At Klunkerkranich, live drawing, a jazz jam and DJs from the Countercult network shared one Berlin room, making the act of drawing part of the night.
The drawing had to live with the room
Sketchy Sessions was made with Klunkerkranich as a public collaboration, not as a private demonstration. I drew alongside music, conversation and the loose movement of a Berlin night. The mark had to remain itself while letting other people, sounds and rhythms enter the frame.
The event brought live drawing, a jazz jam and DJs from the wider Countercult network into one setting. My role was not to provide decoration. I made drawing part of the social architecture of the night.
A live mark carries pressure
A drawing made in front of people can look temporary, but temporary does not mean lesser. The pressure is simply different from studio work. Decisions are visible, the room responds and the work has to hold attention without becoming a performance of personality.
Fast figures, creatures and marks are useful in that condition. They can react to a place while remaining specific enough to be recognised as Sketchy Shona.
A collaboration with its own record
Klunkerkranich belongs in the archive because it shows the practice moving through a partner venue without becoming a generic event service. The venue, music, network and drawing remain visible together.
For programmers, cultural venues and partners, the distinction matters. I am not simply putting an artist in a room. I am making a situation in which the artist’s work can meet a real public.