Stromverteilen: a drawing/contact practice as research portfolio

In the process of designating material for assessment, this portfolio for the Research module needs to go here (again). I will have posted it (likely, possibly) earlier when I used it to explore the links between BoW and Research; I also find an earlier padlet to take an earlier role, a body of work: a core,, and the later Ariadne thread to point onwards into SYP (

This padlet served as digital meadow, forest/village edge to situate, explore and reach out to and beyond the various works that were emerging around the site of Stromverteilen. I also then organised towards the resolution of the For Cover BoW while this padlet held onto the numerous enquiries and abandoned (or lost) sites that preceded the village/forest edge.

I am adding pointers forward as well as any missing works that I understand Research objects into this form and link here (and on menu sideline) as key post for understanding the reach/resonance of my practice as research.

Made with Padlet

Immersiveness and my work (current status)

There are a couple of themes that continue right throughout my work (certainly from DI&C onwards across Level 2 and 3); immersiveness is one of them: the sensorial, an expanded field of drawing, the stepping into work that I make and the relationship it seeks between work and viewer/reader/participant around closeness and distance.

For the production of the BoW this was significant at a number of turns, e.g. when trying to devise what constituted drawing/contact, what the role of lint and the quotidian was, the sites and the reach/resonance of these and how to resolve the BoW.

In the Research (as practice) it was engaged with methodologically: moving-with explored the bodily registers of immersion (or lack thereof); of making mobile artists, viewer and work; the glossary circled around tools, obstacles and sites to explore the relational entanglements at the centre of the work; the Herz/Stein concept explored tactility, bind and release in material close-up.

For SYP I am trying to explore the exhibition checklist as PaR enquiry to get a better handle on (or perhaps a position to the side of) distance as key tool for how this practice moves onwards.

I am collating here the various posts that trace the engagement with immersiveness as concept up to now (at the point of submission for assessment of BoW and Res, and at Part 2 of SYP).

In chronological order the key posts so far are:

Sorge/Strom (as part of Stromverteilen)

Over the process of making the Trafodecken across several late autumn weeks on top of the transformer station, I realise that my role in this durational project is one of care and maintenance work (much later I discover that the employees of the electricity company are also charged with a monthly maintenance check-up of the station. We never meet until they send me a message late in January).

I am presenting the material simply in gallery form. There are alongside a series of short videos (turning pages, revealing cones and plugged feathers, insects moving on the blankets, the viewing device surveying vertical lines).

This work presents the practice thread that also features e.g. in the earlier sketchbook materials and Herz/Stein, Drei Nuesse. I remain uncertain about the form (other than galleries, slides and/or a/v works). I don’t think the purpose is to pull out individual photographs to print as objects — Yet, this remains part of the review/discussion.

Sorge (Care)

Across five weeks I go almost daily, often twice daily to check in on the blanket, the wind, the rain, the needles and the resin. The wider site had become a destination for about a months earlier, so the 12 mins route from one side of the village to the other village edge (I leave the village towards the swimming pool, walk up along the woodland to come to the holiday flats that mark the village edge a little further north) has become a commute. Noone asks but if they did I would have told them about my outdoor office.

I am most uncertain about the effect of the wind, the blankets are loosely tied to the station but the two rows mean the gap in the centre easily catches in the wind. I pull on the sides, tighten the string and at one occasion roll the paper up and tie it down on the northerly corner to secure it against a storm. The first paper is heavily marked by this process, for the second paper the weather was calmer, marked by periods of frost and clear sky, or perhaps I only secure the paper more firmly?

Across this period I patch some tears, hide marks I feel ambivalent about and also feed some of the documentation back in to the process.

I also observe the insects on top of the blankets. In fact, I observe mostly, besides the pulling the blanket into place.

The initial impetus for this work resided in the idea of rubbing and marking the tracing paper (much of my earlier work was interested in this, I (re-)discover Ingrid Calame’s large scale works), but once in place, I find the marking too strong, the graphite rubbing too violent, and so I step back. Later, with the heavy rains and the puddle patterning on top I discover the translucency of the Copic inks (dropped from the refill, the pens don’t work with moisture). These seem perfect to add and keep lightness in the process.

Here are a number of images around the maintenance work

Strom (Flow, also: electricity)

My maintenance work around the transformer has a resonance nearby. The house next to it is being refurbished. It becomes a welcome stopping point, a frequent conversation: we chat while he works. He discovers how faulty the house’s electricity is and spends the weeks while I mark wind on the transformer station with rewiring the house, trying to find and resolve faults. I joke that I can sit atop of high voltage while he fiddles about with residential low voltage.

I seek permission to draw the broken sockets across the house. I don’t really get it initially, then when I do I don’t find time and by then the most exciting messy sockets are already tidied up. So there exists only one afternoon of hastily drawn sockets and wires in the front porch, drawn from outside. They can be worked further, I can also draw the box with the distribution switches (I am sure there is a technical term for this) or the newly fixed sockets) (This was around the time that Hayley Locke did a couple of workshops around Bosch’s Garden of Earthly Delights, I somehow fantasise of using the cutout shapes for the quickly drawn sketches).

a week on Agios Achilleios as site

For my travels to Greece I made a travel album, which then during the week at the Made of Walking encounters/conference became a research site.

