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2017-2015


Funders

ARTS PROMOTION CENTER FINLAND

SKR - FINNISH CULTURE FOUNDATION PIRKANMAA REGIONAL FUND

HÄMEENKYRÖ

EUROPEAN UNION / JOUTSENTEN REITTI RY

ARTS COUNCIL OF PIRKANMAA [7] [10]

FRAME [11]

Collaborations AALTO UNIVERSITY ALLIANCE OF ARTIST COMMUNITIES ARTS COUNCIL OF CENTRAL FINLAND [3] BACKLIGHT PHOTO FESTIVAL [4] CENTER OF CREATIVE PHOTOGRAPHY [3] ESKARO [8] CREATIVE SCOTLAND [2] GALLERY 3H+K, PORI [6] GALLERY ALKOVI, HELSINKI [6] GALLERY RAJATILA [7] HAUKIJÄRVELÄISET ASSOCIATION HÄMEENKYRÖ BOROUGH [8] INSTITUTO ITALIANO DI CULTURA FINLANDIA [2] JYVÄSKYLÄ ART MUSEUM [3] JYVÄSKYLÄ UNIVERSITY OF APPLIED SCIENCES [3] KIASMA [1] LIVE HERRING GROUP [3] NÄKYMÄ PUBLIC ART SHOW 2011 [6] MAKE 8ELIEVE PORI ART MUSEUM [7] PERFO! (CULTURAL CENTER TELAKKA TAMPERE) [6] PISPALA CENTER FOR CONTEMPORARY ARTS [5] [6] PTARMIGAN HELSINKI & TALLINN [6] RAJATAIDE ASSOCIATION [5] RED CROSS / REGIONAL DIVISION [13] RECYCLING CENTER, HÄMEENKYRÖ [8] TAMPERE UNIVERSITY OF APPLIED SCIENCES [3] TAMPERE ARTIST ASSOCIATION [5] [9] TAMPERE CITY / CULTURAL OFFICE [5] [12] TAMPERE TRADE FAIR [9] TUNTURI HELLBERG LTD TEHDAS RY [7] TR1 KUNSTHALLE [7] UNIVERSITY OF JYVÄSKYLÄ [3] XL ART SPACE HELSINKI [6]

Explanations [1] Arteles Citywalks - URB - Urban Art Festival 2011 [2] Arteles Studios [3] Artist Talks [4] Backlight Sympsium [5] CARE-Contemporary Art Residency & Exchange Program [6] Direct use of Arteles network artists [7] Satellite Platform - Lecture series [8] Residency program’s material support [9] Tampere Art Fair [10] Art Dubai fair [11] Istanbul Biennale [12] Artisokka -project [13] Art projects


About This catalogue presents residency artists and their projects. All the past residency program participants have been asked to send information about their projects done in Arteles Creative Center. Those who have given the information so far are presented in this catalogue. Arteles catalogue was published first time in the beginning of 2012 and it is updated frequently. You can find the latest version of the Arteles Catalogue from http://www.arteles.org/artists_projects.html

Kiitos - Thank you Arteles would like to thank all the residents, collaborators funders and supporters for their work, participation and activity. This all would not be possible without you.

Best Regards,

Arteles Team

Arteles Creative Center Hahmaj채rventie 26 38490 Haukij채rvi Finland +358 341 023 787 info@arteles.org www.arteles.org

Design: Teemu R채s채nen. All rights reserved. Arteles 2017


Residents January - June 2017 Silence Awareness Existence - Theme program January, February, March

Back to Basics - Theme program April, May, June

Argentina Francisco Rigozzi // Visual arts, Photography, Music María Laura Verdinelli // Visual arts, philosophy, research

Australia Carlin McLellan // Composition, Poetry Kelly Lee Hickey // Writing, performance, community Louise Bennett // Video, site-specific exp., field recording Pip Newling // Writing, nonfiction Margi Brown // Ash Writing, performance, research Stuart McMillan // Photography, drawing, music

Australia Jacky Cheng // Paper, fibre Canada M.E. Sparks // Painting, drawing Matthis Grunsky // Painting, sculpture Kailey Bryan // Performance, Installation, Video Leena Niemela // Poetry Kristin Bjornerud // Painting, drawing Chile Adrian Gouet // Painting, drawing Iceland Karen Briem // Costumes, Sculpture, Textile Mexico Marisol Cal y Mayor // Dance, performance, cabaret New Zealand Mary MacGregor-Reid // Video, Object, Installation South Africa Givan Lötz // Music, visual Art South Korea Goyo Kwon // Illustration, Comics, Drawing Spain Florencia Aguilera // Visual Arts, Performance, Sound Magdalena Lanas // Visual Arts, Performance, Sound UK Ian Waugh // Film, writing, sound Carrie Foulkes // Poetvry, visual art Marissa Stoffer // Painting Alasdair Bayne Film // Writing Rowan Lear Writing // Photography, Research USA Jonathan Russ // Music composition Erin Purcell // Mixed Media Jean Davis // Painting, Drawing Britta Albrecht // Painting, Drawing Amber Harmon // Creative writing Amy Bernstein // Painting, writing Ariel Ruvinsky // Costumes, Knitting, Textile design Marisa Finos // Sculpture, Performance Ellery Royston // Sound, installation, new media Williamson Brasfield // Photography, Painting, Installation Tanya Long // Visual art Elizabeth // Liang Video Zoey Hart // Painting, drawing

Belgium Noëmie Vermoesen // Academia, journalism, DJing Brazil Sabrina Barrios // Painting, Video, Installation Paula Faraco // Photography Felipe Enger // Photography France Jean-François Krebs // Performance art, poetry, video India Kripi Malviya // Mental Health, Psychotherapy, Creative Arts Italy Carolyn Angus // Mixed media, sculpture, installation Japan Kayo Ishikawa // Performance arts, installation Mexico Claudio Sodi // Film, photography Norway Anki King // Painting, sculpture Peru Gabriela Concha Valcarcel // Photography, video Singapore Simon Ng // Painting South Africa Jes Hunter // Photography, make-up artistry Antoni Schonken // Art music composition Sweden Carola Björk // Mixed media Olof Svenblad // Painting, printmaking, graphic design Taiwan Hsiao-Ai Wang // Fine art, mixed media, metal art UK Mhairi Killin // Drawing, installation, sculpture Alex Levene // Theatre, poetry, performance Jen Cunningham // Jewellery, designer, maker USA Susan Murrell // Painting, installation Molly V. Dierks // Sculpture, Installation, Digital Media Ben Richter // Music, writing Lei Han // New Media Priscilla Becker // Witing, fiction, non-fiction, poetry Benjamin Wills // Painting, drawing and writing Amy Casey // Painting Cecile Dyer Painting, video, animation


Back to Basics program / MAY 2017

Kayo Ishikawa (tomsuma alt.) J ap an

www.tomsuma.com

About I pours my passion to create art pieces exploring a combination of art therapy and sense of humor. I constructed the “Tenoriyu”. It is influences from zen concept. It aim participatory ceremonious art performance and stimulating one’s senses. Guest communicate with the host “Earth” through unpredictable procedure. Earth hat is formal ware. it called “tomsuma” hat. The word “tomsuma” means a shining stone in Ainu language (NOTE: Ainu indicates aboriginal people in north Japan, Hokkaido) The Earth itself is also the shining stone illuminated by the Sun. My artistic interest is around the zen concept of nothingness. In the ARTELES forest, I want to investigation of the boundary between ceremonial initiation and put into practice in our lives.

Sampo in Earth Breathing Observing my own breath through daily meditation.This simple exercise in the environment without any distractions and time pressure enhanced my sense of tranquility and mindful awareness. This renewed state of mind brought me the consciousness beyond my own being, and made me realized that the notion of boundary separating myself and the outer world is ephemeral. Universal awareness beyond the boundaries manifested in rituals While researching the motives of rituals, I became interested in the holistic world view of Finnish mythologies represented in the concept such as ‘Haltija’ (Invisible nature). I also found remarkable similarities between Finish Sauna and Japanese Chanoyu (Way of tea), which inspired my performance at Arteles. I believe the underlying spirits manifested in those rituals have a universal affinity which goes beyond the cultural boundaries, and are adopted by the wider living being. Artistic collaboration Tenoriyu with Accordion Breath Ben Richter played accordion as a breathing instrument. His ‘Accordion Breath’ and my performance Tenoriyu (choreographed rituals based on the traditional Japanese practices of Chanoyu (Way of Tea) and Toji(Cleansing)) found a common ground in breathing through accordion music and the improvised ritualistic move. SAMPO in EARTH BREATHING Through my collaboration with Louise Bennett and her installation ”Earth Breathing”, we celebrated the senses and feelings beyond various boundaries. Finnish concept of Sampo (a magical artifact) and Japanese concept of Walking Zen (which can also called Sampo in Japanese) found an unexpected connection in Louise’s majestic soundscaping.


Photo: Lei Han


Back to Basics program / MAY 2017

Lei Han USA

leihandesign.com

About Lei Han is an artist, educator and designer. Her work, often inspired by nature and everyday life, explores notions of perception, memory, transience and time. Fascinated by the influences of eastern philosophy in western art, especially in modern and contemporary art, her recent work aims for creating the cohesion between spirituality and creativity, as well as making new connections between the artist, viewer and object/subject. Lei’s current work in experimental video, animation, interactive art and installation, has been exhibited at galleries, museums, and film festivals nationally and internationally. Including Shenzhen & Hongkong Bi-City Biennial, China, the State Museum of Contemporary Art, Thessaloniki, Greece Biennale; D’CLINIC Studios, Zalaegerszeg, Hungary, cinema Cal Marçal de Llorenç del Penedès, Spain, Krannert Art Museum, Illinois, the Arts Center, St. Petersburg, Florida, The {Re}HAPPENING experimental art event, Black Mountain, NC, Asheville Fine Arts Theater, Asheville Museum and the North Carolina Visions program. Lei received her BA from Shenzhen University in China and her MFA from Memphis College of Art in Memphis, Tennessee. She is currently an Associate Professor and Chair of the New Media Department at the University of North Carolina at Asheville.

