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Russell Moreton

Harleston
Making~ Developed from earlier craft based methodologies of working in ceramics, glass and construction. My practice now embodies professional studies in visual art, spatial practice, interior design and teaching art in education.

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.

 

 

 

 

 

Research-Creation.
Russell Moreton.


How the history of pottery and the philosophy of pottery has informed contemporary practice.


Working Notes: Edmund de Waal.

Independent research for Studio Practice Theory and Analysis.
UCA Farnham, MA Interiors. 2014.

Why does Edmund de Waal make architectural interventions through the arrangement of porcelain pots?
To what extent, if any is this Ceramist interested in the ability of the single pot to…

Edmund de Waal, How the history of pottery and the philosophy of pottery has informed contemporary practice.

Craft and Art : Skill and Anxiety.

Craft is logic, and art defies it. The defiance is what makes art. The serenity of the artisan lies in her knowledge that it can all be done again. The anxiety of the artist; lies in knowing that if it is done again, she has become an artisan. (Gopnik,2014:7)


Edmund de Waal is a maker of objects with imagined histories. (Gopnik,2014:11)

Atemwende : A breathturn.

Edmund de Waal.

The Great Glass Case of Beautiful Things:

Extracting Context and Content. Clay+Ceramics in Contemporary Art.

Collages of Agencement : A propositional intensity of inquiry.

Domestic Rituals : Gathering The Everyday

Overflowing Forces~in-acts of Sympathy with the Anarchic share of Existence.

Speculative Theorizing Researches. Artist Books : Ceramic Scriptorium.

Negative Capability : The Link Gallery, Winchester University.

Fictioning Apparatuses~Site : Morn Hill Winchester.

On the Inner Life of Things : Painterly Dissolutions~Emulsions~Viscous Light.

Wayfaring Landscapes~Affective Aesthetics of Difference.

Eartha+Ceramic : Clay+Ceramics : Correspondences and soundings on deep surfaces.

Studio Works : Praxis between theory and practice. Outpost Studios 2018-25

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