Claymoon is a sculptural, hand-formed practice through which Adam Weismann approaches clay not as a neutral medium, but as an active, formative presence. Grounded in vernacular building traditions such as rammed earth — techniques shaped collectively and passed down through time — the practice draws on long-term material engagement to explore how raw matter carries memory, duration, and place.

The works are formed slowly using earth pigments and mineral tones, and are often encased in brass or walnut structures that emphasise their monolithic, architectural presence. Rather than functioning as purely visual objects, Claymoon works operate as contemplative presences within space, subtly influencing atmosphere, perception, and rhythm.

Central to the practice is the understanding that materials shape human experience beyond function or decoration. Claymoon proposes a quieter mode of engagement, rooted in tactility, imperfection and duration, where sculpture mediates between the built environment and states of attention, reflection, and belonging.

The work does not set out to represent identity or speak on behalf of any group. Instead, it draws attention to the material processes that quietly shape how people come to feel connected — to place, to one another, and to shared ways of imagining the world. Through clay, time, and repetition, Claymoon points to the conditions that make collective belonging possible, without fixing it into symbols or narratives.

Within the framework of BASPcr, this approach resonates with forms of knowledge that emerge through self-organisation rather than authorship or spectacle. Long before institutions or formal systems, vernacular material practices shaped how communities built, inhabited, and recognised themselves. In this sense, Claymoon aligns with BASPcr’s broader inquiry into how culture, place, and social imagination are formed from the ground up.