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

Curatorial Concerns~Practical Philosophy.

Works about moving the reading~sensing body.

Making Affective Environments

Performative Reading(s)

The intuitive or affective reading may be more practical, a practical rather than contemplative, a deep (creative) ecology of attention. 

A philosophy of forces or of powers that compose forms.

Socially generous, learning~making speculative environments.

Some recent work that underpins my activities and development as an artist, my discursive theoretical reading which is at the heart of my practice, becomes the basis of theoretical things and their performative, speculative engagement with environment(s).

East 25 Submission : Soul Cages/Architectural Bodies.

Soul Cages for Architecture and its Abject Bodies.

My art practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes.

3 Compositional Forms.

270mmx230mmx70mm

Alchemy : Raveningham Sculpture Trail 2025.

Sensing Places : Towards an Alchemy of Thinking.

This site based exploratory apparatus, part self assembly, and part crafted brings together components, materials and filtered light. Built around the involvement of making in the landscape, this event based intervention creates a fictional space articulated through the alchemy of built spaces that merge the poetic with the tectonic.

Ceramic Composition : White Odyssey~Archaeologies of making material sensitive.

Overspilling Forms~Sympathy~Abject(ion)

Tentative Inhabiting Architectures.

Create a making-space where craft, theory, art and architecture become entangled.

Making~History~Placemaking~Identity~Material~Memory

Reading, both diffractively and cross disciplinary are fundamental to my thinking-making-processes. The processual nature of my practice, especially my working through inscriptions and interiors in clay and different types of fire, embody for me a way of materially engaging with my philosophical findings. These theoretical things enact thinking into a sensual composition of felt abstractions.

As I survey my present position, I am sensing a timely, and expedient need to focus more explicitly on events, and locations where I can build relationscapes between other practitioners and infrastructures, and institutions based in, through not solely in the humanities. My professional studies and their creative engagements push me towards the notion of performative workshops that can spatially create emerging architecture(s)~environments for furthering artistic research. Both my theoretical studies from Winchester School of Art, and at Canterbury, where Spatial Practices helped me learn to engage with human bodies and spatial bodies through art, architecture, performance are now allowing me to build methodologies that help to theorise, and conceptualise the making of possible environments.

I feel The Axis community will allow me to further my creative intentions, and that it can begin to articulate a cohesive and ongoing dialogue between other practitioners and site-responsive, event led activities and their technological developments.

Currently my practice raises concerns centred around the very nature of a contemporary art practice driven by a strong theoretical and explorative nature, as it negotiates the audience of a sculpture trail, or a ceramics exhibition. My site responsive installation at the Hungate, Norwich, in 2023 was for me pivotal in that it provided a space for an informed audience and installation of work developed and made solely from site narratives and their historical, societal and philosophical interests.

These reflective concerns, lead me urgently to address issues of a curatorial nature, and it is in this field of operations that I wish to further through site-reliant spatial practices that gather art, site and affective atmospheres.

Russell Moreton

https://russellmoreton.blogspot.com