The person interning with Countercult is also Sketchy Shona’s intern, working across two connected practices that share a founder but retain different purposes.
One intern, two practices
The intern working with Countercult is also my intern at Sketchy Shona. That is the real structure, and it is more useful to name it than to hide it behind a vague studio label.
Countercult and Sketchy Shona share a founder, a history and some physical context. They do not have the same public purpose. Countercult is cultural infrastructure. Sketchy Shona is an artist practice. The internship crosses between them without collapsing the distinction.
What becomes visible across the work
On the Countercult side, the intern encounters networks, cultural infrastructure, place-led work and the practical conditions around artists and projects. On my side, they encounter the archive, studio, exhibitions, objects, image-making and the decisions required to make a body of work public.
That is a more honest education than treating art as a set of finished images. It shows how a practice is held through records, relationships, production, writing, invitations and the unglamorous work that lets other people participate.
The Floor holds the connection
The Floor sits between these worlds as a private studio and project room. It can hold a Countercult conversation, a Sketchy Shona work session, a residency or an exhibition context, but the room does not make the organisations interchangeable.
This belongs in the Sketchy Shona Journal because the people behind the work are part of the archive. The artist is not isolated, and the studio is not a content machine. It is a working environment with shared labour, separate identities and real responsibility.