”here” and ”now” At Arteles I worked between projects I brought with me, and those inspired by the surrounding. A month away from the real world allowed me the time for meditation and self-reflection. I enjoyed interacting with fellow artists and observing spring quietly coming to the Finnish countryside. The Buddhist concept of Impermanence and Nothingness are at the center of my recent art practices. I have been working on a series of abstract videos shot on a macro lens prior to coming to Arteles. The process of filming and editing elements that we normally won’t see with our natural eyes taught me to follow the flow, trust my intuition and embrace chance in the creative process. The wheat field across from Arteles had been calling me since the first week I arrived. It was wide open, silently waiting for it’s time to be cultivated. In Vincent Van Gogh’s Wheat Fields painting it serves as a metaphor for humanity’s cycles of life, as both celebration of growth and realization of the susceptibility of nature’s powerful forces. I decided to explore the relationship between macrocosm and microcosm through the observation of individual’s consciousness mind in relation to time, memory and place. The wheat field became the ideal location. The resulting project is a 360˚ interactive video documentation of the participatory event named: “here” and “now”. In “here” and “now” fellow artists were invited to walk alone to the center of the field where they find fragmented memories (donated objects collected from participants, scanned and printed on paper). Their thoughts and feelings toward nature, memory or the moment were written on a notecard and left in the field. The audience may choose any view points from the 360˚ video as they wish by navigating camera angle and distance to follow the participants or simply enjoy nature and explore the scenes.


Back to Basics program / MAY 2017

Benjamin Wills USA

www.willsbenjamin.com

About A stoned, sticky and soft silly sweetheart stumbling across spacetime and cosmos to tell you, you are a beautiful something, you are your own expanse, you are your own confirmation. Be nameless as there is death in objectivity; as soon as something is named it is destroyed, exiled from the becoming. To name is to limit, a mechanism of control. A thing is self, or it is other. Naming is a matter of proximity. To be something that only refers to itself is the problem and the solution. Ultimate presence ascends legibility. Hereâ&#x20AC;&#x2122;s to feeling good all the time <3

Arteles Works A body of work was formed during a period of focused studio time and cultured in an interdisciplinary creative space.


Back to Basics program / MAY 2017

Jes Hunter S ou th Africa

www.facebook.com/JesHunterPhotography

About Iâ&#x20AC;&#x2122;m a natural light photographer, and make-up artist. I use makeup and light in order to tell stories, create characters, or express emotions and various states of mind. Music, poetry, dance and psychology are interests of mine I often use to finalize or inspire my concepts. I prefer to always be in nature, in the open and unpredictable environment; whether it be wild untamed forests, or merely an ivy adorned wall in the middle of the city. And working with whatever weather or season I am faced with. My ultimate goal is to merge the world of Fantasy with that of reality.

Bare-ly Human At Arteles, I decided to explore manâ&#x20AC;&#x2122;s connection to nature, and themselves. With our early Hunter-Gatherer roots so long abandoned and forgotten. The constant battle within us, where instinct battles reason and knowledge. We are 2 at once, creatures of the Earth, and creators of our own modern Earth. This is us bared, back to basics and honest and lost and full of contradicting emotions.


Back to Basics program / MAY 2017

Priscilla Becker USA

priscillabecker.wordpress.com

About Iâ&#x20AC;&#x2122;m an alien who suffers. My writing works through the horror and lunacy of life, the fear and wish of death.

Yoga=Heroin Birdland (aka Finland) directed my senses toward earth, environment, animals, insects, wind, breath, which helped launch me outta cars honking constantly, sirens screaming persistently, humans scream-cursing continuously. There was a wondrous-painful combination, as it drew me outta my life, and yet the writing I accomplished at Arteles threw me into my life :) :( My project in the month of May, and eternally, is to enter the unconsciousness fully-- a locked, low, & hidden body, mind, & heart space that violently pushes the truth outta you. The forgotten, the unknown spring up & out of unconsciousness, which I suspect is in my colon, and can feel like giving birth, pooping.


Back to Basics program / APRIL 2017

Kripi Malviya In d i a

kripigrey.tumblr.com

About Kripi Malviya is an Indian psychologist, experiential psychotherapist and a social justice advocate; she is also a poet, writer and an avid traveler based in Goa, India where she runs her emotional awareness and wellness retreat; TATVA. Her writing seizes vulnerability, terror, silence and islands. She focuses on the subversive and the still and is always looking for relational variance, intensity and discernment. Her poems are an enduring blend of power and succinct understanding. This aesthetic, a comprehension of the wild and the intense in the world, thoroughly reaches into the identity of the individual as it relates to the greater whole— whole as substantial as well as ethereal. Reflecting Kripi’s personal spiritual and psychological practices, interests, and lifestyles, her poetry harnesses the significant erupting of a contemporary existentialism. This quality alone allows for an embrace of the intensely bright and intensely dark emotional landscapes and boundaries of the truest every day, and as a result, the poetry illustrates a courage to trudge through it.

Poet as archaeologist, as archivist, as interoceptor. In my time at Arteles, I merged the agency of my writing with my urgency of experiences. I felt I internalised the physical and emotional landscape of the residency and the residents I was with. Phantasmagoria, the freedom packed within each day of the residency, the bleak natural scape, solitude and the other artists’ process were all inspirations to my writing. My poems also incorporated Finnish folklore, inter-connectedness, the elasticity of space, the changing forest and the fluctuating spring. I experimented with visual representations of poetry and I also collected data to write a future essay on the experiences of the sauna and it’s connection to vulnerability. The familiarity I felt with the Finnish countryside without ever having been there before was mirrored in how I approached my work: the poems written there are an embodiment of the construction and destruction of desire. The slow deliberate pace of work, my changing perception around technology and the recognition that excessive use of internet hinders my writing process and practice are my biggest takeaways from the ‘back to basics’ experience. My stay at Arteles was instrumental in bridging the relationship between Kripi the therapist and Kripi the poet.


Back to Basics program / APRIL 2017

Felipe Enger B razi l

www.felipeenger.com

About As a visual artist working with photography, which is a medium widely used to capture reality, I like to experiment with its boundaries. I am constantly drawn to nature as the basis of abstract concepts and I use photography to give shape to them. Landscape is like a white canvas that allows me to interpret and present it as I wish. It lets me play with the notions of reality and imagination and, therefore, create my own reality. My previous projects tackled themes such as the construction of memories and how they may not relate to the factual truth; the unconscious mind and how it manifests itself through dreams; and the idea of belonging, when oneâ&#x20AC;&#x2122;s upbringing has been strongly influenced by contrasting cultures.

The Exploration of Inner Landscapes During my time at Arteles, my idea was to connect with myself on a deeper level and try to express that through my pictures. After experimenting with different ideas, I remembered the metaphor of the forest as symbol for the unconscious, widely used by Carl Jung. The forest, in all its stillness and silence can be inviting and daunting at the same time, just as the journey to self-knowledge. I then started to experiment with long exposure and artificial lights, in the forest at night. By shedding light on the unknown I could not only reveal aspects of the darkened surroundings, but also access hidden nooks of my inner landscapes. I also got enough material to start working on a new project of abstract micro landscapes, based on the relief and textures of different rocks I found in Finland . Finally, I started meditating, which was very enlightening; did a lot of self-analysis; had invaluable conversations; learned how to light up the wood fire sauna; changed some of my eating habits; and made great friends.


Back to Basics program / APRIL 2017

Jen Cunningham UK

www.jencunningham.co.uk

About Jen is a jewellery designer and maker based in Edinburgh, Scotland. She graduated with a BDes(Hons) in Jewellery and Metalwork design in 2007 from the Duncan of Jordanstone College of Art and Design (Dundee, Scotland) and has been a full-time self employed jewellery designer and maker since 2013. The landscapes and compelling pull to the mountains that many people feel when in Scotland, greatly influences Jen’s jewellery. She uses traditional jewellery making techniques such as saw piercing to create accurate representations of the landscapes; layering silver and gold while exploring the play of light through contrasting textures her jewellery becomes a representation of the landscapes in miniature. Whilst at Arteles Jen will be focusing on a number of things. The landscapes and their similarities and differences to Scotland. Her own creative process in order to understand what it is about landscapes that draws her in, and how best to represent that in her work. Regaining focus and direction in her work through meditation and the limitations of an offline existance.

“It’s hard to read the label when you’re stuck inside the jar” I came to Arteles with an idea to journey into my own creative process; to find my path from my inspiration to a finished piece. I thought I’d lost my creativity at some point along my way while undertaking work for clients. I immersed myself into the Finnish spring and I enjoyed disconnecting from my phone, the internet and started daily meditation. I spent my new found time learning new skills, creating things, challenging myself (both physically and mentally!), writing, doing Yoga, walking and cycling in the beautiful Finnish landscape, and listening to myself and to every friend I made there. The time and space that my month at Arteles afforded me to grow, and the generous and open conversations with artists helped me to realise that I was so involved with my work that I couldn’t see where my creativity lies in my everyday process and I had also been unaware of other avenues of creativity within myself. The month has been invaluable for me; it’s given me a new perspective on many aspects of my life. I am continuing this journey as I still process what I have learnt and I am still learning from it every day.


Back to Basics program / APRIL 2017

Jean-François Krebs Fran ce

www.jeanfrancoiskrebs.com

About Jean-François Krebs hasn’t decided where to settle yet. Born in France, he lived in China, Scotland and now Portugal, with interludes in France. His nomadic way of life can be felt in his artwork, crossing disciplines and media. A recurring theme, the body as a place that cannot be escaped, a space we all have in common, a probably naive quest for the universal. He studied in Paris (Ecole du Breuil, ENSP Versailles) and Edinburgh (Edinburgh College of Art). In Edinburgh, while studying art and landscape architecture, his practice became more conceptual and abstract. The theme of the body inhabiting the landscape, the flesh nurturing it, became central. Meanwhile, his practice of poetry and performative transvestism led him to be part of the UNESCO European Literature Night in the Fruitmarket Gallery in 2015, and to co-organise and perform ‘The Library is Open’, a drag queen poetry night, in the Scottish Poetry Library. The event received the Creativity Award Edinburgh 2016. Jean-François participates in the Maumaus program 2017 in Lisbon. His current interests are the over-exposure and accessibility of data and images, the genesis of the self as an exhibited intimacy, revealed and hidden, through reflexions on pornography and gestation.

