Water at Hungate, Norwich.

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.

The Enabling Constraint.

Some Working Ideas.

Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits (Hungate, Water). Erin Manning.

Harleston 

Outpost 190823

Hungate Architectural Explorations.

Air/Place/Breath/Light/Architecture/Ritual/Social Space

Cell-Court-Domain.

The line of the old roof can be seen.

Like mothers of men, the buildings are good listeners. Long sounds, distinct or seemingly in bundles, appease the orifices of palaces that lean back gradually from canal or pavement. A long sound with its echo brings consummation to the stone.

Adrian Stokes.

Initial works made and manifested through entanglements of practice/making/place.

Slab, box, extrusions/industrial/handbuilt, flue linings, corten architectural  models.

Water/Anchorages/Anchorite places between the sacred and the secular.

Cell-Court-Domain

Body-Water-Air

Vessel-Boat-Building

Piscina in the south wall.

Squint into the nave and tower.

Clay-Water-Fire

Five clay slab fabrications exploring intimate spaces, notion of inhabitation/anchorite within social/sacred space.

Art/Spiritual Space.

Ambivalences/Uncertainties/Paradoxes

Something Endures between The Made/Un Made.

Raw Clay Construction, lead tray, water.

The Hungate : Ambient Atmosphere/Precarious Situation/Fragile Structure and Social Relationship.

Water (secular) both corrodes/penetrates the structure, and water (sacred) caresses/comforts the soul.

White slip/emulsion paint/ yellow ochre.

Nocturnal sounds/long sounds as reminders of human solitude and mortality.

Hungate Ceramic Forms/Spatial and material inclinations/wayfaring in  exploring place.

Generative/Speculative use of material/volumes and historical narratives.

Clay-Drawings in volumes, void spaces and surfaces.

Brick Form/Buttressed/Tower/Scaffolding

Corten Metal Box Constructions.

Components brought into a spatial form/navigation/exploration of built spaces.

Building as drawing, showing changes taken, marked, erasures, superimpositions, indexical and scored surfaces.

Materials marked, moved and redeployed elsewhere.

Poche/Pierced Walls/Architectural Details

Lead tray/Water/Ceramic/Wooden Wedges.

Making Template/Drawing/Pierced Components

Hidden Spaces/Enclosed/Confined Volumes/Voids

The carpenter is not an architect.

Tim Ingold.

Experiential/Spatial Alterations to the drawn plan as the building commences.

St Peter Hungate

Norwich.

A History of the Church.

Geoffrey Goreham, Rachel M. R. Young.

1965.

This sketch by John Kirkpatrick, who died in 1728, is the earliest extant picture of the church.

John Bonde also left 6d, to the anchorite of St. Peter Hungate. This  was a man vowed to live a religious life in solitude. An anchorite's cell was often built against the church wall with a connecting window, so that he could hear Mass and yet remain secluded.

The pyx and the metal box or chrismatory (mentioned in 1368) which held the consecrated oils were also locked lest the holy wafer and oils should be stolen and used in witchcraft.

Monochrome by James Sillett, 1828.