Russell Moreton

Painterly Ruination (after JP) : Brickyard Ceramics. by Russell Moreton Via Flickr: Influenced in part by John Piper (Ruined Cottages) and the materiality, of old stained stonework, lime wash, carlite plaster and yellow ochre. On Materiality~Ruination Architectural Ceramics Of Scepticism. Ceramic substances/coatings and the layering of markings, instances and gestures into a spatial decay.

Clay Works : Making Felt Processual Minor Gestures : by Russell Moreton

Study Spaces~Research Creation : Seating with Cabins by Russell Moreton Via Flickr: In troubled times they all sought to experience life away from social definitions of success or failure. From there, these primitive huts marked personal, original inquires into the ever-mysterious nature of human existence. Anne Cline. A Hut of One’s Own Life Outside The Circle Of Architecture. The Scriptorium began through a research of both architectural themed texts and documentation of the site, and creative practice involving photography (digital, analogue and film) art practices of collage and drawing. The many visits promoted my own subjectivities to the site and these were also frequently subjected to change by the intervention of others in unexpected ways, these social intrusions by other revealed the very boundaries that the historic site engenders, some playful other malicious. These extremities within the social order of the visitors became problematic in designing for the site itself. An earlier proposal to host a Symposium centred on the Arts and The Humanities, that would use the Abbey and its surrounding ground appeared to be a project of vast diversities and logistics better suited to a cultural project through arts management and funding. As the project developed certain creative methodologies around particularities of the site itself began to appear, the notion of palimpsest being one of them. This promoted the idea of a reading room, as an ephemeral interior space that gathers up the experiential values of ‘ruins’ and re-enacts them as a site to explore the architectures of images. It became apparent that ‘palimpsest’ could be both a visual surface of erasures, earlier markings partially over written by newer ones ‘annotations’ and it could be a scaffold of developing ideas clearly visible merging as adaptations into the very usage of the site. russellmoreton.blogspot.com/search?q=scriptorium

DSC_0367 by Russell Moreton Via Flickr: russellmoreton.blogspot.com

Studio Spaces : Whitewashed with Breathing Forces by Russell Moreton

Artist Statement : Making Research by Russell Moreton Via Flickr: Russell Moreton : A visual fine artist is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. My site-based practices further develops my inquiry into speculative learning, creative propositions for knowledge production through Spatial Practices. Makers work in a world that does not stand still. Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations. Tim Ingold, 2010 The Studio is no longer a retreat but it now integrates. It is all exterior. Ways of Curating, Hans Ulrich Obrist. 2014 Clay+Ceramic Bodies of Overspilling Forms~Sympathy~Abject(ion) Forward to The Sympathy of Things, Lars Spuybroek. We see the excess of changfulness, at once immanent to and over spilling the structural integrity of the form. Brian Massumi. Making~Environment(s)~Artist Statement. 2025 Building Spatial Apparatuses~Performativity~Participation Create a space where craft, theory, art and architecture come together. Using diffractive readings centred around developing and making conceptualising environments using situated processual gatherings and idea-forms of inhabiting, embodying, fictioning, and folding. Constructing~compositions for creative ecologies through the humanities that can performatively inhabit fictions that fold and embody both spatial bodies and human bodies. Russell Moreton. Axis Fellowship Proposal. 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.

DSC_0470 Fired Clay : Artist Statement~Research Interests by Russell Moreton Via Flickr: russellmoreton.blogspot.com Russell Moreton : A visual fine artist is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. My site-based practices further develops my inquiry into speculative learning, creative propositions for knowledge production through Spatial Practices. Makers work in a world that does not stand still. Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations. Tim Ingold, 2010 The Studio is no longer a retreat but it now integrates. It is all exterior. Ways of Curating, Hans Ulrich Obrist. 2014 Clay+Ceramic Bodies of Overspilling Forms~Sympathy~Abject(ion) Forward to The Sympathy of Things, Lars Spuybroek. We see the excess of changfulness, at once immanent to and over spilling the structural integrity of the form. Brian Massumi. Making~Environment(s)~Artist Statement. 2025 Building Spatial Apparatuses~Performativity~Participation Create a space where craft, theory, art and architecture come together. Using diffractive readings centred around developing and making conceptualising environments using situated processual gatherings and idea-forms of inhabiting, embodying, fictioning, and folding. Constructing~compositions for creative ecologies through the humanities that can performatively inhabit fictions that fold and embody both spatial bodies and human bodies. Russell Moreton. Axis Fellowship Proposal. 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.

Bramdean Studio Wall/Pages from artist's book. WSA 2005 by Russell Moreton Via Flickr: russellmoreton.blogspot.com

PC122918 Bodies in Affective Documentation by Russell Moreton Via Flickr: Archive Material

PC129071 Abject (ion) Bodies in Movement by Russell Moreton

On Touching : The Inhuman that therefore I am. Karen Barad. by Russell Moreton

Artfulness On Matter(s) of Activation not Detonation by Russell Moreton

Ceramic Multiples : Transductions with serial variations on clay. by Russell Moreton Via Flickr: russellmoreton.blogspot.com

DSC_0521 Anarchive Spatial Structures by Russell Moreton Via Flickr: russellmoreton.blogspot.com An anarchive is a creative process and philosophy that resists traditional, static archiving. Instead of just storing past traces, it acts as a "feed-forward mechanism" that uses archival material to continuously spark new art, sensations, and becoming. Key Concepts Process over Product: Traditional archives preserve inert documents. The anarchive treats these traces as carriers of potential, constantly mutating into new creative iterations. Reactivation: Traces from the past are used as springboards to inspire new thought and ongoing variation, rather than settling on historical truth. Excess Energy: The anarchive is considered the "surplus value" of the archive—it lives in the movements going into and coming out of storage.

DSC_0421 by Russell Moreton Via Flickr: russellmoreton.blogspot.com

Slow Philosophy : Diffractive Over Layering/Accretions Of Making. by Russell Moreton Via Flickr: russellmoreton.blogspot.com