinds of space. Lefebvre states that “every social space, then, once duly demarcated and oriented, implies a superimposition of certain relations upon networks of named places.”1

It is this superimposition of space that can within it demarcate other thresholds of experiences, within an existing demarcated space that interests me.

The act of “blocking in “ the dimensions of another space onto the floor of another create a temporal junction between a host space and a site within this host, a guest. This sets-up the notion of a temporal double occupancy held by the demarcation of a boundary and a site of proposal. This basic and temporal site marking could be said to have affinity towards some sort of anthropological marking, a territory. (Lefebvre defines anthropological marking as being at the stage when demarcation and orientation begin to create place and its social reality in archaic cultures)2. This activity also has associations with nomadic and agricultural-pastoral societies as they use paths and routes as spatio­ temporal markers or determinants.

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through “which without colliding would produce the establishment of places (localities made special for one reason or another).”3Within my practice drawing is used to form sites which contain visual information, evidence of temporal activities and traces of actual objects. These territories within other territories create fields from with boundaries form material relations, differences. My drawings are inside the temporality of site I have instigated and yet they propose a territory and a surface of light years which could accommodate the temporality of terrestrial space.

Interestingly Lefebvre comments “there is no stage at which ’’man” does not demarcate, beacon or sign his space, leaving traces that are both symbolic and practical.”4

1 Lefebvre. The Production of Space, (London: Blackwell, 1991) pagel93.

2 Ibid..page 192

3 Ibid., page 192.

4 Ibid.,page 192

UCA CANTERBURY 2010.Brief outline of final realisation.

I propose to physically register a site by creating its boundary, by way of applying 50mm self adhesive tape to the main reception area at UCA Canterbury. This new space will attempt to represent the internal dimensions of the artist’s current working studio space (5.0xl2.0metres) and as such it be given a similar terrestrial orientation. If it is necessary (through issues of setting up and health safety) a contingency plan would be to crop the footprint of the space by the use of a broken detail line where required. Into the interior of this marked space objects from the working studio are to be reinstalled and where possible to match existing placements, these initial positions will be documented to allow the registration of changes to be recognised. It is envisaged that these first points of departure may well migrate as the site becomes populated by activity and the spatial dynamics of the hosting space. This intervention (the superimposed space onto and within the existing) attempts to create a spatial temporality into which a contemporary art practice will act as a context for an investigatory and performative setting in public space of a creative private practice. The intervention sets out to display the complexities of the contemporary practitioner, the research material and works completed and those that are to instigated as a direct adaptation/response to the situation and site at hand. The temporal nature of this staged work reflects issues of mobility needed by the professional practitioner to be able to set up working sites and the ability to transpose them into other hosting environments, other challenging opportunities.

 

Every action happens in its own right and every action is an analogy of something else.  What I do need be no more than what appears at the …

Source: Working Spaces/Six Memos : Sites of Inquiry and Dialogue/Investigative Thinking/Post Studio

Temporal Perspectives/Relationscapes : Urban Space and Place/Transactive Memory/Outpost Studio Norwich

Movement : Art : Philosophy : all a movement of thought that moves a body. Erin Manning

The Studio is no longer a retreat but it now integrates. It is all exterior.

Ways of Curating, Hans Ulrich Obrist. 2014

Temporal Perspectives : Urban Space and Place

Space and Place

The Perspective of Experience

Yi-Fu Tuan

Experiential Perspective

Space, Place, and the Child

Body, Personal Relations, and Spatial Values

Spaciousness and Crowding

Spatial Ability, Knowledge, and Place

Architectural Space and Awareness

Time in Experiential Space

Intimate Experiences of Place

Attachment to Homeland

Visibility : the Creation of Place

Time and Place

for

space

Doreen Massey

Living in Spatial Times

Instantaneity/depthlessness

A Relational Politics of The Spatial

Making and Contesting time-spaces

The Forum, Norwich : Research Outpost #2

RELATIONSCAPES

Movement, Art, Philosophy

Erin Manning

Prelude : What moves as a body returns as a movement of thought

Something in the world forces us to think. This something is not an object of recognition, but a fundamental encounter.

Gilles Deleuze, Difference and Repetition

AN

ANTHROPOLOGY

OF

LANDSCAPE

Christoper Tilley, Kate Cameron-Daum

Materiality

From our perspective in this book representations of landscape, textual or pictorial, are of secondary significance and we should treat them as such; they are selective and partial, and often highly ideological, ways of seeing and knowing.

