Recently, the studio has been revisited as a highly connected, transdisciplinary, mobile sites. They have been reconsidered as laboratories—the product of intricate networks of human/non-human relations—or as environments marked out by atmospheres of affective intensity. As such, a studio’s coherence is emotionally, as much as physically, constituted.
The studio is also, for many artists, a temporary arrangement whose sense of integrity is always in question. In those practices which involve the shared use of spaces, collaborative practices or location-based work, the matter and materials of artistic practices are put away; temporarily stored in physical or digital form in whilst the site of production is turned over to other activities. This paper argues that whilst the immediacy of studio activities might be constituted as an event rather than a fixed environment, its coherence as a studio is shaped by ‘structures of feeling’. Drawing on writers such as Ben Anderson, and on personal accounts of packing and unpacking studio materials for related art projects, I address how temporally dispersed activities taking place in different spaces may emerge as collective affects that condition the way that the studio’s emotional coherence is felt.