Ceramic Shelters : Transitional Zones between Thinking and Making.

Affective~Immersive Bodies. Materialisms and Atmospheric Apparatuses.

Making~Environment(s)~Artist Statement. 2025

Makers work in a world that does not stand still.
Tim Ingold, 2010.

The Studio is no longer a retreat but it now integrates. It is all exterior.
Ways of Curating, Hans Ulrich Obrist. 

Clay~Making : The Analogous Atmosphere of  Experience.

Asking how making is a thinking in its own right, what else that thinking can do?
Erin Manning.

AI Overview
This artwork is a sculptural assemblage by Russell Moreton, featuring ceramic vessels and forms. 
The work explores themes of reverberation, innerness, and volume through a processual approach to clay. 
Moreton's practice investigates the interconnection of making interior spaces, demarcating and folding material into spatial forms. 
These pieces are described as 'extreme atmospheres' or 'fired clay labyrinths,' utilizing textural surfaces and industrial-like perforations

This image features mixed-media ceramic artworks by artist Russell Moreton.

These sculptures are part of an exploratory research project titled "Clay/With Fire," focusing on architectural themes.

The artist explores the concept of "making" through the interconnectedness of interior spaces, using clay as the primary medium.

The pieces are processual in nature, meaning they evolve from the direct experience of working with the material.

The works incorporate the artist's imprint, exploring the metaphysical and immersive nature of creation.

Russell Moreton : A visual fine artist working with clay is exploring themes around 'Making' involving the imprint of the artist, and metaphysical immersive nature of contemporary art practices and architecture. He is Interested in developing speculative making spaces where craft, theory, art and architecture can come together.

Moreton's site-based practices using clay as his principle material further develops his inquiry into a site based speculative learning, and with it creative propositions for knowledge production through his ceramic objects. He finds in ceramics an analogy with architecture, in particular a resonance of a spatial structure in which the the drama of the building has now ceased.

His 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. The act and gesture of drawing further adds ephemeral marks of process amongst the materiality of the built spaces. Clay slips and other incised marks on both sides of the clay are all interwoven into his spatial forms.

Assemble forms are then divided into several spatial interiors, in which the use of piercings are used through the surface to set up a circulation for light to enter into the interiors. Further firings and more ceramic coatings are applied to further investigate the involuntary relationships that have emerged. These objects are unknowable as they are extracted from the kiln, and as such they act as forms that can take on a theoretical nature, gathering his discursive researches and readings into a performative ceramic body.

For Moreton ceramics help to facilitate the essential auditory experience of silence, as experience by architecture as tranquillity. He is drawn by the solitudes of libraries and the sounds of construction, of pounding on materials, of making and constructing space. Architecture also presents this drama of construction silenced into matter, space and time. His finished fired constructions could become a museum for a waiting, patient silence. The silence of architecture, like that of clay is a responsive, remembering and meditative gathering, a correspondence of matter(s).

These are ceramic sculptures by artist Russell Moreton. The artist uses clay to explore architectural themes and spatial forms.

The works are processual in nature, focusing on the imprint of the artist and the material itself.

The material is part of the vocabulary of meaning in his practice.

The artist describes his practice as exploring the interconnectedness of making interior spaces.

The act of drawing adds ephemeral marks of process among the materiality of the built spaces.