It forms a material medium in which we dwell and move and think.

Redirecting the study of landscape from representation to the materially grounded messiness of everyday life and the minutiae of material practices that constitute it.

Landscapes are contested, untidy and messy, tensioned, always in the making. Our landscapes of modernity are frequently on the move and peopled by diasporas and migrants of identity, people making homes in new places.

Field Observations

Spatial relations within the landscape are complex.

The manner in which persons and their bodies cannot be understood apart from the landscapes of which they are a part, reciprocally involved in forms of movement, action, awareness and social memory.

Embodied Identities

Art in and from the landscape

Fragile Environments : Nature and Culture

On Ways of Walking and Making Art

A personal reflection

M Collier

Making art is a practical application of phenomenology

Engaging  with an embodied experience of space and depth (what Merleau-Ponty called the ‘flesh of the world’).

WATERLOG

Journeys Around An Exhibition

Landscape and Memory

AFTER SEBALD

Essays and Illuminations

Edited by Jon Cook

Transactive Memory

Systems Virtual Teams

The Body

Minds and Metaphors

Laban-CHOREUTICS

 

The Mind In The Cave

David Lewis-Williams

 

The Matter of The World

Minds and metaphors

Cathedrals of Intelligence

The ‘Looking mind’

 

Information Processing and Performance in Traditional and Virtual Teams

The Role of Transactive Memory

Terri Griffith, Margaret A. Neale

 

Acquisition/Sharing of Implicit and Explicit Information

 

Organisations increasingly rely on teams to do much of the work traditionally accomplished by individuals.

Successful groups are those who are able to create synergies in the form of information aggregation and innovation that is beyond the ability of any single member.

 

Nascent Knowledge

Information Diversity

Task Conflict

 

The knowledge and perspectives of group members from the same social networks may be more redundant than diversified. However a total diversity among work group members is not desirable; some ‘redundancy’ (agreement in perspective) among group members is necessary to ensure enough common ground to facilitate successful group interaction.

 

Transactive Memory : Knowing and Accessing What We Know

 

For teams to have synergy they must be able to access their information, it is important to know who does what.

Wegner 1987; 1995)

 

RELATIONAL DEVELOPMENT

TIME

Synchronous/ Asynchronous

COMMUNICATION

 

Transactive Memory : A Contemporary Analysis of the Group Mind

Daniel M. Wegner

 

The study of transactive memory is concerned with the prediction of group (and individual) behaviour through an understanding of the manner in which groups process and structure information.

 

Individual Memory

Information is entered into memory at the encoding stage, it resides in memory during a storage stage, and is bought back during the retrieval stage.

 

Organisation : differentiated/ integrated

Label

Location

 

THE LABAN SOURCEBOOK

Dick McCaw

 

Rudolf Laban (1879-1958) was a pioneer in dance and movement, who found a extraordinary range of application for his ideas; from industry to drama, education to therapy. Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements.

 

Diagram : Three Planes of Movement from Choreography

Inner and Outer Tension : Inner and Outer Form

 

CHOREUTICS : Principles of Dynamic Space and Movement

 

Choreutics presents the grammar and syntax of spatial form in movement and the nature of movement’s harmonic content.

 

Effort

Exertion of Power, Physical or/and Mental

 

Force

Space

Time

Flight

 

Indulging/Contending

SPACE Flexible/Direct

WEIGHT Light/Strong

TIME Sustained/Quick

FLOW Free/Bound

 

Shadow Moves

An acute observer of Shadow Movement of a person in different situations and at different times will show the consistency of that individual’s basic attitude and personality.

 

Effort and Recovery

Movement Psychology

Thinking

Intuiting

Sensing

Feeling

POST STUDIO

Daniel Buren

Rem Koolhaas

The development of subjectivity as spatiality hinges on architectural construction and is written in the very articulation of architectural discourse.

 

Atlas of Emotion : Journeys in Art, Architecture, and Film. Giuliani Bruno

The Mobile Home

A space is something that has been made room for … A boundary is not that at which something stops, but as the Greeks recognized, the boundary is that which something begins its presencing. That is why the concept is that of horizons, that is, the horizon, the boundary. Space is in essence that which room has been made, that which let into its bounds. That for which room is made is … joined, that is, gathered, by virtue of a location, that is by such a thing as a bridge.