UNTITLED (Action,video, photo) Floating inside the abandoned cars hypersensual skin. Going further in my research on going back. Claustrophobia/ humour.


Back to Basics program / APRIL 2017

Cecile Dyer USA

www.cecilemd.com

About Cecile Dyer (b.1984) is a painter and multimedia artist, based in Austin Texas. Her current body of work is a collection of watercolor seascapes and short videos, each depicting a sinking object. A personal response to the racially charged police violence in the United States and the false political narrative of a “simpler time” in U.S. History, this collection of works is an exercise in identifying white privilege as a first step toward person accountability within a racist system. Nostalgic icons from the artist’s past are submerged in historical context, with outlines of the object becoming blurry, complex, and ominous under the surface of the water. Through prompts viewers are encouraged to examine and question the simple and clear nature of their own memories and history. The final collection will include 100 works on paper and several short videos.

Sinking The arteles 2017 Back to Basics residency was an opportunity to reflect and expand an ongoing project titled Sinking: Submerging Narratives in Historical Context. The project, inspired by the 2016-2017 political and social climate in the United States and the need for a real understanding of history, is intended to be exhibited as a large collection of 100 works on paper. Arteles provided a quiet space for reflection on this project away from the 24 hour news cycle and the pressure to produce a high volume of work. I experimented with distressed paper and surfaces- trying to match the level of abstraction and tone of the work to the gravity of the subject matter. I also focused on honing the language surrounding the project in order to give the viewer a deeper understanding of the works and to encourage the viewer to seek parallel experiences from their own life. The quiet space and the wealth of thoughtful feedback from fellow residents were invaluable resources- compelling me to make the work more emotive, more personal, and more clearly supported through language via titles, audio, and wall text. With these new anchors, I’ll continue the project and look forward to it’s completion in 2017.


Back to Basics program / APRIL 2017

Amy Casey USA

www.amycaseypainting.com

About Drawing on my own immediate environments, the news and anxiety dreams, I have been painting groundless landscapes-cities of a sort for some time now. Arranging and rearranging them, I think about community, balance, vulnerabilities and growth with a curiosity about what holds us together and how one thing can lead to another. The detail in the work is partly my way of conveying a kind of specificity and preciousness and partly about overcompensating for my own myopia. The amount of detail often makes phases of creating the paintings a kind of meditation or devotional experience. I am fascinated by the resilience of life and our ability to keep going in the face of sometimes horrendous or ridiculous circumstances. My paintings celebrate this fascination and my love of the urban landscape.

Wandering in the woods While at Arteles, I tried to immerse myself in the landscape, to be in the moment while there and find new elements or structures that I might later bring to my urban landscapes in some way. I loved the wood piles, the birch trees and the thawing lakes but I especially became enchanted with all the mossy rocks and stumps, microcosms of landscapes. Itâ&#x20AC;&#x2122;s been interesting to see how these natural forms move your brush in new ways.


Back to Basics program / APRIL 2017

Stuart McMillan A u stra lia

www.stumcmillanart.com

About I believe humans have an inherent connection to nature, the environment and the universe, however in the modern day we may have drifted from the importance of this relationship. My creative practice is broad, and iâ&#x20AC;&#x2122;m always seeking new ways of viewing and sharing my own experience of various natural phenomena, furthermore the mystical and magical existence of various energy systems in nature and the universe, from the macro to the infinite.

The Art of Re-connection The opportunity to re-connect to nature and other creatives over the course of this residency was simply amazing. It opened up a huge well of inspiration, artistically, intellectually and spiritually. Having limited access to phones and internet, along with daily meditation, allowed for full concentration with little distraction, It enabled a clear space to truly immerse yourself in the whole experience. My focus was to re-connect to nature and humanity and for me I came away with a new friends, a higher appreciation for the importance of connection to nature, and down time from technology.


Back to Basics program / APRIL 2017

Noëmie Vermoesen B el gi um / Fra nce

noem-verm.tumblr.com

About Noëmie Vermoesen is a PhD candidate currently writing a thesis on Techno Criticism in the ’80-‘90. She writes about people who wrote about music, be it in academia or the press. In addition to her activities as a researcher and freelance journalist, she also collaborates with a bookshop specialized in music. Noëmie likes to listen – to people, to radio and of course, to music. Her preferred listening mode is active, whether that means dancing or playing music from her ever-growing record collection. Under the moniker Gigsta, she’s recently been DJing in bars, clubs and festivals. Her mixing started on the radio. As Gigsta she has hosted several shows on three different stations in the past few years. Currently, she hosts a monthly slot on the Berlinbased Cashmere radio. « Fictions » is her way to combine all the stuff that inspires her in a form that she is constantly experimenting with. When not busy with one of the aforementioned activities or with the jobs she keeps to pay the rent, Noëmie does zines, organizes exhibitions or cooks cool meals. Taking care of the planet, making her friends happy and sharing with humans are amongst her daily concerns. Born in Belgium, brewed in Brittany (Fr) and currently based in Berlin, Noëmie speaks five languages including English and Italian. When she finishes her PhD and masters the art of DJing perfectly, she would like to learn a language not using the latin alphabet to broaden her capacity to understand and listen to the world.

Listening between the lines When I came to Arteles, I was planning to start writing the PhD I had been working on for a few years. It had always been very difficult for me to put my thoughts on paper. I had always found it easier to listen and read than speak or write. Listening to people, listening to music, listening to the world … In fact, my PhD was about music (techno music) and how hard it was to write about it. So there I was, having to write about why it was hard to write about music. During the residency, I found myself listening even deeper (the silence – which actually isn’t – my breath, my noisy thoughts … and the others, breathing, thinking, talking and reading. Somehow, listening helped me to write : I just had to listen to the words dancing in my mind and let them come out hand in hand. As I left, I had written dozens of pages for the PhD and almost as much of personal writing.


Back to Basics program / APRIL 2017

Carolyn Angus Ital y

www.carolynangus.com

About Carolyn Angus is a visual artist whose large-scale mixedmedia installations are made in response to specific spaces. Carolyn’s sculpture is created from the most ephemeral of materials using the power of the repeated gesture to produce temporary monuments in response to a site. Carolyn also works in drawing and mixed media, often in monochrome and with an emphasis on texture. “Art is an essence, a center”. (Eva Hesse) Carolyn Angus studied sculpture at the Glasgow School of Art, UK then gained a Masters of Fine Art at Tyler School of Art, Temple University, Philadelphia, USA. Since 2003 she has been based in Rome. Recent exhibitions include: ‘Resonance&Timbres’ with Finnish composer Ulf Långbacka, Galleria Monty&Co (2014), Rome; The Tiny Biennale (2015), Temple Gallery Rome; ‘Casa con Vista’ Casa Gregoretti, Rome (2012); ‘The Experiment’ FLUDDE Festival, Assembly Rooms, Faversham, Kent, UK (2011); ‘E le stelle stanno a guardare,’Galleria 3B, Rome (2010); and ’Focus’ St Stephen’s Cultural Centre Rome (2010). Carolyn is a frequent visitor to Finland having spent twenty summers on its’ southern coast.

Between the click of the light and the start of the dream’ (Arcade Fire, ’No cars go’) The profound sense of place and the freedom to focus so fully on my art work enabled me to have fun experimenting with media and materials. I enjoyed being liberated from the pressure of a set outcome. This gave me the chance to experience a deep quietude and full immersion in my work. The month at ARTELES has impacted greatly on my drawing techniques and installation ideas already, signalling new directions. Towards the end of my residency I used projected images on my constructed paper reliefs to express a sense of ‘hovering’-the powerful moment between staying and going, the inbetween state. This is a quality I have been reaching for in my drawings and ephemeral installation work and was excited to see the results of remediating my images in new ways.


Back to Basics program / APRIL 2017

Anki King N orw ay / USA

www.ankiking.com

About Anki King grew up in a small village in Norway. After completing her arts education in Oslo, she moved to New York City in 1994 and studied at The Art Students League until 1998. King exhibits frequently both in Europe and in the United States. Her work is included in private and public collections including the Appleton Museum of Art, in Ocala, FL. King has also exhibited at the Katonah Museum of Art, NY, the Las Cruces Museum of Art, NM, and the Metropolitan Museum of Art in Tokyo. She teaches and lectures at institutions such as The Art Students League of NY, Pelham Art Center and Rush Philanthropic Arts Foundation. In 2010 she was the winner of the Artist of the Year Award in the London International Creative Competition (LICC). Over the last twenty years King has made works in an abstract-expressionist style, including figurative elements. The still-standing full size figures that often appear in her paintings are tall and slim, somewhat awkward, with large hands. The human forms in Kingâ&#x20AC;&#x2122;s work are a vehicle of expressing emotional memories and feelings.

Finding it in the Work I arrived at Arteles after many months of not being able to create any work. I am working organically in that I generally for an image to appear to me before I set out to create it, but lately the images were not coming â&#x20AC;&#x201C; instead I would only have anxiety and frustration. After unpacking I immediately pinned a piece of canvas to one wall and a sheet of paper to another and started adding paint to the canvas and began making charcoal lines on the paper. I got started with no preconceived idea and did not know what would happen. As I kept going I found that some sort of image would slowly become visible in the paint as well as in the drawing and I would just work towards what I believed this might be and new, yet unknown visuals would appear. It was a revelation and immense relief to find that I was able to make work by simply going ahead and working. This will give me a completely new way of approaching my creative practice and I am so thankful for this focused and undisturbed time to discover this. In addition I was able to find materials in the forest around Arteles to be inspired by and to create an outdoor sculpture with. I feel like a new door has opened up for me and I am tremendously excited to get back to my studio in Brooklyn and take advantage of this new knowledge.


