What is an art experience like from the viewpoint of sculpting clay?

For enactivists and pragmatists alike, sense-making is a systemic process of bringing the organism and environment into reciprocity. Steiner (2023) distinguishes enactivism from pragmatism by arguing that intention is compatible with enactivism but not pragmatism. After reviewing Steiner’s analysis, I consider its ontological consequences and phenomenological implications which I suggest cause problems for both enactivism and pragmatism, but in two different ways. Intention is consistent with the idea of an autonomy of sense-making but reveals its latent subjectivity – which sits uncomfortably with an enactivist account. The absence of intention implies the existence of states of supra-subjective consciousness but lack of such accounts is troublesome for pragmatism. Next, I introduce Material Engagement Theory. I emphasise its affinity to pragmatism and describe its role in developing clayful phenomenology, an experiential way of investigating creative practice from the perspective of the process. A case-study of a sculptural project illustrates how action, creating a construction-site atmosphere as it goes, gathers diverse materials and elements to itself: wood, clay, plaster, steel, a sculpted skull, a painting, a wall, tree trunks, scaffolding, neolithic sculptures etc. These elements draw themselves into rhythmical associations that resonate with others that are formed through and by sculptural gestures and these go onto form further gestural patterns. The project shows how a creative situation creates a sense of affective purpose by and through the act of creating itself.