Martin Heidegger. ‘Building Dwelling Thinking’

House (Gendered House) is actually, both a private museum and a public library. It is a laboratory built on the threshold of diverse and interpretive and creative perimeters, binding architecture to the cinematic/everyday drama of statis and movement in the sensing of space.

 

The Voyage of Modernity, Guiliani Bruno.

Artist Statement re application for Outpost residency at Gildengate House, Norwich.

Using simple apparatuses (pinhole cameras) and the urban environment my practice gathers up time based evidence of everyday activities and render them into a surface of seamless abstractions. These surfaces prompt me to inquire into particularities of place, its after-image and our

subjectivity/objectivity of the photographic document that is itself permanently extracted from the flow of contexts.

I am interested in bringing these speculative findings/sequences into the interior space and time/situation of an exhibition.

The photographic surface has a pathology of looking built into its aesthetic, it takes the urban fabric of human circulation and the built environment and articulates a poetic of isolated complexities. I am interested in finding these spaces and presenting them for further analysis.

Selected Images : Pinhole Photography with texts, Winchester Library, Millennium Bridge, London.

 

 

Statement of Objectives

Set-up working environment, darkroom, space for large oil drum camera, drawing space and studio for the interaction of other creative/interested practitioners within the Gildengate House/Complex.

Mapping of possible ‘sites’ within easy reach of the studio, walking the city with the camera to gather both qualitative and quantitative material, building possible narratives and points of departure for further inquiry.

The apparatus of the camera and its functionary act as spatial protagonists creating a psycho- geographical rendering of found and experienced places, this material is returned to the studio to be drawn from and collaged into documents of working ideas.

A dossier of activities and their observations as wall drawings or book works, will begin to form the documentation of the inquiry and suggest possible innovative methods of presentation for exhibition.

Possible Artist’s Intentions for the Conclusion of the Residency

 

I am keen to display the working environment of my practice, its processes and the visualization of my findings, this could be achieved as a working photographic installation, I am reminded of Mike Nelson’s installation at the Frieze Art Fair 2006. Other thoughts around dioramas and projections that evoke the feeling of between spaces of the everyday. I feel confident that the residency itself will craft its own innovative response to the agency and inquiry of my activities with others.

Art Based Exhibitions/Working Projects/Collaborative Events/Workshops

 

Anthropological Entanglements : Strange Tools/An Anthropology of Landscape

Conversations, Collages/Walks and Creative Consciousness. 2018

An exploratory approach into the archives of Waveney and Blyth Arts.

Setting up an inquiry that can become an opportunity for exploration, investigation and exhibition, as well as a place for mutual exchange and support.

Norfolk & Norwich Open Studios. 2018

Visual fine artist working with experimental photography, collage and interior design.

Interior Design MA Degree Show, Farnham UCA. 2015

Presentation of “The Scriptorium” as a speculative learning environment, realized through collage, model making and digital technologies.

The Art Barn, Brockwood Park School. 2015

Design and exhibition of A level student’s work, art books, textiles, drawings and paintings.

Yard and Meter, 10 days Creative Collisions. 2013

Collaborative exchange between visual art and poetry. Cyanotype images used as a projection and inspiration for live poetry event and publication.

Angelus Gallery, Winchester College, Winchester. 2013

Setting up of a exhibition, artist’s talk and workshop. Works displayed, large drawings, collage, artists journals and research material.

This exhibition attempted to create dialogues between Fine Art, Studio Practice and Interior Design.

Negative Capability, The Link Gallery, The Hyde Artist’s Group. 2012

Art and Archaeological study from the site of the Leper Hospital, Morn Hill, Winchester.

Exhibition of large cyanotypes/anthropological forms and drawing frames with alternative photographic processes.

Back To Free School : Drawing out The Archive. Kilquhanity, Scotland. 2011

Speculative practiced based symposium, converted Pottery into a Camera Obscura, drawings and presentation of land art, pathways from sunrise to sunset.

10 Days in The City, Winchester. The Theatre Royal Winchester. 2011

Dressing Room Installation, Darkroom and Studio Space.

