fieldwork : studio

obscure cartographies

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invites : commissions

tributaries

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selected works

image making

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field : studio

lossenham residency

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field : studio

earth kiln

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fieldwork : studio : sound

saturations

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fieldwork : studio

interiorities

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fieldwork : studio

the nature of substance

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fieldwork : studio

sixty glass containers

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fieldwork : studio : sound

ambient mattering

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fieldwork

exchanges at margins

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fieldwork : studio : sound

cipher songs

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fieldwork : studio

soundings

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fieldwork : studio

the falling of the drop

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fieldwork : sound

vapour music

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fieldwork : studio : gallery

nexus : node

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studio : fieldwork

ancestral geographies

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fieldwork : studio : sound

light in a dark field

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studio : sound

atlantic cable

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fieldwork : studio

sea sawdust

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studio : film : sound

i, river

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studio : book

monolayer

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fieldwork : film : sound

red variations

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fieldwork : studio : sound

fen

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fieldwork

graze drawings

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installation : sound

close to darkness

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fieldwork : studio : fieldwork

intervals in grey

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installation : film : sound

boundaries

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installation : sound

circulations

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fieldwork : film : sound

quiet rain

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fieldwork : studio : gallery

infusoria : scintilla

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fieldwork : studio

adrift

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fieldwork : sound

ambient pilgrimage

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installation : sound

dockyard collaboration

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fieldwork : studio

micella : algal sequence

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studio : commission

intonations

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fieldwork : sound

intertidal

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fieldwork : studio

hydrospheres : parenchyma

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fieldwork : studio

biophilia

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fieldwork : studio

void works

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studio

coherence : polymorphia

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experimental journal

wordstream

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archived journal

starbathing

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selected history

wayfaring

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about riverwork

riverwork.studio presents examples of russell burden's creative practice; a uk based artist exploring aspects of new materialist thought, poiesis and ambient perception, most often through the lens of hydrological, geological, biological and phenological processes. amongst other site specific undertakings russell holds a four year residency for the lossenham project, creating responses to a discrete wetland landscape in the high weald of kent - this is conjunction with a community based, earth kiln pottery project that explores material engagement in the landscape and early medieval clay working.  the lossenham project

a work space in flux

riverwork.studio might be best understood as an entanglement of ideas slowly simplifying, an active journal or sketchbook, a sense-making tool for the artist, its mutable process helping to further a personal enquiry. the site pulls together fragments of research, artwork, collected materials, poetic, historical and phenomenological observations. unlike an archive of finalised projects, the work is left open to be contextually reconfigured as the enquiry evolves.

for a visual chronology and diversity of practice - wayfaring
for various invites & commissions - tributaries
for a few examples of photographic work - image making

philosophy

the practice is delivered through a wide range of media that seeks to reveal the lived experience of unexpected synchronicities and serendipitous juxtapositions as they arrive unbidden. the temporal, the physical, the imagined and the real are realms left open to a flat ontological approach, the biotic and abiotic regarded as one vibrant materiality. natural phenomena are viewed from a goethean standpoint, inviting the objectivity of science to integrate with artistic imagination; the human instrument gazing through the surface fabric of things to apprehend spontaneous, spacious, luminous fields of meaning.

'by being part of, yet different from technology, art leads us into the open: a place of unshieldedness to the forces of poiesis flowing into one another. (ref: warwick mules, heidegger, nature philosophy and art as poietic event. transformations, issue #21, 2012)

paul nash, in the landscape of 1933, phrased the chemistry of his personal search thus... ‘last summer i walked in a field near avebury where two monoliths stand up sixteen feet high, miraculously patterned with black and orange lichen, remnants of an avenue of stones which led to the great circle. a mile away, a green pyramid casts a gigantic shadow. in the hedge, at hand, the white trumpet of a convolvulus turns from its spiral stem, following the sun. in my art i would solve such an equation’ (ref: herbert read [editor] unit one: the modern movement in english painting, sculpture, and architecture. london: cassell, 1934)

riverwork's delivery

mutable content
content layouts may be non-chronological, the enquiry left open to cross both temporal and geographic boundaries.

viewing the work
although device responsive, this site is best viewed on a desktop monitor for both image detail and the layout of written work.

lowercase type
case (noun):
early 13c. 'what befalls one - a state of affairs' from old french 'cas' an event, a happening, a situation. postulated by bayer in his 1925 proposal for his universal typeface: 'why should we write and print in two alphabets? both a large sign and a small sign are not necessary to identify a single sound. we do not speak in a capital 'a' and a small 'a'. a single alphabet gives us practically the same result as the mixture of upper and lower case letters...' (herbert bayer - bauhaus, 1919 - 1928, p.147)
in this practice: the promotion of an open field of type that streams thought without imposed formality. to facilitate a sense of ontological flatness and self-similarity. to ease notions of hierarchy, polarity and scale. an absence of capitalisation.

key words
mystery, wonderment, atmospherics, poetics, poiesis, abiogenesis, biomineralisation, deep time, mineral evolution, extended mind, speculative realism, object oriented ontology, vital materialism, ecological post-humanism, anthropocene, (dis)enframement, deep green thought, ahimsa, existential reverence

key texts
gernot böhme — the aesthetics of atmospheres (routledge, london 2018)
• martin heidegger — the question concerning technology and other essays (garland publishing, inc. new york & london, 1977)
lambros malafouris — how things shape the mind: a theory of material engagement (the mit press, 2013)
• jane bennett — vibrant matter: a political ecology of things (duke university press books, 2010)
• timothy morton — realist magic: objects, ontology, causality (open humanities press, 2013)
• jeffrey jerome cohen — stone: an ecology of the inhuman (university of minnesota press, 2015)

timothy morton — ecology without nature (harvard university press, 2009)
karen barrad — meeting the universe halfway: quantum physics and the entanglement of matter and meaning (duke university press books, 2007)

graham harman — object-oriented ontology: a new theory of everything (pelican books, 2018)
david lindsay — other grounds breaking free of the correlationist circle (punctum books, 2016)
• keith dowman — spaciousness ((dzogchen now! books, 2014)
quentin meillassoux — after finitude: an essay on the necessity of contingency (continuum, 2008)
mark bonta and john protevi — deleuze and geophilosophy (edinburgh university press, 2004)

copyright notice: all written content, imagery, sound, film, artwork, graphic & website design unless: shown to be the work of a collaborating artist, a literary citation with bibliographic reference, an image in the public domain [ccø] - © all rights reserved, russell burden (1974 - 2024)
info (at) riverwork (dot) studio