[69 37 19 59; 23 32 22 34]


Ink, graphite and watercolor on paper, artist books, gelatin silver prints, drawing wood sticks, wood rails.

Overall dimensions:  ≈ 8'x 14'

The project is a collection of sketches, drawings, notes, photographs and artist books done during and following the site-reading situated in Finnmarksvidda. The reading process consisted of performed activities and observation-based studies. The overall intention was to focus on a method of artistic, embodied reading that attempts to map the duration innate to a given place and time — a plateau, about 20 kilometers (12 mi) south of the town of Masi, around the end of a polar night: January 15th through 22nd, 2017. During that week, the day length gradually increased from none to almost three hours.


(...) Let the mouse run over the stone. Count only its every step.
Only forget the word every, only forget the word step.

— Alexander Vvedensky

Time and duration

Consider a rock — а prolonged gaze contributes to the reading of an object as a process. The innate duration of things is expressed through their unique states of consistency and change. Sometimes, the sense of continuity may transform, turning viscous or pulsated, red or silver, high-pitched or submerged.


Then, there are questions of method and attunement. How do you read an object as a process within the disciplines of art?


From the notebook:

— graphite lines
— the number zero
— distance between points
— black and white
— wind
— slow waves
— small sounds
— cavity



It is intuitive to think of a big city and a forest to have different rhythms. When the places are smaller or less defined, the notion of their rhythms appears to be less intuitive as their cycles of change are subtler. Many places within places do have their rhythms different from their environment — e.g., a gully or a construction site. There are rhythms of objects that are more ethereal, like thoughts or wind. On another note, a poem or a song often feel like a place.



I was interested in an observation that is orchestrated as a set of activities. Much of it was like making a map. In this sense, drawing on the plateau was conceived as a performance of a process of marking, rather than a making of a picture.



leaving a trace
looking at movements
offering leads


Time scores are the recordings of documented attention to objects and their environment in the context of passing time. The term itself implies that time could be approached semiotically, though in this case there is no system of signs. The stains of ink and notes follow everything that could be noticed. It’s a space for a chance and directed attention, a method of trying to think with the objects in different ways, including their metabolism, their duration.

Notes from the Time-Scores

 • • • 
длинные волны разряженного света
stretched waves of dispersed light

• • • 
тихий шелест
быстрые движения
оранжевый свет

soft crinkles
brisk movements
orange light

following the site-research

Some of the works in the installation were done throughout the year, working with the materials collected during the site-reading.



time scores
[69 37 19 59; 23 32 22 34; VII, IX]

Pigment print on archival paper
Edition of four, plus artist's proof
Each edition includes two books, 10 pages each, 20 x 20.5 cm

Accordion books printed as one-to-one editions of the original drawing-journal.


wind drawings
[69 37 19 59; 23 32 22 34; IV]

Ink and pencil on paper

It was always windy to a certain degree, yet it was only possible to listen to the wind as the sound recording of it. The ink lines follow the wind, forming the overall pattern of its movement during a particular part of the day when it was recorded.


a verb to See

More often than not, it was difficult to see. Wind, snow, sparklings and uniformity — the sight was missing the usual clarity of solid space. Inability to see. Inability to interpret. What is left is a story of the process. An attempt to see always tries to point to something or somewhere; when the vision is obstructed, thoughts take its place.




Later, I had to revisit the process of site-reading that took place in Finnmark. The drawings were done in a different place and time, though still not too far from the original site and ecosystem. They were done as complementary work towards understanding the process of site-reading that took place in this project.