Photo: Stuart McMillan

Photo: Amy Casey


Back to Basics program / APRIL 2017

Margi Brown Ash A u stra lia

www.margibrownash.com

About Margi Brown Ash a theatre maker, educator, therapist and coach, with her own creative arts therapy studio in Brisbane Australia, 4change coaching and counselling www.4change. com.au. Margi has been an independent artist (stage performer/devisor) for over 40 years in Australia and New York City. She is co-founder/co-artistic director of the nest and FORCE OF CIRCUMSTANCE, both collaborative theatre companies based on social constructionist principles. Margi’s most recent work is The Belonging Trilogy: HOME is a postmodern exploration of re-storying our personal and professional lives; EVE is a deconstruction of illness and creativity and He Dreamed a Train is about family and loss. When not writing and performing, Margi coaches and counsels artists using a strengths-based and creative framework. Margi is a member of M.E.A.A (Australia’s Actors Equity); a Taos Associate and a member of National Artistic Team at Queensland Theatre.

My Home of Belonging My time at Arteles consisted of gently yet systematically changing the way I not only see the world but also create. The Back To Basic’s program provided a frame for meditation twice a day which impacted on how I approached my creative practice. The long walks in the cold where the ideas flew in, the blue/grey lake that kept me company, the birch trees that sang, the birds that showed up as the residency lengthened, the snow that visited on a semi regular basis, the other glorious artists who were experiencing a similar environment and the caring facilitators of the program...all things opened up new meaning as to what my work, “Home of Belonging” meant to me. Arteles is a soulful place and it cannot but impact on one’s thinking and doing. Slower, more focused, deeper. If I had one word to use I would say “life-changing”...an experience to be treasured and revisited again and again. The days were long and rich, beginning with a hot coffee followed by these activities, each day in a different order: mediation; yoga; walking; cycling; writing; reading; more reading; conversations; more writing; art films; even more writing; lots of reading; all of us sharing our work; all of us eating together...all of us going on the occasional trip to the supermarket and turning up at the only, yet wonderful, vegetarian restaurant. And one thing I treasured, one simple yet profound activity: sitting still next to my window watching the snow or the lake or the sky...something I cannot do at home. I wrote two chapters during the four weeks, the work focusing on the artist, her sense of belonging and her relationship to consciousness. One mind, many brains.


Silence Awareness Existence program / FEB - MAR 2017

Kristin Bjornerud C an ada

www.kristinbjornerud.com

About Kristin Bjornerud’s watercolour and gouache paintings examine our relationship to the natural world, the importance of community and the power of female relationships through the lens of magical realism. Kristin received her MFA from the University of Saskatchewan (2005) and her BFA from the University of Lethbridge (2002). She has been awarded grants from the Canada Council for the Arts, the Saskatchewan Arts Board and the Ontario Arts Council. Her work has been exhibited across Canada in galleries, museums, international art fairs, and artist-run centres. Her work is represented in the collections of the Saskatchewan Arts Board, the Bank of Montreal, the City of Ottawa, as well as the Canada Council Art Bank. In 2010 Kristin was recipient of the Brucebo Fine Art Foundation’s residency scholarship in Gotland, Sweden. The resulting body of work was exhibited at the Art Gallery of Hamilton (2012). Kristin will be artist in residence at the Klondike Institute of Arts and Culture in Dawson City, Yukon in the summer of 2017.

Transforming Landscapes During my time at Arteles I began the groundwork for a narrative painting project inspired by Finnish folk mythologies and the natural environment. I worked on storyboarding and visual research, discovering unexpected synchronicities across subjects. Embracing the theme Silence Awareness Existence as a methodology over my two months at the residency I slowed my process considerably and reintroduced observational drawing into my practice. Inspired by the textures and colours of the Finnish forest, the skin of the birch trees and the predawn light, I made a series of detailed watercolour studies in an effort capture the specific experience of the local environment. I also painted character portraits, preliminary studies for the figures in the narrative tableau painting that I’ll complete in my home studio using all of the material gathered at Arteles.


Silence Awareness Existence program / MARCH 2017

Ian Waugh UK

www.ianwaugh.net

About Ian Waugh is a British film director, writer and artist. Raised in Tyneside, he studied photography and film at Edinburgh Napier University, graduating with an MFA in Advanced Film Practice from Screen Academy Scotland. His graduation film Leaves was nominated for Best UK First Feature at London’s East End Film Festival. An alumnus of Berlinale Talents, Edinburgh International Film Festival Talent Lab and Reykjavik International Film Festival Transatlantic Talent Lab, his work has screened at festivals in London, Stockholm, Berlin, Milano, Drama, Kyiv, Busan, Mexico City, and many more worldwide. His recent drama As He Lay Falling premiered in competition at the 68th Edinburgh International Film Festival, received Special Mentions at the 11th Reykjavik International Film Festival and the International Short Film Festival of Cyprus, and won the Directors Jury Award at the 16th International Short Film Festival of Soria. Having screened at over 25 international festivals it was released online through the BFI and is currently being developed into a feature film of the same name by Homemade Films and Only Son. A UK/Greece co-production, the feature development is supported by the Scottish Film Talent Network with the assistance of Creative Scotland and the BFI NET.WORK. In 2016 he lived and worked in Reykjavík, Iceland during a residency with SÍM, The Association of Icelandic Visual Artists. Supported by Creative Scotland, he developed an Icelandic set feature film while producing experimental video works for the gallery. In 2017 he will return to Iceland to begin production on a new film work.

Ajan sisällä (I drive inside / Within time) I came to Arteles with no set plan for the work I would do. I simply wanted to soak up the atmosphere of nature and stillness that existed around me. I split my time between writing, working on a draft of a narrative feature film script, while simultaneously experimenting with video and sound, fuelled by the creative benefit of bouncing two differing practices off each other. Inspired by the practice of the other resident artists, I started to see the developing audio-visual work as a video painting of the environment we shared together. Ajan sisällä is an abstraction of movement through the tree-lined landscape of Hämeenkyrö. Groves of trees, cast in darkness and light, change form and flicker in a passing transience. My experience of stillness seemed to produce a need to make a piece all about motion and transition. Perhaps the dual translations of the Finnish title to English describe it best. A reflection of what was stirring inside of me in this environment of exploration, within a quiet haven, where new thoughts and emotions were able to spark and flourish.


Silence Awareness Existence program / MARCH 2017

M.E. Sparks C an ada

www.mesparks.com

About In recent work M.E. Sparks investigates ideas of representation and perception while merging historical vocabularies of painting with personal narrative and found forms. Often working from observation, M.E. searches for a kind of newness and unfamiliarity within objects; the elusive yet perpetual dark side of all things. Her paintings play with absence, obfuscation, repetition and shifting pictorial space in an attempt to disrupt habitual modes of representational painting and ways of looking. M.E. received a Master of Applied Arts from Emily Carr University of Art + Design (2016) and holds a Bachelor of Fine Arts from NSCAD University (2013). She was a finalist for the 2016 RBC Painting Competition and the recipient of the 2016 Nancy Petry Award. She has received funding from Arts Nova Scotia and BC Arts Council and has exhibited her work across Canada, including Access Gallery (Vancouver), Franc Gallery (Vancouver), The Power Plant (Toronto), and Art MĂťr (MontrĂŠal). M.E. will be attending GlogauAIR residency program in Berlin during the spring of 2017. She is based in Vancouver, BC.

Night as Sheet While at Arteles I began painting on canvas cutouts in an effort to explore the behaviour of canvas as a hanging, gravity-swayed material. These cutouts mark a distinct transition away from stretched canvas in order to further explore the falsity of a painted surface and the experience of painting as both image and material object. A series of eight rectangular cutouts depicts the shifting colours of the night sky as observed through the same window every evening. Painting from both observation and memory, I worked with layers coloured glazes to approach the elusive night colours. I consider this series of paintings inherently related to the paradoxical experience of gazing out a dark window; encountering both depth and flatness, the visible and invisible, image and abstraction, sky and monochrome.


Silence Awareness Existence program / FEB - MAR 2017

Erin Purcell USA

www.erinpurcell.com

About I’m dealing with the uncertain and often intimidating vision of life, the unfathomable nature of time and change and the fleetingness and fragility of existence. Enigmatic yet familiar, my work arouses a sense of the physical to provoke an inner, unsettled feeling. Through the evidence of flux, it suggests that our experience of the world is a combination of the immediately perceived, partially concealed and the infinite connections made in between. The conceptual lexicon I’ve developed around the nature of existence has led me into an exploration of process, the third dimension and the power of the object. I hope to demand the viewer’s involvement through emotion, suggestion and the unfamiliar to convey the poetic while acting as a reminder that it is more important to think of ourselves before death and that we all are hurtling towards death and nothingness.

One Way or Another I created many works at Arteles I have yet to know how to talk about. Because, the thing about art is you sit around and think about things, and then you make objects that have their own trajectory. “As an artist you make things that are as convoluted as you are.” - Kiki Smith But, the heart of my experience at Arteles lies in self discovery: I learned to leave room for possibility. I can make all the plans in the world, but life will turn out the way it will turn out. Something is going to happen. You can’t anticipate what that is going to be— life is a continual process of arrival into who we are. It is not a ladder of predictable progress; you better be present to process it, to feel something. The most we can hope for is to make some sense of ourselves, the choices we make and our reasons for living. We must account for feelings along side thoughts. I am still learning how to better exercise some control over how and what I think, to be conscious and aware enough to choose what to pay attention to and how to construct meaning from experience, even from the banal, difficult and painful ones. But, I am thankful.


Silence Awareness Existence program / MARCH 2017

Jacky Cheng A u stra lia

www.jackycheng.com.au

About My viewpoint from the act of ‘making and doing’ is highly influenced by my Chinese cultural background. During my childhood, folding hundreds of lightweight bamboo joss paper commonly known as ‘spirit paper’ for people in the afterlife yearned my desire to reconnect the activity from my past and reflect my current practice with paper. It became more apparent during my architectural studies in my university years, which later transposed to series of artworks that looks like topographical landscape. But it is not the case as it is just mark-making the traces of actions of a person – me. I am drawn to the concept of ethnomathematics - the cultural activity and memories of home, country and relationship. My significant concern is correlating experiences and mapping the esoteric relationship between the art of making and attaining something sublime. Architectonic language such as geometric shapes, repetition, light and shadow play an integral start to every piece, as all things around us are a form or shape. It is the amalgamation of inspirations that allow each piece its rightful story. Aphorisms such as ‘less is more’ and ‘God is in the details’ is practiced religiously when exploring the idea of ‘two extremities of the same continuum’ – simplicity in complexity. I do not try to cut or imitate the perfect lines of a mechanical machine but instead embrace the process. Much like reminiscing about the journey and not the destination.

