Russell Moreton
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Ceramic sculptures centred around ’making’ through showcasing a heavily textured, white-painted surface with perforated holes. The artworks are part of a series focusing on bridging the gap between ceramic craft and architectural form. Some of these slab constructed forms feature weathered, textured surface with yellow and white paint splashes. The artist uses these works to demarcate and define space, exploring the intersection of craft, theory, and architecture. Using a making process that incorporates structural elements such as grid patterns, small drilled holes, and diagrammatic line work.
Making~Intensified Surfaces of a Transdisciplinary Spatial Inquiry.
The Experience of Existence : Fired clay meditations on a materiality, a willingness to survive and endure.
Clay+Ceramic Bodies of Overspilling Forms~Sympathy~Abject(ion)
We see the excess of changfulness, at once immanent to and over spilling the structural integrity of the form.
Brian Massumi.
Forward to The Sympathy of Things, Lars Spuybroek.
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
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.
Water at Hungate. 2023
Hungate Architectural Explorations.
Air/Place/Breath/Light/Architecture/Ritual/Social Space
Cell-Court-Domain.
Russell Moreton is a visual artist interested in gathering research and responding to the historical site of St Peter, Hungate. He has explored the exhibition theme 'Water' as both a spiritual and corporeal inquiry for site-specific artworks. He has spent time developing working ideas that have an affective resonance to the architectural setting of their presentation. His use of slab built ceramics vessels echo the stillness and muted silence experienced within the medieval fabric of the Hungate. He has used a figural drawing on Chinese paper, processed by the evident passage of water to explore the representation of the human form in this particular place.
Artist Statement 2019
Curatorial Architectures/Assemblages
Russell Moreton practice continues to develop themes that bridge interests between the post studio operations of the contemporary artist and the new curatorial assemblages of participation and performativity. 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.
Working Notes for installation at Raveningham Sculpture Trail. 2018
The sensing space, a sculptural assemblage created at Raveningham is an inquiry into 'making' and 'reflexivity' amongst a social landscape.
A reflective building is an echo not a statement.
Haptic devices/seating/dwelling in the landscapes of the mind.
Landscape assemblages and the significance of solitude.
The immensity/intimacy and its immediacy to the imagination.
Immensity is within ourselves. Gaston Bachelard.
The site at Raveningham offers the spatial practice of a social event and the opportunity to playfully engage with architectural forms, fine art surfaces and textures.
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