My site-specific response involved drawing slowly but continuously on rolled paper with charcoal to record the passing of light through the gallery over the performance period. Changing viewpoint in a clockwise direction every 45 minutes and recording new elements, I mapped the changing light as it penetrated the space and the resulting shadows, I implemented slow, deliberate movements as I swept, rolled, and unrolled the paper, turned, gathered my minimal materials, and set up for each drawing period.
The drawing demanded strict concentration in the centre of the gallery’s main hall as I worked uninterrupted in complete silence. I focused on describing the artificial and natural light and their interaction upon the architectural elements with the charcoal. There was no specific plan as to how the drawing would look upon completion, just rolling out more paper, repositioning, observing, and rendering a new section until the gallery closed. I needed to quiet my mind for a long period and focus on the flow between my eyes and hand during the exercise.
The resulting drawing is a direct response to the passing of a day’s light in a gallery presented in a linear narrative. Its process was based on the idea of Expandism (Pekka Hannula b.1961), which approaches art as a mental exercise involving focus on details, working with concentration, seeking unhurried moments in the middle of stressful everyday life and pursuing artistic flow. An artwork is constructed little by little through details, it gradually expands and becomes complete.