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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.

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.

 

 

 

 

 

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

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

Panopticon~Urban Gothic : Inhabiting Building Places.

Sensing Places : Towards an Alchemy of Thinking

Art~Theory~Philosophy : Building Sites to Ecological Places.

Art Practices as Speculative Learning Environments.

Changefulness~Archaeologies of making material sensitive.

Panspermia

The Winchester Years : Becoming with Difference, Alienation and Wonder.

On The Nature Of Photography : Alternative Photographic Processes

Speculative Fields/Indexical Drawings : Bodies/Spatial Bodies and Practices

Aerial~Espace-Milieu : Affective Processual Experiences

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