Teaching Academy/Re-Imagining Learning, Brockwood Park School. 2011

Performed  alternative  learning  environments,  hidden  curriculum/architecture  without  architects  in  the library, walking/making/thinking in the landscape with clay.

Strong Voices/Interfaith part of Hyde 900. The Link Gallery, University of Winchester. 2010

The Human Body, absences/presences. traces left through drawing and field chalk on paper.

 

10 Days at The Laundry, Winchester. Urban Fallow Project/Thinking Sociologically. 2009

Large communal arts project organized by The Yard Artists and Winchester School of Art.

Developed a roving pinhole camera from a oil drum which was used as an apparatus and spatial practice from which to engage with other practitioners and members of the public.

Wolvesey Castle,Winchester, Live theatre, music and arts installations. 2007 Installation in the foundations and medieval drainage channels of the ruins.

Childhood “armada” oversized paper boats in restricted area, only accessed via raised viewing platform.

Hampshire Open Studios, Bramdean. 2006

Drawings, artist’s books, photography and sculpture all housed in a temporary art space appropriated from a greenhouse (white washed interior throughout with limited access to 2-3 viewers at a time).

Drawing Spaces : Picturing Knowledge (an interactive artwork) 2006 Hartley Library. University of Southampton.

Hampshire Open Studios, Bramdean. 2006

Drawings, artist’s books, photography and sculpture all housed in a temporary art space appropriated from a greenhouse (white washed interior throughout with limited access to 2-3 viewers at a time).

Artist Statement 2018

Curatorial Architectures/Assemblages

Spatial Practice could be a program and a site for a critical approach to social engagement and interdisciplinary collaboration.

Praxis could be the energy produced between combining research and creative embodiment as speculative strategies/assemblages.

The Reading Room

Materials and Objects in Social Space

Spatial Practices in The Politics of Things

 

‘Ordinary things contain the deepest mysteries’

Russell Moreton has developed a practice that continues to explore and build interests between the post studio operations of the contemporary artist and the new curatorial assemblages of the 21st Century. He is actively constructing research material that becomes transactive through interventions and installations that are in affect blurring art and the everyday rituals of creative enterprise. Through processes of almost anthropological mappings he attempts to create innovative and immersive exhibition formats that seek to engage a discursive audience.

Museum Director, Curator, Collector. Artist, None of that means anything anymore.

J. Rhoades. 1998

 

The Studio is no longer a retreat but it now integrates. It is all exterior.

Ways of Curating, Hans Ulrich Obrist. 2014

Outpost Studio Application

Visual artist working with, drawing, alternative photographic processes and installation.

My contemporary practice utilises and explores the notion of creative working and learning spaces, I am interested in the ability that contemporary arts practitioners develop and craft a praxis between the practical aspects of their practice and its theoretical underpinnings/findinqs. I find these interior spaces and their unique subiectivities/ecologies to be the real value of contemporary arts production. My work seeks to explore and present these findings through, installations, workshops, drawings and photographic presentations.

I am currently developing ideas around immersive studio spaces/obiects/events that can act as catalysts/containers for my speculative researches into Gaston Bachelard’s, Intuition of the Instant.

My reading of the text has opened up for me possibilities and thresholds that could be developed through installation, and spatial practices.

I am interested in using the studio space as both a speculative site that supports my practical experimentation and for theoretical research questions and contexts that may be further developed. The central urban location reflects my previous studio space in Winchester which allowed interactions through the fabric of the city and the social networks of institutions.

Selected Workshops and Short Courses

Lost Wax and Kiln Fired Glass : Liquid Glass Centre, Trowbridge 2006.

Pinhole Photography with Stuart Quinnell : Bradford on Avon 2005.

Drawing Course with Michael Grimshaw : Winchester School of Art 2004-2005

Mono Printing and Life Drawing : West Dean College 2002.

Life Sculpture with Les Johnson ; The Vine Centre Basingstoke 2001-2003

Life Drawing : Adult Education Weeke Centre Winchester 1993-2003

Photography Liquid Light with Yoko Matse : West Dean College 1998.

Picture Framing, Box Mounting and Art Conservation, West Dean College 1995.

Master Class in Glass Painting with Paul Quail: West Dean College 1987.

Russell Moreton a visual artist who uses simple gestures of drawn human traces gathered and presented amongst natural materials. Materials and processes are employed to further underpin our sense of place and time. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place.