The album is here: τους πελεκάνους μου.

The closing post to the album is this one:

EDIT: my phone browser also misbehaves and forgets to place it into the album 😮
my browser Fb misbehaves and doesn’t let me post, so let me type this on the phone:
– i think this post concludes my pelican adventures.
– i think that most of the memory pieces i wanted to place next to each other i have now
– what i realised that i wanted to try was to seek a container to place next to each other a variety of things, meetings, sights and smells that came together in that week in Prespes
– there were two points when i realised that so much was mingling that i wanted to treat it as a field site and become a keen observer with interest:
(a) institutional processes and critique came together with both my inside/outside and my family album work in a site combining several key aspects of what i am concerned with in my work over the past four years
(b) Jen and then others started to talk about my FB posts and placed them offline again; and while not for the first time but for the first time with people who didn’t or hardly knew me, did i have a form in which the different forms of conversation mingled and informed each other;
>> that i was going to talk a few days later on a project which employed these two strands also, was perfect and too good to miss
>> i kind of used this then to make my own project (and sought some links to what is to be my final year work)
all else from this will sit in my sketchbook album (i add a link below, most of you will have access to it, should you not, drop me a message and i will add you)
there is something about the (fraught, failing) attempt to build a closed situation, room, site and i am keen to test this for this material. we did discuss in the past a corridor, a Fischli & Weiss machinery, i had dreamt of a world of Ursula Le Guin, a stage with Joan Jonas, Carole referenced Katrina Palmer’s Loss adjuster on Portland, i also think about the space the Sonic Seance show has set up at the CCA currently and bak invites for a training for an otherwise futurity. — many of these will be too ambitious. i think what interests me is as before the leaking and the blurring, the open fuzzy edges and i am pleased to have all the bus journey sketches around Kozani which go some way towards this.
i also am grateful to have tested the notion of gossip a little further. i have a lot of respect for it. found myself at various turns of the week being made to decide one or another. felt the hot spots of conversations travelling, adjusted some posts, didn’t write others and then on other occasions found myself surprised at what tender things it also was generative of. now with this having passed, i sense acutely the absence of those close and frequent iterations and interactions that made it possible to write like that. now it has firmly become a thing past and of reflection. i have lost the careful hold and sensation in my finger tips to gauge one thing or another (or to be wrong), so as a practice, this is also no longer a possibility.
oh: and i almost entirely forgot Susan Hiller’s Dream Machine and that beautifully fraught Soviet apartment room recreation at the Tate.


For my work for the two modules, some of this can be drawn out further:

>> totality/ situation:

it relates to other sites, events:

  • Corridor as institutional site (with Green and other Green)
  • the line as body of work

My interest is in:

  • details events processes that are held in temporal and spatial proximity (maybe even just through my attention, there is no assumption that it is causal or functional)
  • part of that attention then concerns memory/ focus but also subjectivity
  • what gets deposited, contained and what doesn’t or can’t
  • so the totality/ situation/ event is one with open, blurry or fuzzy edges: things are bleeding in and out (does it make sense to focus on the blood?)

As much as this concerns the source material for a work, it also gives an indication over how to present it, how to realise it: Since House in 2015 I had thought of a room, an installation to re-access the site, to make it public. Similarly: there as an idea during D2 to do something similar with the corridor, to remodel it, to situate it elsewhere. Effectively, too, the work around Office at Night did something similar in its final realisation.

There are a series of ideas, possibilities from this:

  • a construction of a physical site to contain and hold together objects deemed relevant
  • a visual realisation (such as concept maps, presentation) or a publishing form that achieves something similar.

The kinds of materials gathered are small, ordinary, fleeting (and this makes a little clearer to me what I had initially written as the ordinary, every day in the first statement/ outline). So, the collection/archive/situation (I will need to have a closer look at what this is) is constituted in ordinary form, encounters, events, gestures.


There are a series of influences and references (many not new):

Katrina Palmer’s End Matter / Loss Adjuster

Joan Jonas larger performance cycles (I have one in mind in particular, I will need to look this up)

Juliana Spahr’s writings (This connection of everyone with with lungs, Army of Lovers and The transformation) that all try to assemble and hold in relation a whole range of things.

Fischli & Weiss’s installations were a reference point for the parallel project of D2 (and possibly to fold forward).

I had also revisited the Andy Warhol materials that informed the formation of the line (the diamond dusted screenprints but also Gilda Williams’s writing on Silver Sliver and the close attention to when present becomes past in his work).

One current show at the CCA in Glasgow, Sonic Seance presents a series of collaborative works around music, performance and spoken work in a setting that takes in two rooms, one an ante-chamber with sofas and reading materials; the other, larger one, has four screens with a video looping in each, some printed textile banners, many cushions and floor seating around a few tables, a wall-spanning projection of some grasses and above all and scent infusing the whole setting in fairly low lighting (the scent is for me just past comfortable and just about not making me feel nauseous).

I also, one reflection of my sketches and drawings for this, and how the sketchbook is developing, have been returning to Rosemarie Trockel’s work, notably the drawings and zines that I saw several years ago at Talbot Rice. There is a review of the show here, and it is good in capturing my memory of the show and what intrigued me in her drawings but also in the exhibition of her book drafts under glass.