Tuesday, 28 January 2014

Photo 7980 : Possible Worlds

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Cyanotype drawing and exposure.

www.russellmoreton.blogspot.com

Possible Worlds (2001)
Reviewed by Jason Korsner
Updated 11 July 2001

The fourth film by the French Canadian theatre director Robert Lepage - his first in English - cements his reputation as a film maker with a unique vision.

"Possible Worlds" is a poetic study of the nature of human existence, wrapped up in a murder mystery.

George Barber (McCamus) is found dead with $1000 in his pocket but with his brain missing. Interspersed with the subsequent police investigation, we see moments of George's life as he struggles to make sense of the world - or worlds - he lived in. "Each one of us exists in an infinite number of possible worlds," he muses, as he keeps meeting the same woman, Joyce (Swinton), although each Joyce he meets has a different past, a different present, and a different personality.

Lepage employs exquisite visuals as he explores George's imagination and the role it played in his life, asking fundamental questions like do our thoughts exist before we think them? Or is there another me?

Tom McCamus displays just the right amount of vacant confusion, while Tilda Swinton gives a remarkable performance - or four performances - reprising the same character in different but simultaneous worlds.

The pace is slow and deliberate, but any faster and the audience would get lost. "Possible Worlds" is not easy to watch, and poses more questions than it could ever hope to answer, but this intelligent film will certainly achieve the director's goal of inspiring discussion.

Wednesday, 22 January 2014

The Politics of Things : Cyanotype Poster

Tim Ingold
MAKING 2013
Anthropology, Archaeology, Art and Architecture.

Practical Geometry
The Architect and The Carpenter
The Cathedral and The Laboratory
Templates and Geometry
The Return to Alchemy

Cyanotype image from pinhole camera with sound intervention/device within the apparatus of the camera, performative material gathered from the Canterbury School of Architecture.

UCA Spatial Practices MA under Oren Lieberman.

flickrhivemind.net/Tags/thinkingprocessesandstrategies/In..

Sunday, 19 January 2014

Drawing 2011. Classical study from an anatomical drawing.

“At present, we still need biological brains to provide the cross-referencing and association, but more sophisticated software and faster hardware will increasingly usurp even that function."

Net Gain : Richard Dawkins

How is the Internet Changing the Way You Think?

The Net’s Impact on Our Minds and Future

Edited by John Brockman 2011

Drawing,tracing and shadow, anatomical study with photogram ( text from an introduction to a garden in Italy, Bomarzo).

Drawing explores/re-imagines outlines and interiors.

Working Visuals #9

Working Visuals #9 by Russell Moreton
Working Visuals #9, a photo by Russell Moreton on Flickr.

Photographic Drawing : Anglo-Saxon grave outline with clay vessels.

Saturday, 18 January 2014

Working Visuals #10

Working Visuals #10 by Russell Moreton
Working Visuals #10, a photo by Russell Moreton on Flickr.

Spatial Intelligence
New Futures for Architecture
Leon van Schaik

Archaeological Site, Morn Hill, Winchester.

Friday, 17 January 2014

Pastoral Space: Material,Inquiry and Craft.#3

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

Drawing on snow,a field in winter 2010. Bramdean,Hampshire.

Pastoral Space: Material,Inquiry and Craft.#4

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

1000 "pots" performative site 2011. The Yard, Winchester.

Drawing Scripts : Light Sensitive Spaces. #1

Working Notes/Scripted Drawing

Contents/Space Page

"Boundaries and junctions points are in the nature of things points of friction"
Lefebvre, The Production of Space.

The act of "blocking in" the dimensions of another space within the continuum of another can propose to create a temporal junction between a host space and a new site within this host, a guest. This activity also has associations with nomadic and agricultural-pastoral societies as they use paths and routes as spatio-temporal markers or determinants.
R Moreton, Working Notes, Spatial Practices, Canterbury

Drawing with Layered Architectural Drawings

Site

Arte Povera
Material
Body
Social Space

"Translates the painterly relationship of figure and ground into the space of real situations"
The Visual Poetics of Jannis Kounellis, Suzanne Cotter and Andrew Nairne.
Modern Art Oxford, 2004-2005

Working Visuals #12

Working Visuals #12 by Russell Moreton
Working Visuals #12, a photo by Russell Moreton on Flickr.

Scaffolding and the Zone of Proximal Development.
Spatial Practices Workbook.

Thursday, 16 January 2014

Working Visuals #5

Working Visuals #5 by Russell Moreton
Working Visuals #5, a photo by Russell Moreton on Flickr.

Gridshell Interior : Singleton Open Air Museum.

Photographic Diagram : The Setting out of Borrowstone Rig (fragment)
Time Stands Still, Keith Critchlow

Working Visuals #2

Working Visuals #2 by Russell Moreton
Working Visuals #2, a photo by Russell Moreton on Flickr.

Spatial Intelligence
New Futures for Architecture
Leon van Schaik

Archaeological Site, Morn Hill, Winchester.
Analogue image and collage.

Monday, 6 January 2014

Leylines Installation : Mapping Tool #3

“Leylines” has been appropriated and employed as both a practical and as a conceptual strategy to inquiry into places and localities. Site visits and sensitive dialogues with the other artists at a number of locations have further brought materials and processes into the creative realm. The spatial practice of setting-up this work has also produced insightful local knowledge from those dwelling nearby.

Beams and Netting: Negotiations in the chamber.

Clay, Hessian, drawings and transparencies from architectural openings, drawing frame, antique glass, lead and nylon lines.