Currently using trace outlines from the human body, together with cyanotype liquid as a process for registering natural plant forms and other involuntary/found objects. Drawings are further annotated with astronomical charting and research notes from the practice. Previous experience in ceramics, glass and the construction industry is promoting my work into the realm of architectural space.

 

Movement : Art : Philosophy : all a movement of thought that moves a body. Erin Manning The Studio is no longer a retreat but it now integra…

Source: Temporal Perspectives/Relationscapes : Urban Space and Place/Transactive Memory/Outpost Studio Norwich

Space Folds/Melts : All that is solid melts into air : Metaphors of Memory : We exist constantly reciprocating between perceptions and relations

 

All that is solid melts into air

Armature :  Memory/Personal Biographies

The Everyday complexity of things

Saturnian Form : Lead and Library Dates

Spatiality : Space over Time

Space folds : Containing “Spatialities around historicality and sociality”

All that is solid melts into air

Karl Marx, Friedrich Engels,

(Poetic observation concerning the constant revolutionizing of social conditions)

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

Douwe Draaisma, Metaphors of Memory (Cambridge: Cambridge University Press, 2000).

“What metaphor, of all those that have been discussed, best describes the memory of psychology itself’

The author Draaisma Douwe poses this question at the end of an extensive study on the nature of what might be used to give form to ideas about metaphors of memory. The use in my practice of traces, inscriptions, photographic surfaces and materials used as indexical and material memories, call me to give some sense of critical analysis to the issue of metaphor and how it might be “formed” and “utilized” in the situation of work.

The attraction of metaphors is that they bridge or “hold court” within the visual and the textual, in the physical as perhaps a object association to a situation, and in the sensibility of the poetic.

Their inherent ability to be an intermediary between a number of things , gives them a lightness, a brevity and a concise comment on a situation, they auger well as a “what remains” of an experience.

An intriguing quality of metaphors is that they are a union/relation of oppositional associations, which are realized as “go-betweens” active presentations of a specific relation or thought “placed” by the association of concrete and abstract

relations/relativities. They function by their ability to reference their “betweeness” as held open by their associative registers.” There is a reference to a set of concrete relations in one situation, in order to facilitate the recognition of an analogues set of relations in another situation.”1 Metaphors are structured and formulated around abstract relations around a concrete factualness of image associations.

G. F. Beck notes that “the metaphor is an intermediary between the agencies of the sensory and the perceptual and those of the verbal and the semantic thought; it belongs neither completely to one nor the other it mediates between analogous and semantic forms of thought

In a metaphor two constituents work to create its meaning, its place of register, the topic term and the vehicle term. This topic and vehicle terminology is used by Martin and Harre’ when they write “ that the topic term and the vehicle term are each the centre of a semantic field and that the interaction between these two fields enables us to produce and understand new insights.”2 This research has been further investigated and subsequently the terms structured and functional have now been applied to inform the existing relations of topic and vehicle.

These further defining terms have arisen through metaphors becoming ideally suited to “explaining and teaching theories due to their combination of image and language, and of the graphic and the abstract.”3

This ability of “metaphor” could be directed at making it site-specific to a particular set of relations, an informative teaching device, that might engender interest through its perspectival analysis.

The metaphor is in effect a vehicle of projection in as much as it can project associations of one term over that of another , granting an intermediary state given by a superimposed form over its forming relations. This transparency and its associate projection creates new forms of thought. This value/trait has been intimated by research based around “ interaction theory” presented by contemporary theorists Martin and Harre’ although the fundamental theory had already been presented by I. A. Richards in 1936. Richards stated “when we use metaphor we have two thoughts active together and supported by a single word, or phrase, whose meaning is a resultant of their interaction.”4

The “essence” of metaphor is that it has the ability ( or rather one appropriates this ability) to use something with a “concrete” image in which to form relations and new forms abstracted from this originating situation. This trait creates and is resolved by a “response”, giving comment and a registering of relations. The response of metaphor to a situation could be used to underline a psychological feeling or comment about place.

Another interesting feature regarding metaphor is that metaphors can display a subjectivity, they can be said to become subject to “wear and tear.”