Rituals and Remnants No stipulated datelines. No unnecessary thought anxieties. No demanding chatters. No questionable doubts. Just honouring the privilege of one’s existence. My journey throughout this residency allowed me to embark on a series of work processes that respond to the values and significance of the Finnish landscape of which she continues to have an important part to play in the process of building her national identity. I embraced and was excited to get to know her. The silence of the mind and speech, the awareness of self and the respect of one’s existence paved my daily Rituals in making and doing as well as collecting the Remnants of thoughts and actions of what was left at the end of the day. Rituals The sumi ink drawing and stitching processes on a Japanese sumi paper scroll is the mark making and traces of actions of a person – me. Repetitions of lines were present throughout the scroll as the chosen design element in response to Paul Klee’s concept of line drawings - “a dot is a line that went for a walk”. This ongoing vignette provided my daily ritualistic response to all natural elements found during my journey: a company of tall birch and pine soldiers standing proud alongside man–made vertical and horizontal design lexicon all around. Remnants This residency ignited so many memory layers stored within me over the years. Some were not appealing but thankfully the positives embraced most of my existence. The Finnish landscape evoked all of that. Instead of escaping the thought process, I challenged it all and embarked on several smallscale works as a respond to my being. Much like reminiscing about the journey and not the destination.


Silence Awareness Existence program / MARCH 2017

María Laura Verdinelli A rgen t ina

mlauraver.wixsite.com/mlauraver

About I work with myself, putting into dialogue my works, thoughts, curiosities and questions with what remains unknown. I’m interested in establishing relationships between elements. To find the balance between structure and creativity. To be part of the invisible and create an image departing from that. I understand art as a way of becoming present. To inhabit new states in the search of our authentic creative gesture. To create ruptures and to explore different paths, so that new ways of knowledge can emerge and be expressed.

Freedom to roam... In the abyss of words, In the silence of creation. In the instant. Through the space of uncertainty, Under the impermanence of the landscape. During the residence, I began to explore the concept of jokamiehenoikeus, as a way to link natural environment, silence and contemplation of the mind, with the production of different personal records: A selection of watercolors and ink draws, as an invitation to wander in a visual way, without looking for a work with a totality sense, just walk with the eyes as a new way for training the mind and release all expectations. A deconstruction of my own notes and writing, exploring the inner space through observation to research about silence, emptiness and space and new forms to approach them. And a series of sketchbooks with repetitions of movements to draw a circle (Ensō) which was my daily practice during that time and I will use in the production of a future artist book.


Silence Awareness Existence program / MARCH 2017

Leena Niemela C an ada

leena.niemela@yahoo.com

About Leena Niemela is a Finnish-Canadian writer from Vancouver Island, British Columbia, Canada currently completing her Master of Fine Arts (Creative Writing) at the University of British Columbia. She grew up in the hot dust of the British Columbia’s North Okanagan between two worlds: one filled with the canadiana of life in a small town and the other of Saturday saunas, fresh baked “pulla” and Finnish church meetings. Her writing is a mix of memories and wishful thinking that explores heritage and identity, the coincidence of found poetry, and mysterious workings of language and the writing life. She writes non-fiction memoir and essays, poetry and the occasional cartoon. While at Arteles, Leena will be completing her first poetry manuscript exploring the impact of immigration on cultural connection between women in Finnish-Canadian communities and their ancestral communities in Finland. Her poems explore cultural belonging and identity, and the varied constructions of Finnish-Canadian identity experienced by the poet while living in Canada, travelling to Finland and returning to Canada after these investigations. She wants to interrogate the expected images in media and family lore, constructs like the ‘stoic/silent Finn’, ‘sisu’ and in particular, the social-psychological impact of the northern landscapes and dark winters and how they are perceived to shape existence for those who live there. She is interested in how these concepts manifest in lived experience and translate into words on the page.

Reaching for the gap The night before I arrived at Arteles, I sat in a New York pub with Duke Ellington quote on the wall: “You’ve got to find a way of saying it, without saying it”. The words have stuck with me like a riddle, and the more I puzzle it out, the more I realize how language fails us, how writing confronts the impossibility of conveying into language something that feels intrinsically as real somewhere in the body, the head, or memory, maybe. As I write, I record my thoughts about the process of translating another language, another’s experience and another cultured; as I walk in the woods, I read the tracks left by a multitude of tiny and large animals I can’t name with certainty; as I speak with artists working to convey meaning through mediums in which I have no experience; as I navigate the markets using my smattering of Finnish, I’m beginning to understand an important element of the manuscript I came to develop. In every exchange of meaning, we must also read for the silences, misdirections and intangible spaces.


Silence Awareness Existence program / MARCH 2017

Matthis Grunsky C an ada

grunskm.tumblr.com

About I am interested in moments of careful looking that occur periodically in our experience of the world. In recognizing these moments in my own life and expanding upon them through the production of art, I hope to trigger similar experiences of careful looking in others. My work relates closely with the discourse of painting, although the materials and methods I use often have roots in object (rather than image) based practices. I strongly gravitate to the history of conceptual art and my work often reflects the trend of de-skilling and de-mystifying the underlying processes of art.

Colour Study Over the course of my stay at the Arteles Silence Awareness Existence Residency I developed an immersive installation piece composed of a projected javascript program and multiple projection screens. Arteles was an amazing place for conducting this research and I am grateful for the resources that were provided.


Silence Awareness Existence program / MARCH 2017

Carrie Foulkes UK

www.carriefoulkes.com

About Carrie Foulkes is a peripatetic multidisciplinary artist and writer currently based in east London. Her work is as disparate as the geography of her life, with similar scant regard for borders between media, thought and action, text and image. The commonality is a deeply thought through conception and an intuitive, visceral hands-on creation. This form and content praxis can be seen throughout her work, and meshes particularly effectively in her collages. Often across an intricately executed background in pencil or paint, jagged glossy cut outs bring texture and colour, as well as ambiguous menace. It is work crafted as delicately and crudely as folk art, springing from an awareness of that tradition and many others, with a rawly expressive personal voice. It calls to mind, in feel and intent if not medium, Joseph Beuysâ&#x20AC;&#x2122; assemblages, primitively symbolic, with tactile overtones of personal history. As well as collage, her artistic practice encompasses chapbooks, poetry, essays, photography, film and painting. Carrie holds a BA in Philosophy from Columbia University, New York, and an MA in Poetic Practice from Royal Holloway, University of London.

Monument for Finland / Piece for a Frozen Lake During my time at Arteles I started to explore the ways in which my creative practice might expand to encompass larger scale spatial works. Monument for Finland has arisen from my ongoing research into the monument as a generative site of memory, social narrative and transcendence. This installation in the forest marks the centenary of Finnish independence and is reminiscent of a mountain. The sculpture alludes to Mount Halti on the Finnish-Norwegian border, whose peak was almost given to Finland by Norway as a gift. It also has characteristics of a lighthouse. I enjoyed navigating intersections of my writing and visual arts practices. This process resulted in many unforeseen things, including Piece for a Frozen Lake: a gestural performance and series of photographs and texts. This was a fruitful and contemplative month. I shed poems like birch bark, made collages, drawings and sound recordings and wrote an essay on bees.


Silence Awareness Existence program / MARCH 2017

Kailey Bryan C an ada

www.kaileybryan.ca

About My work often deals with the tension between the lived experience of a body, and how that body is interpretated by others. It considers that psychological “pathologies” may be unavoidable reactions to physical and social systems built to subjugate. Often I’m engaging the material culture around me, finding ways to both perform and subvert objects’ social meaning. In my video work I am always performing for the camera, taking a fleeting and unsettling gesture and looping it ad infinitum. I want the viewer to be seduced by colour, texture, lighting, sheen, and then puncture that experience. I want people to sit a space of simultaneous desire and discomfort. I centralize my own body to foreground my own accountability in my work; I am always only going to be coming from a specifically white, not-differently-abled, queer, feminized, middle-class set of experiences, and this informs the production of the work. Repetition is perhaps the unifying feature of my practice; an aesthetic technique and personal compulsion that magnifies the weight of any gesture while allowing me to feel control over it at the same time. I acknowledge the support of ArstNL, which last year invested $2.5 million to foster and promote the creation and enjoyment of the arts for the benefit of all Newfoundlanders and Labradorians. I am currently working on unceded Mi’kmaq and Beothuk territory, also referred to as St. John’s, Newfoundland, Canada.

Diapause / Unfold / Collapse / Study of the Artists’ Hand My practice centres on repetition; on the co-existence of desire and repulsion. These elements persist in the work created while here; softened, perhaps. The projects exist on a continuum: photography, drawing, animation, film. A photo series that makes beauty from discomfort, images that draw the viewer into the experience of their own skin. Tracing paper works like clouds, isolating pieces of memory, former selves, layered into obscurity. A short film about flies who may or may not be sad, who may or may not know they are trapped between two panes of glass, who may or may not be freed by someone in the room; a quiet meditation on the nature of power. I came to Arteles directionless. I opted to follow my impulses as they arose, trusting in the power of productive play. I came full of nervous questions: is a residency selfindulgent, or a stunning act of regeneration that subverts the capitalist paradigm? This question and so many others were passed around, reinterpreted and massaged in countless conversations over the dinner table, over couch cushions, on walks in the woods. And at the end of this month I’ve arrived at the certainty that caring for ourselves is indeed amongst the most radical of acts.


