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Social apparatuses and agents that explore the possibilities of space. Other Worlds : Insistent moments of mark making/subjectivity. Russell Moreton
Friday 29 January 2016
Thursday 28 January 2016
Russell Moreton Veiled Melancholy/Book Narratives : Film Collages. #3
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The Politics of Architecture : Theorizing through speculative spatial practices.
"He rubbed his eyes. The riddle of his surroundings was confusing but his mind was quite clear - evidently his sleep had benefited him. He was not in a bed at all as he understood the word, but lying naked on a very soft and yeilding mattress, in a trough of dark glass. The mattress was partly transparent, a fact he observed with a sense of insecurity, and below it was a mirror reflecting him greyly. Above his arm- and he saw with a shock that his skin was strangely dry and yellow - was bound a curious apparatus of rubber, bound so cunningly that it seemed to pass into his skin above and below. And this bed was placed in a case of greenish-coloured glass (as it seemed to him), a bar in the white framework of which had first arrested his attention. In the corner of the case was a stand of glittering and delicately made apparatus, for the most part quite strange appliances, though a maximum and minimum thermometer was recognizable."
H. G. Wells : The Sleeper Awakes. 1899/1910
Spatiality : The Spatial Turn, Robert T. Tally Jr. 2013
Immediate Architectural Interventions, Durations and Effects : Apparatuses, Things and People in the Making of the City and the World. Alberto Altes Arlandis, Oren Lieberman. 2013
Preface (1921) ” The great city of this story is no more than a nightmare of Capitalism triumphant, a nightmare that was dreamt a quarter of a century ago. It is a fantastic possibility no longer possible. Much evil may be in store for mankind, but to this immense, grim organization of servitude, our race will never come” H.G. Wells. EastonGlebe, Dunmow,1921.
The Politics of Architecture : Theorizing through speculative spatial practices.
"He rubbed his eyes. The riddle of his surroundings was confusing but his mind was quite clear - evidently his sleep had benefited him. He was not in a bed at all as he understood the word, but lying naked on a very soft and yeilding mattress, in a trough of dark glass. The mattress was partly transparent, a fact he observed with a sense of insecurity, and below it was a mirror reflecting him greyly. Above his arm- and he saw with a shock that his skin was strangely dry and yellow - was bound a curious apparatus of rubber, bound so cunningly that it seemed to pass into his skin above and below. And this bed was placed in a case of greenish-coloured glass (as it seemed to him), a bar in the white framework of which had first arrested his attention. In the corner of the case was a stand of glittering and delicately made apparatus, for the most part quite strange appliances, though a maximum and minimum thermometer was recognizable."
H. G. Wells : The Sleeper Awakes. 1899/1910
Spatiality : The Spatial Turn, Robert T. Tally Jr. 2013
Immediate Architectural Interventions, Durations and Effects : Apparatuses, Things and People in the Making of the City and the World. Alberto Altes Arlandis, Oren Lieberman. 2013
Preface (1921) ” The great city of this story is no more than a nightmare of Capitalism triumphant, a nightmare that was dreamt a quarter of a century ago. It is a fantastic possibility no longer possible. Much evil may be in store for mankind, but to this immense, grim organization of servitude, our race will never come” H.G. Wells. EastonGlebe, Dunmow,1921.
Russell Moreton Openings and Conclusions 6
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Collage on paper,written fragments and images from Peter Greenaway, Josef Albers and Robin Evans. Photo montage of The Physical Self (Greenaway) and Waverley Abbey UK.Visual research as part of The Waverley Project/Obscura and Reading Room.
On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species-the collective (generic) work of the species-on the model of what used to be called "art" ; indeed, it is still so called, but art no longer has any meaning at the level of an "object" isolated by and for the individual.
Labels:
#russell moreton,
#spatial practice,
archaeology,
Cistercian Monastery,
Colin Renfrew,
Josef Albers,
Peter Greenaway,
place,
Remote Sensing,
Research Collage,
Robin Evans,
The Sensitivities of the Physical Self,
Waverley Abbey,
Working Notes
Saturday 23 January 2016
Friday 22 January 2016
Thursday 21 January 2016
Wednesday 20 January 2016
DSC_0277 Domain-Court-Cell : Research Collage
Translucent Transitions : The Ruin in the round
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#russell moreton,
#spatial practice,
translucent drawing trace place study surface material light photographic architectural ruins re-constructed glass line shadow transitions built architecture design blackandwhite monochrome
Tuesday 19 January 2016
DSC_0011 Waverley Project : Reading Rooms
Monday 18 January 2016
Architectural Transposition : Anti-Object
Sunday 17 January 2016
Thursday 14 January 2016
Textual Realities, J G Ballard on Chris Marker
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Collage : A Discursive Spatial Practice
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#russell moreton,
#spatial practice,
fine art performance construction architecture pinhole photography drawing collage art practice russell moreton montage drawing spaces interiors visual articulations finality ambiguity continuity
Wednesday 13 January 2016
Tuesday 12 January 2016
DSC_0335 Collage : Building Place
DSC_0394 Collage : Building Place
Thursday 7 January 2016
Photographic Drawing Surface
Architectural Design Portfolio
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Architectural Design Portfolio
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