Like all human creations metaphors are subject to wear and tear and the process of interaction between the two domains which is set in motion by a metaphor may become fainter and finally disappear.5

This interaction between “domains” that can slide and eventually fail, and in so doing become obscured , announces the arrival of the phenomenon of the “dead metaphor.” The realisation of the “dead metaphor” is that of a metaphor gradually becoming a literal expression. The metaphor and its prose becomes as it were ossified out of usage, out of the living present. On the subject of dead metaphors Draaisma remarks “ that they have lost their graphic vitality as description of human actions.” Interestingly metaphors have already as it were “been done to death” through literal representation by conceptual artists. My interest is to appropriate their ability to encapsulate differences into a relation that mediates those differences, to aid a sort of summing-up that is “placed between” and is strangely pervasive and fluid , being just held between relations that could suddenly slide or shift. Giving and creating a metaphorical attitude to accompany the experience of place.

1  G. F. Beck, The Metaphor as a mediator between Semantic and Analogic modes of thought. ( Current Anthropology 19 1978)

2  J. Martin and R. Harre’, Metaphor in Science in Metaphor, Problems and Perspectives. ( Sussex 1982)

3  Douwe Draaisma, Metaphors of Memory, (Cambridge: Cambridge University Press, 2000) page 15.

4  1. A. Richards, The Philosophy of Rhetoric. ( Oxford. OUP, 1936) page 93.

5  Douwe Draaisma, Metaphors of Memory, (Cambridge: Cambridge University Press, 2000) page 13.

MA Project Development, Reflective Journal: Notes/Analysis/Comment drawn from previous journal entries.

29 November 2009

Photography a process/operating system that holds “Loss” to Dwell in its Detail. Place and its Ruin.

Representation.

The Photograph proposes a “site of Loss” within the continuum of place.

Re-Visit Methodologies and Project Proposal, what might be still relevant and valid, what has occurred to shift the field of perspectives. What has had a limiting effect on the practice in respect to the projects original sphere of operations. Was the project ever thought of in the terms of being “representational” of the practice or was it a device to engage and formulate spatial practices. Recent personal research and events with other proposals for 2010 firmly speculate the need to greatly enlarge the structure of the practice so as to house its diversities, the project is now seen as merely a trace of my activities but it must in some way be representational in its formulation to the practice.

This bringing together of the various fine-art and visual-art processes present in my practice can only be accomplished through a multi-disciplinary curatorial based spatial relation for the encounter of others. By the nature of a proposal “ a working site” could be seen as an intervention into place from which material sensibilities from fine art practices are interwoven in a situation and experience of spatial relations. Into this field of material and spatial relations a performative element of the practitioner being present and theorising/working could help to create a praxis of informative encounters, which might directly and immediately be implemented into the situation of site. With all this activity and its resultant research derived from site this dialogue , a methodology of sublimation could be engaged that could render down the experience. Maybe in the form of a token of participation, a site driven metaphor, an image that re-constituents the experience and findings of the situation .Added to this gesture it might be possible to engender some sense of hospitality, a feeling that the “visitor” has become an active “interlocutor” for themselves and others, and finally that they have become placed as it were, a “guest” hosted by their own singularities.

Working in and with Theoretical Methodologies in The Visual Arts

Gathering Exploratory Notations : Performative/Speculative Spatial Inquiry

Time as a Structure,

I

M                                          a tool acts as a intervention, a memory into material

E

A                                           an apparatus can register directional occurrences into visual information to      form from their abstraction, their objectivity, new sensibilities within our subjectivity.

    Rose Graphs (directional analysis of occurrences) used to plot the occurrences and frequencies of           childhood cancers in and around power stations.

S

A  Working Sites as spaces of experiencing practical intimacies written into the poetic.

N

     forming relations by registering phenomena’s that collide with the everyday

E

     time has a duality, a fluidity, a, between, and, the rehearsal has ended, and with it the misreading or        chance is rendered corrected.

V

E  memory as scared time (Chris Marker) or Memory as the intersection of event and its structure, its        dimension of spatial possibilities.

    Information, a superimposed system of transparent relations. Actor-networks,

    Thinking Sociologically.

N

    Time as an event

Fire-Space, “objects maintain “their” condition”. Law.

Praesentia-the Phenomena of something presented in the light of its time.

Diagrammatic re-enactments drawn as reflections/introspections of a situation.

A Cosmology of sensibilities illustrated and staged through a predilection for materials and processes, a sort of material allotropy centred around theoretical and physical phenomena.