Silence Awareness Existence program / FEB 2017

Florencia Aguilera & Magdalena Lanas C h i l e / Spain

magdalena.maustudio@gmail.com / florencia@torodgn.com

About Our personal work has as a common Design base. Florencia Aguilera as a Mothion Designer and Dancer based in Chile and Magdalena Lanas as a Graphic and Lightning Designer as well as a Visual Artist based in Barcelona. Our exploration in the fields of communication and arts has drawn us to explore in the Experience Design; our interactivity and performance as a couple gathers us to make a statement about the relationship between dance, languages and means in the media arts, this time from silence. Wir sind sehr müde. / müde: tired, fatigued. From this state, ordinary and generalized in our day a day society, we wanted to generate a self-exile to Finland, where the silence, and timeless surroundings gives us the state to create and narrate with no pressures. Through digital and analog tools, the body, image and sound dialogue in contrast of noise, performance materializes, where to rumble has the tacit sense of finding poetry, beauty. To materialize a honest language that shows our fears from silence. To search light in our silence. Power the sound in silence. Find the dialogue in silence. Experiment silence as a co-creation. A relationship in between. Silence/Light and body/memory and soul/presence and existence. Give a step to silence as a language, where the searching act, the walking without a north transforms itself in our goal. Di 1. Means two. VAGAR 2. To have time and space enough to do something. DI-VAGAR 3. Talk or write without a purpose. The formula is revealed: two that have the enough time to do something.​

Maybe somebody will respond: Performing installation. From the initial statement “”Wir sind sehr müde”” (we are fatigued) and facing the silent Finnish landscape, the narrative axis from which the central idea of ​​the piece develops: Diving on silence as articulator of states of history and hysteria. The story goes through the contemplation of three daily objects loaded with neuroses of our own time and a moving body involved in a composition of sounds and visualities, a fork that represents hunger and anxiety, an object of female torture that represents beauty and an element of nature that tries to remit to the origin. Each object, free of emotional charge, is contaminated from our experience with our environment, drowning in reality and obsession for wanting to record every moment. Is it possible to find poetry after collapse? The path of this body without identity post-collapse, travels its words, faces listening and dialogue with a distance that separates us, 30 cm, an arm of distance with our peers, the world and ourselves. During a month of residence the narrative, sonorous and visual dramaturgy was developed for a performance installation. The images place the viewer in an emotional state, through beauty and discomfort. The audience completes the meanings from their experience with genuine sounds, enlightenment, stage space and the body in between. We use everyday elements to unveil their symbolic and narrative possibilities. The rambling load our work of a visual honesty that seeks to empathize with the observer.


Silence Awareness Existence program / FEB-MAR 2017

Goyo Kwon S ou th Korea

www.goyokwon.com

About By dissecting rituals, objects, architecture and narratives of private and social mourning, Goyo seeks sustainable ways of mourning through visual narrative ranging from video experiments to comics and drawings. In a society constantly flooded with images of death and bodies in peril, Goyo believes it is essential to start building platforms that will enable better understanding of fragility, physicality and holding on. From gothic narratives that romanticized grotesque to Wartime narratives that seek the definition of human condition between gray zones, and to queer narratives juggling between exploitation and exposition- the subjects of Goyo’s work is nurtured through lineages of stories that sought to challenge possibilities in representations of human experience. Goyo has received BFA from Rhode Island School of Design, and was a fully funded member of Royal Drawing School Residency in Scotland.

[The Lover’s House] - a graphic novel Written graphic novel script set on Hyunh Thuy Le Anicent House, often called “The Lover’s House” named after the novel [L’Amant (The Lover)] written by Marguerite Duras. The script attempts to reanalyze concept of ‘mad love’,that Duras extensively explores, through the eyes of a recently bereaved Korean woman and a Chinese man. Also worked on storyboards, concept art for the script & paper moquette of the Hyunh Thuy Le Ancient House. During the second month I worked with storyboards and concept art for the novel. Built 3D paper model of the Hyun Thy Le Ancient House for spatial reference. Experimented with different approach to mark-making to find consistent style for full page graphic novel.


Silence Awareness Existence program / FEB-MAR 2017

Amy Bernstein USA

www.nationale.us/amy-bernstein/

About Color and shape are powerful manipulators of the way we think and feel, creating a myriad of associations through the experience of geography, time, and culture. The use of color or lack thereof has come to represent quality, sophistication, sub cultures, and religion. What is the determining factor that infuses color with its respective connotations? Is it context or the way in which it is used, combined and contrasted against itself in certain recipes which determine meaning and influence? Is this simply the result of cultural habit or something inherent in the colors themselves? These questions intrigue me endlessly. I keep countless color notebooks to remember combinations that pique discomfort or incite strange pleasures to remember for later use. My desire is that the composition will exacerbate the oddity or electricity of the color choice, and that the result is a designed tension â&#x20AC;&#x201C; a random and candid snapshot of an abstract universe. At times the outcome is joyful, at others strained. I struggle with elements of restraint and freedom, the traits required to be good in the world, to know when to speak, and when to celebrate silence. I believe these minimal paintings to be compiled of small moments, to embody notes on existence. As whole works, they vacillate between the histories of philosophy, art, and design, searching for the space in which they will take questions further. They hope for beauty, but are often simply attempts at depicting the unexamined.

Infinite Experimentation My time at Arteles was centered around my painting practice. I aimed to let the visceral impact and influence of place seep into the formal constraints of my work in an effort to find new language. The constraints of painting provide a given limit within which, poetry and meaning must be found. I see my work as a provocation, providing the starting point of an experience. At Arteles, the community of artists as well as the cultural and visual impact of the landscape of Finland provided my work with a new and subversive vocabulary that I believe will be the basis for bodies of work to come.


Silence Awareness Existence program / FEB 2017

Rowan Lear UK

www.rowanlear.org

About I believe in a living, breathing politics. Iâ&#x20AC;&#x2122;m interested in learning how systems operate, how social structures are formed, and what strategies and spaces are available to cultural producers to reimagine ideologies of the present. My practice shapeshifts between writing, research, critique and organising â&#x20AC;&#x201C; though I create images and objects, these often relate to performances, presentations and periods of activity that remain largely invisible. Since 2014, I have dedicated much of my time to running an artist-led festival, Bristol Biennial.

She killed time Her wrist was the first sign. The bones stiffened, muscle mumbled. She wore a bracelet of bright copper, plugging fresh ions into her mainframe. Then the smallest digits on each hand would no longer straighten. They turned outwards slightly, curling like claws. The energy required to extend those tendons was reallocated to her remaining fingers: enabling methodical movements across the keyboard or a productive grip on the writing implement. She computed that these were not mechanical failures, but gestures of exceptional efficiency, the logical outcome of a body becoming ever more effective at work. And yet she observed as computers around her failed. Their responses slowed, their calculations became erratic. Their hardware or their wetware became visibly degraded, often around the eyes or mouth. Other times, internal failure was discovered only when they output strings of nonsensical data. Sometimes they crashed, and sometimes this was terminal. One day, she watched snowflakes tumble towards the earth. She noted their differing speeds and intensities of movement, their flits and flails, their swerves and surrenders. That sometimes they repelled each other, and other times clung together. That they might live short, bright lives or survive long, cold winters. That their bodies lived in a time of infinitesimal disorganisation. She paused, holding her breath, wondering if she too, could live in that time.


Silence Awareness Existence program / FEB 2017

Amber Harmon USA

4thharmon@gmail.com

About I have always been in awe of silence. It is something everyone has known in some form and yet it can have such vastly different impacts on individuals. To me, there is no true or set definition of silence. It is multi-faceted. Silence can heal, silence can kill, silence can protect and do much harm. Silence is infinite and yet so easily disturbed. I hope to grow closer in isolating and understanding the various forms of silence and use that inspiration to create unspoken words.

Love the Demons, Kill the Darlings. I came to Arteles with the intention on exploring different forms of silence and using them as character sources in my writing. What I discovered, however, is that silence is willful and the inspiration stemming from it cannot be predetermined or even taken, but must be received without hesitation. What I received during my residency were thousands of words, none planned or at first believed to be relevant. I worked on two different novels throughout my stay as well as a daily exercise of repetitions where I would face each day with a blank page and write sentence over sentence, condensing paragraphs into one illegible line. Initially an exercise to silence any unwanted words or plot ideas from my mind, it evolved into a visualization of my silence. All the words I will never give voice to, all the demons I could not give light to- I cast them all on paper and immediately silenced them. It was an inspiration of discovery and destruction, and it revealed the truth of the silences I embody each and every day. Violent, masked, vulnerable, and ruthlessly protected.


Silence Awareness Existence program / FEB 2017

Alasdair Bayne UK

www.alasdairbayne.com

About Alasdair is an experienced short film writer, director and editor. Over the past 6 years he has made a bunch of independent and funded short dramas and documentaries. Interested in themes of adolescence, masculinity and social inequality he strives to create honest, personal work.

Public - feature film screenplay ”Public” is the name of the feature film script that I have written and developed during my (very productive) month at Arteles. The film takes a critical look at the British public school system and it’s relationship to the ‘elite’ of our country. In my tim here I have also been developed and written a short film script entitled ‘Konsomatris’; about the sex industry in Northern Cyprus.


Silence Awareness Existence program / FEB 2017

Britta Albrecht USA

brittaalbrecht.weebly.com

About My art draws me to explore the connection between the physicality of mark-making and anxiety disorders. As I experience the outdoors, whether in harsh or pleasurable conditions-- landscapes serve as a catalyst in the discovery of these connections. Drawing and painting allows my mind to rest in these moments. I appreciate the company of nature for similar reasons. Creative mental space provides a safe, yet vulnerable avenue to express ideas that I cannot otherwise access fully through words. Once inside this mindset, I am able to ruminate on more subconscious elements of my psyche. My own mental health manifests itself through repetition. I dwell on rows of the same image, usually trees or linesâ&#x20AC;&#x201D;the consistency highlights natural imperfections; failure becomes meditation. Moreover, it is a space where I can experience solitude in a meaningful way. Accentuating blank spaces with simple, yet imperfect images brings to mind the daily struggles of human kindness and inter-personal connection. Simple ideals are difficult and mistakes are obvious. Repetition is staying the course. These visual challenges represent the very real and tangible challenges of personal connection. My art is a study in the building of community, a practice I personally pursuit as well. It is a study of how miscommunication is both a shackle in the present, but a tool for introspection and growth in the future.