This intervention into a listed building has become a temporary refuge for a work in progress. The work attempts to show a creative agency as it encounters a host of installed hierarchies and conditions. The architectural motif on the drawings has been derived directly from the open apertures of the chamber, and these drawings also reference the supportive ironwork (Ferramenta) which has been playfully re-registered as a graphic leyline . A drawing frame similar to that used in archaeology for drawing has been adapted to illustrate the relative positions of the leyline as registered by the ordnance survey grid, both terminuses being labelled on the frames periphery.

Unresolved Reverberations : #2 Solar Spore.

http://flickrhivemind.net/Tags/thinkingprocessesandstrategies/Interesting

Drawing and Assemblage : Cyanotype process on watercolour paper with lead profiles.

http://flickrhivemind.net/Tags/thinkingprocessesandstrategies/Interesting

Spatialities : Mapping Inquires.

#2 Workplace Andover College 16.11.2010 (detail from wall collage)

Education Project Residency: Andover College. 2010
Russell Moreton

Andover College provided a dedicated workspace for Russell Moreton to develop his research and practice, sharing his time between the two sites.

Brief outline of initial thoughts and intentions...

"Setting up a Diversion for Creative Exchange.

Interested in grasping the opportunity at Andover College to further advance my postgraduate studies at Canterbury school of Architecture. The Spatial Practice course at Canterbury has opened-up theoretical methodologies into how we practice, perceive and interact with space. My own research project is centred on issues regarding registering working places. Creative investigation and research into this project has evolved through performative acts, drawings with apparatuses and critical theory.
The aim of this area of my research and practice was an attempt to how I might introduce an intervention into a place that will act as a physical baffle a “bookmark/sounding board” which might allow a “stalled site” to be created within the duration of place. This site will be relational to its placement but also annexed. It is hoped that this site, slightly annexed from its formal relations might render creative transdisplinary dialogues, as a gathering place out of the main flow of activities. This spatial device with its relational surfaces and volumes will attempt to harbour a tangible space, a forum of reference even in absence of its author/installer and custodian. It will grant a sense of hospitality, and a working space to those prepared to dwell.
The encountering material dialogue (stuff) of this diversion and its site will initially utilize my experience with contemporary drawing, its gestures and acts and this will be augmented by the malleable and transformative medium of clay. The contemporary issues regarding the use of clay and ceramics amongst contemporary practitioners will be researched, including the growing number of performance and site specific works. The implications and findings of this dialogue might be further transposed into the Architectural realm through surface and volumes amongst other materials and structures."

text by Russell Moreton

The Laboratory , Canterbury 2009

Tim Ingold
MAKING 2013
Anthropology, Archaeology, Art and Architecture.

Practical Geometry
The Architect and The Carpenter
The Cathedral and The Laboratory
Templates and Geometry
The Return to Alchemy

Cyanotype image from pinhole camera with sound intervention/device within the apparatus of the camera, performative material gathered from the Canterbury School of Architecture.

UCA Spatial Practices MA under Oren Lieberman.

Saturday, 4 January 2014

Auguries into the maternal body. Un-fired clay and silica sand.. 2011

Russell Moreton : Exhibition of working practices.

Artist Statement/Chapel Arts Residency

Practitioner using the creative receptiveness of material together with the inclusion of drawing to harbour transits and passages of human presence, vulnerabilities centred around the human condition. My work adopts strategies which articulate a sense of absence and anonymity within the abandonment of the work to its location. I feel drawn to this registering of passage, encounter together with its farewell. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place. The performative recording by physical means which renders itself as a trace of human presence, now becomes a vacant territory open for the consideration of others.
My work continues to investigate this sense of material response with the performative trace of a human absences. The place-ment of these acts attempts to promote thresholds from which to reflect upon spatial, sociological and psychological conditions and perceptions.
Currently working in clay, low fired to produce and promote a fragile vessel. This vessel is installed to act as a dwelling presence reverberating in a resting place. from which work is drawn into the human form to register a surface of absences resulting from past gestures and solitudes.

Russell Moreton a visual artist uses simple gestures of drawn Human traces gathered and presented amongst natural materials. Exploring themes around the Human condition, vulnerability and abandonment. Materials are employed to further underpin our sense of place and time. The act and gesture of drawing adds a ephemeral mark amongst the materiality and locality of place. Currently using clay to register these themes, installing work Augury Vessel 2010 into Chapel Arts as part of their research residency programme.

Situation/Architecture : Energy/Clay. Joseph Beuys, Tate Modern 2013. #2

Joseph Beuys : Table with Accumulator 1958-85

In this work, an accumulator – a kind of rechargeable battery in which energy can be stored - is attached by wires to two pieces of clay, as if drawing power from the earth itself. For Beuys, the production and storage of energy was a metaphor for the creative and spiritual energy that he wanted to foster both in the individual viewer and in society as a whole. This was one of the works that Beuys included in the 1982 Zeitgeist exhibition, accompanying the various elements of Lightning with Stag in its Glare.

Wednesday, 1 January 2014

Anthropomorphic Geography on Earthen Ground

Against SPACE : Place-Movement-Knowledge

"I wish to argue, in this chapter against the notion of space. Of all the terms we use to describe the world we inhabit, it is the most abstract, the most empty, the most detached from the realities of life and experience."

Tim Ingold

Environments
Land
Earth
Pastures
Country
Ground
Landscape
Indoors
Open
Sky
Air

Presentation Slide : Heuristic Practices/Strategies.

The Architecture of Continuity : Lars Spuybroek, essays and conversations. Rotterdam 2008.

The Poetics of Memory "The Cinema of Robert Lepage : Alexsander Dundjerovic. London 2003.

Spatiality : Robert T. Tally Jr. London 2013.

The Poetics of Reverie "Childhood, Language, and the Cosmos" : Gaston Bachelard
(trans Daneil Russell). Boston 1971.