Cyanotypes, a photographic process that uses a transparency to render a permanent opposite when exposed to sun-light and fixed by washing in water.

Self reflectivity, the ability to cope (gain wisdom) from a new set of co-ordinates and possibilities.

We exist constantly reciprocating between perceptions and relations.

Field notebooks/journals allow and support poetic observation amidst theoretical and practical workings out.

Stillness and an open stage conceived by a lyrical exactitude between trace and material.

A place between words and worlds.

Intimacy of the practical written up into the poetic

The writers ability “Milton” to hold a number of themes fluid at the same time.

 

All that is solid melts into air Armature :  Memory/Personal Biographies  The Everyday complexity of things Saturnian Form : Lead and Libr…

Source: Space Folds/Melts : All that is solid melts into air : Metaphors of Memory : We exist constantly reciprocating between perceptions and relations

Tentative Building/Building The Drawing : Speculative Architecture, landing sites of surface, image and texts.

 Building The Drawing

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

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.

TRANSPARENCY : LITERAL AND PHENOMENAL

Colin Rowe, Robert Slutzky

Interactions of the Abstract Body

Josiah McElheny

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.

A Hut of One’s Own, Ann Cline

Texts, Annotations, Foundations, Pathways, Corridors, Bookmarks, Walking, Thinking, Ramble, Cross Country, Disciplines,

Analogies in and of sensate materials

Drawing Surface

Table Fabric

Colour Palette

Timbre in Objects

Assembled Spatial Volumes/Assemblage

Photographic Collage (mise en scene/abyme)

Making Discursive : Art Practice/Praxis

Outpost Studio, performative drawing, photographic collages, gallery bench (movable)

Drawing for charting table 1.5m x2.2m

Human trace, rust/wax on paper

Material Thoughts

Marks and Residues

Process and Reading

Matter and Desire : An Erotic Ecology. Andreas Weber.

Walking and Mapping : Artists as Cartographers. Karen O’Rouke.

Art as Contemplative Practice : Expressive Pathways to the Self. Michael A. Franklin.

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.

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

Ceramic Pavilion/Fired Earth Architecture

People make space, and space contains people

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

Atelier/Glass Studio with Scriptorium

They will be schools no longer, they will be popular academies, in which neither pupils nor masters will be known, where the people will come freely to get, if they need it, free instruction, and in which, rich in their own experience, they will teach in turn many things to the professors who shall bring them knowledge which they lack.

This then will be a mutual instruction, an act of intellectual fraternity.

 

Michael Bakunin, 1870.

 

Freedom in Education/Anarchism, Colin Ward 2004.

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

Interior design presented as an interactive and immersive spatial inquiry

My research and its design proposal are centred on the arts and the humanities and their ongoing function in our contemporary society. The emphasis of this inquiry is located by the spatial practices of architecture, fine art and performance. My project is a field event and symposium that would be able to host intellectual dialogues, lectures (TED) workshops, performative events and exhibitions.

I am particularly interested in the relational production of social spaces and the aesthetics of built spaces, both historical and ephemeral. The proposed use of Waverley Abbey near Farnham as a possible site and retreat for this venture is valid as it links a possible interdisciplinary territory of anthropology, archaeology, art and architecture.

The ruined site of the abbey at Waverley, near Farnham has been appropriated as a site and as a place within which to position and develop my practice. The Abbey, its buildings, and its grounds have provided a valuable source of the material evidence for thinking about hapticity and time in a pastoral setting.

The Scriptorium presents the “performativity of research” through specifically designed apparatuses and partitions. These designed components, made objects, together with annotated texts and drawings conspire to create a complex interior design, a “Place Study” staged in a niche-like space. This interior presents itself as both distinct and relational to the other projects in the MA Interiors Show. The interior presents the many manifestations of creative research that have been developed through engaging with the site.

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

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

Immaterial Architectures

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.

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

My photographs are part of my way of thinking about and imagining spaces and light, of pondering and approaching an idea. In this case, the photographs generate a way of looking at a structure that exists only in order to provoke a sensorial and intellectual experience.

Cristina Iglesias : METONYMY 2013

Working Collages

Karl Blossfeldt

 

Building The Drawing The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing a…

Source: Tentative Building/Building The Drawing : Speculative Architecture, landing sites of surface, image and texts.