Finding peace -but not without strength. Arriving at Arteles with no plan in mind created an inner panic that eventually turned into acceptance and then all in all I arrived at a place of peace. I was able to create a space for myself where I could tune into the tiniest of details. Instead of pushing these pieces of information aside, I was able to slow down and react (or not) to what my mind and body might be signaling. I feel that this will be a slow progression into my work as I continue to reflect on the importance of what it means to remain present.


Silence Awareness Existence program / FEB 2017

Jean Davis USA

www.jeanzart.com

About My work is based largely on the concepts of Emergence Theory, where to put it very simply, the whole becomes greater than the sum of its parts. Place, or environment, interests me – but not simply as physical location, or the subject of a landscape or cityscape. I see shapes that bring to mind landscapes or buildings and rooms as I work, however unplanned their presence may be. My figurative paintings include elements of abstraction and lack any truly definitive setting – by intention. Place is ambiguous, always changing. When place (or familiarity with it) is removed, paradigms shift. A person’s immediate environment is defined by his or her perceptions in both art and life; and perception is strongly influenced by both the subconscious and the unconscious. I aim to reveal aspects of my subconscious as I work, by starting with intention but allowing creativity to subjugate conscious thought as I progress. By intentionally relinquishing control over the final outcome I aim to allow an unforeseen system to present itself. I am not on a quest to find answers through my art. Rather, I look to find what is there that is as yet unseen and to give it physicality.

Perception of Color and Light in a Vastly Different Environment I came to the Arteles Residency to explore the difference a quiet, rural, northern environment would have on my perception of color, light, and sound. My home is in a normally bright, sunny environment - California. My intention was to draw what I saw and to photograph my surroundings, in day and low-light settings. My work was to serve as investigation and research for later paintings. My photographs would be possible reference photos, and would show differences in colors when the sun is at a different angle and at different times of day than I am used to in my home environment. Would this different environment influence my future use of color when painting? I began by drawing the trees outside my window, and taking photos during the day and night. During one of my morning meditations, and after walks in the forest and around the countryside, I found myself drawn to images of snowflakes, mandalas, and recurring symmetries. I drew from my imagination in charcoal, graphite, and conte, first based on radial symmetry. My following drawings were asymmetrical. I allowed my subconscious, rather than a predetermined goal, to guide my hand. The resulting drawings are purely in line, with no shading to depict volume or atmospheric perspective. These drawings have come home with me, and are the basis for my new series of abstract paintings. I consider them blueprints; references for the foundation of finished works that go beyond the lines in their plans.


Silence Awareness Existence program / FEB 2017

Givan Lötz S ou th Africa

www.givanlotz.com

About Multidisciplinary creative practitioner Givan Lötz escapes definition and can usually be found stretching, subverting or otherwise beguiling our understanding of the creative production. He is at once a visual artist and musician who lives and works in Johannesburg. He holds an honours degree in Information Design from the University of Pretoria. In addition to numerous exhibitions, talks and features Lötz has been included in the ABSA L’Atelier Top 100 in 2012, 2013 and 2014 as well as Design Days Dubai in 2014 and 2015. His most recent record, MAW, was released to critical acclaim on Miami-based label Other Electricities. In his own words: “I am an artist because I am uncertain, because I am searching. The moments of obsession involved in my process of art-making aspires to achieve a mood of catharsis. My art-objects are results of a philosophical inquiry - critical thinking about what it means to be human, a way to illuminate the relationship between the sciences and the arts with a new perspective on our emergence in the universe. I have a desire for innovative and dislocating descriptions of life through a willingness to confront it in all its contradiction and complexity.”

Origin and Limit + Pulse My residency work engaged two loosely related projects intermittently. One focused on visuals in a studio setup, the other on sound in a field environment. The first, Origin and Limit, explored ecstatic landscape depictions employing dendritic mono-printing and charcoal mark-making on paper in surprising combinations. Swearing off the traditional picturesque models of landscape portrayal, the resultant visual shorthand presents a compression of a mental image to a narrow compositional window, hinting at an expanse beyond the bounds of the work, looming closer in its abstraction and describing a nature no longer familiar. Keeping with the themes of place and memory, Pulse attempts to transcribe aspects of the Finnish winter landscape to minimal sound. Recorded in situ, the pieces graft traditional instruments such as kantele, drum and horn onto an African internal logic. The collection of short pieces can be listened to here: https://givanlotz.bandcamp.com/album/pulse


Silence Awareness Existence program / JAN 2017

Ariel Ruvinsky USA

ariel-ruvinsky-fibers.squarespace.com

About My work explores the relationships between costume and couture, fashion and style. Drawing from the realms of surface and textile design, hermits and performative living, my practice is influenced by the signifiers of dress and the sociological implications of fabric and fiber processes. I focus on uniforms and the ascetic practices of nuns, witches, Santa Claus, and clowns and their meaning in contemporary culture. My work deals with how the form and function of the garment acts as an external architecture and are in service to an internal framework or modus operandi for the wearer. I often think about how the intersections of vernacular street style and monasticism have informed haute couture and contemporary fashion. Where are there new opportunities for this type of occupational costume and couture to overlap? How can shape and the voluminousness of fabric lend itself to alternative realities? Using the narrative qualities and capabilities of garments, I stitch together ideas of ornamentation and the decisions of the designer into its own hermetic story and world. Operating as both a collector and bricoleur of techniques, I use gun-tufting, chain-stitching, crochet, knitting, dyeing, and pattern making to create my body of work. An MFA graduate of the Fiber department at the Cranbrook Academy of Art, and an artist in residence with the Talking Dolls collective in Detroit as well as The Hollows in Brooklyn, I have been committed to researching the narrative properties of garments in both field and studio since 2008.

Cold Blooded (Video Stills) I made hooded garments using two-way sequined fabrics that would give the effect of a second-skin; human creatures in the environment acting in tandem. Collaborating with Marisol, a fellow resident, we chose to use the landscape of Nancy Holtâ&#x20AC;&#x2122;s Up and Under, to perform slow movements and investigate the space through costume and movement.


Silence Awareness Existence program / JAN 2017

Mary MacGregor-Reid N ew Z ea la nd

www.marymacgregor-reid.com

About Over the last two years I have been exploring otherworldly spaces in the context of performance and the performative, building a cosmology through the linking of objects and ideas, a cultivated web of interrelationships. My method of working has been flexible; spanning object, live performance and video, but always with a focus on the performative. Ritual as performance seemed an appropriate space to interact with the otherworldy, while also allowing the work to quite naturally manifest across a range of media. Working with the performative â&#x20AC;&#x201C; particularly recorded performance - I have discovered a method that allows for the sublime, the unnerving and the amusing to exist side by side in a contemporary art context. This year I intend continuing to explore and deepen my understanding of human experience of the otherworldly, particularly the place of this experience in contemporary life.

Ataraxia Time moves slowly and silently out in the countryside in the middle of the Finnish winter. Long nights, short days and the sun low on the horizon create an environment very different to the one back home in NZ. I decided to explore time and duration in the context of a silent ordeal. I would invite my fellow artistâ&#x20AC;&#x2122;s to participate by enduring the slow melt of ice against their skin and to experience the thoughts and feelings this awakens. I was informed by the old Finnish story of the Sielulintu, or soul bird, who visits the human body at birth and death. I gave the participants the chance to experience the cold of the bird melting into their skin on an area of their choice; perhaps where they felt they might experience the passage of their soul. The pain of the bird against their skin stretches time while it is being endured, but is a fleeting moment that quickly fades. I discovered that the constraints of shooting the videos at Arteles actually created some unexpectedly interesting results. For example, I found it necessary to use natural light which created variations as the clouds shifted and the light changed. This gave an added dimension to the durational experience that I would not have discovered if I had been shooting in a studio with artificial light. My intention is to continue working with the project to create a multi-channel video installation with accompanying soundtrack.


Silence Awareness Existence program / DEC 2016 - JAN 2017

Marisa Finos USA

www.marisarfinos.com

About Clay is bodily - it is skin, flesh, and bone. It bruises, bends, and breaks. It is incredibly vulnerable, yet resilient and strong. Working with this material allows me to explore the fragility of the body as it transforms through both life and death. My work focuses on the connection between the human body as vessel and it’s relationship to the clay vessel. I explore this notion by creating large-scale, site-specific vessels for myself to inhabit. I build each vessel coil by coil, constantly considering the form in connection to the parameters of my body as I slowly enclose myself inside. The clay becomes an extension of my body, as it responds to every pinch, push, and pull. I occupy the vessel for hours at a time, focusing on my perceptions in solitude and darkness. They become transient and transformative spaces, functioning as portals or tools to navigate through my own consciousness. Upon the completion of my experience inside, I destroy the vessel and reclaim the material, giving it another life and purpose. It is my intention that my work serve as a platform to start a larger conversation about the body, mortality, death, the afterlife, and how these subjects are addressed in contemporary culture.

’ THAW ’ ‘Thaw’ is a site-specific durational performance exploring numbness, bodily preservation, and disembodiment. Over an eight-day period, I attempted to leave an imprint of my body onto a snow covered frozen pool of water, using only my body heat. Each day I laid down in the same spot, constantly changing positions to melt as much snow and ice as I could. These performances ranged anywhere from 5 to 15 minutes, depending on the outside temperature and how quickly I lost feeling in my body. The snow and ice not only recorded my gestures and physical presence, but resulted in an exchange that altered me as well. As I endured the cold temperatures and the discomfort of going numb, I became hyper aware of my body yet I could no longer feel myself.


Silence Awareness Existence program / JAN 2017

Williamson Brasfield USA

www.williamsonbrasfield.com

About Williamson Brasfield (b.1983, Palo Alto) received his MFA from Yale School of Art, and his BFA from Penn State University. Working in painting, photography, and installation, his work has been included in the Nicaraguan Biennial of Contemporary Art, Come Together: Surviving Sandy, and most recently at Beverlyâ&#x20AC;&#x2122;s, Bomb Popup, and Spaceheater Gallery in NYC. He lives and works in Brooklyn, NY.

Reciprocity Studies These photographs balance the acts of being seen, being captured and being present. Rather than attempt to impose stillness, they rely on the stillness of the camera itself, as the sitter moves more or less naturally over the course of a several minute exposure. Reciprocity failure, a phenomena unique to analog photography in which the film becomes progressively less responsive to light over the duration of an exposure, is barely noticeable in regular applications, but in long exposures, the initial events will register more distinctly than events which have occurred later. Outside of photography, the word also has resonance, the use of reciprocity to describe exchange or equality between people. Reversing what is normally asked of a photograph, these pieces concentrated on registering the sitterâ&#x20AC;&#x2122;s individuality as a durational accruance of presence.


Silence Awareness Existence program / JAN 2017

Adrian Gouet Chile

adriangouet.wixsite.com/adriangouet

About My work explores the influence of the mass media on the practice of painting, focusing on how the relationships between tragedy and spectacle determine their modes of production. In this context, my interest is in re-elaborating pictorially the media imagery with which we live daily, and particularly where terror and fascination can be confused continuously. But far from any emotional charge, this re-elaboration uses an aseptic pictorial treatment, depersonalized and distanced from any comment or moral opinion. The emphasis, however, is on the strictly formal description of all kinds of explosions, energetic discharges, eruptions, sublimations, vertigos, falls, suspensions, precipitations, disintegrations, deformations, fusions and confusions of all states of matter. Physics in its limit moments then leads to the limits of the pictorial language that describes it.

La ruta del รกcido (The acid path) My residency period was focused on developing different methodologies of relating a definite set of images, which compose the iconographic repertoire with which I have worked throughout my career as a painter in the last seven years. For that, I used Tarot cards as a support for projections, investigating their archetypal potential and their ability to produce new visual and conceptual connections within this set of images. The main goal of this process was to achieve a greater awareness of the power and richness of language and thus open up a new field of possibilities for my pictorial work.


Silence Awareness Existence program / JAN 2017

Marissa Stoffer UK

www.marissastoffer.com

About It has long been acknowledged that vision itself has a history. Painting is an act that reveals these historical conditioned visual strata. It is a process of re-imagining and re-making, and it requires an ever present consciousness of its past. Each painting can be said to contain the memory of painting and, and to quote Maurice Merleay-Ponty... â&#x20AC;&#x153;â&#x20AC;?If no painting completes painting, still, each creation changes, alters, clarifies, deepens, confirms, exalts, re-creates by anticipation all the othersâ&#x20AC;?. Thus through the process of looking, making, analysing, correcting and refining I have formed my own visual language. I am interested in the combination of paint and ready made images or pre-existing works as a starting point which then finds meaning through the juxtaposition of objects, shapes, textures, and colour. Through the process of playful destruction and re-generation my work explores many peculiarities of history, mythology, and beliefs, resulting in the creation of surreal, dystopian places. Drawing my material from a wide variety of sources, personalising the over abundance of available images I can continue to convey meaning in a fractured world in which the real and the virtual are increasingly confused.

Where the Shadows are Deep Living in this winter landscape I felt compelled to work with wood as a material through the synergy of the abstract and the figurative, the symbolic and the merely formal. Alteration, removal, and addition are at the centre of my work. Through mischievous play I found myself transforming the natural into something unnatural giving it another life. I would like to thank Creative Scotland for all their support.


Silence Awareness Existence program / JAN 2017

Ellery Royston USA

www.elleryroyston.com

About I am a composer and sound artist. I perform on harp and keyboard, usually augmented by electronics, and have performed extensively as an improviser and in noise projects. Over the last few years, I have developed an interest in using scientific data about the real word, ideally real-time, in multichannel sound installation as a way of exploring ecological and social systems. Recently, I have created installations using live geomagnetic data, historical data about civilizations over time, and weather data about tides, for example. Humanity is in the middle of many existential threats in the form of climate change, mass species extinctions and ecosystem collapse, all stemming from a disconnect with our place as a part of a complex ecological system. I believe that because sound has such an emotional resonance, it can help us understand in an affective way these larger systems. I aim with my work to create soundscapes that allow people to have an intimate experience while at the same time feeling connected to the world around them.

Metamorphism, music for Disembodied At Arteles, I began work on a new sound installation piece. In coming here, I was interested in considering the way the residency theme of silence could play a role in my sound work. During walks I began to notice the impossibility of interacting with the ephemeral, snowy landscape without in some way altering or destroying it. As my sound work often deals with constructing environments, I worked on an interactive piece that would reward stillness and silence from the listener. A web camera was installed to track motion in various parts of the room, and used to destructively alter a 4-channel soundscape created from time-stretched and processed samples from a small kantele, a traditional Finnish instrument. I also had the opportunity to collaborate with Marisol Cal Y Mayor on the music for her piece â&#x20AC;&#x153;Disembodiedâ&#x20AC;?. We collaborated on 15 minutes of ritualistic and minimal sound to accompany her performance, created entirely from samples of a toy piano.


Photo: Willamson Brasfield


Silence Awareness Existence program / JAN 2017

Elizabeth Liang USA

elizabethliang@alum.calarts.edu

About I am interested in the presence of consciousness and the relationships between living forms. I am especially interested in the relationship between man-made objects and nature and the seemingly never-ending struggles and controversies we face when dealing with the nature and validity of God.

Momentum I came here mainly in pre-production mode for my thesis film, which entailed a lot of research and writing, but I also worked on a few collaborations with other residents of Arteles. I also made a short landscape video, entitled, “”Momentum.”” The focal point of the minimalist, monochromatic environment is the horizon line, which I manipulated through camera movements to highlight the psychological effects of our desire for satisfaction.


Silence Awareness Existence program / JAN 2017

Zoey Hart USA

zoeyahart.wordpress.com

About Zoey Hart is a Brooklyn-based visual artist practicing (and teaching) print-based collage, meditative drawing, social practice and site-specific collaboration. Hart’s visual work explores the aesthetics of organic imperfection through the collection of mindfulness-based images and found environmental materials. Inspired by the unfolding adventures of a rare chronic autoimmune condition, (and the consequently extensive medical imaging produced during the diagnostic process), Hart’s current project, In Honor of Imperfection, seeks to merge internal and external realities through the depiction and distortion of biological and environmental landscapes. Previous iterations of Hart’s medically inspired series have been shown at Flux Factory, World Money Gallery, Bushwick Open Studios and online with Lady Art NYC and Eyelet Collective. During her time at Arteles, Hart plans to realize the next phase of her project (and health): rejuvenation. Hart has spent the past five years creating, collaborating and exhibiting work in and around Brooklyn and the surrounding boroughs of New York. Formerly, Hart lived, taught and collaborated in Northern Thailand, and the UK while completing an MA in studio printmaking and international art education from NYU, Gallatin (2015), and her undergraduate degrees at Brandeis University and Glasgow School of Art. In addition to her own studio practice, Hart is the founder of SEE FEEL CREATE, a series of international art workshops and collaborations.

In Honor of Imperfection Chapter III: Empathy Channels As a hybrid performance piece and drawing collaboration, Empathy Channels has evolved into a creative experiment in response to disability, chronic illness, and the indelible marks left by diagnosis and treatment procedures. Testing the potential of drawn line to enliven, heal and re-animate the body, Empathy channels invited six of my fellow residents to participate in bodytrace- a performative interaction during which each participant used charcoal paste to trace the natural path of his/her gaze across the marks, scars and other unexpected moments of bodily terrain. By angling the participants’ focus towards compassionate understanding, each bodytrace challenged anticipated bias, voyeuristic authority and recoil from the unexpected. The documentation of each participant’s visual path became an opportunity to re-animate the body through diverse narrative and new interpretation. After each undocumented performance, the lines were traced and interwoven, illuminating a compassionate account of illness, healing, and rejuvenation.


Silence Awareness Existence program / JAN 2017

Francisco Rigozzi A rgen t ina

www.franciscorigozzi.com

About My name is Francisco and I am currently working on a project called Gemini. “Gemini” is an intelligible but-not-formal project which encompasses the production of several works which are able to remain autonomous but in dialogue with each other. The project focuses on the expansion of the photographic medium by means of painting, gesture and intervention. It takes notice of the tension between presentation/ representation. It also deals with materiality and how things incarnate; how they come into being.

The Smile From Saturn My main concern during Arteles residency was to further develop the foundational theoretical aspects of Transmodernism in relationship to my practice, mainly Photography; Taking into account Postmodern critique and queer theory and with them making a comeback into Modernism, I thought and worked towards the invisible, what has been forgotten, what’s been buried so much in time that has lost its meaning but may still come forward and speak the questions that we are so willing to answer. I reached many discouraging conclusions, but in the end, I asked what was urgently missing: an exit. But in what screen may this exit lay? In the one that we are missing, obviously. Many are the centuries and Saturn –which has seen them all– smiles, and stares silently.


Silence Awareness Existence program / JAN 2017

Marisol Cal y Mayor Mex i co

marisolcym.wixsite.com/marisolcym

About Dancer, performer and choreographer. I use the body as an instrument to create images, to express emotions or symbols, to perturb and to arouse. Sometimes narrative, sometimes sensorial, my aim is to provoke a gut reaction in the audience. I teach the infinite wisdom that is enclosed inside the body and express, with a blend of different languages, the power within us all. This power represented in all lifeâ&#x20AC;&#x2122;s duality. Lately, I have been letting rotten emotions inside me die, in order to re gain force and let the rebirth take place.

Disembodied (performance) God is the continuous of the sacred from the inanimate to the human. What is left of any substance is its sacredness. Therefore, God is disembodied. This solo piece is based in a beautiful gnostic text, Trimorphic Protennoia. It this piece deals with the divine and ritual until it reaches humanity. It approaches the relationship of duality. It is a ritual concerned with the untamed and the divine, the profane and the holy, masculinity and femininity, human and animal. This piece was in collaboration with the sound artist Ellery Royston.


RESIDENTS + PROJECTS 2016 - 2015


RESIDENTS 2016 ARTELES CREATIVE RESIDENCY PROGRAM June - October Argentina

MARIA SANTI // Painting, installation, land art SARAH CLARKE // Writing, devising ELIZABETH ALLEN // Writing VILMA BADER // Visual arts TAHLEE ROUILLON // Music RHYS JAMES // Film, Theatre, Photography SKYLAR DELPHINUS // Dance, choreography CY GORMAN // AudioVisual, Relational, Mixed Reality

Australia

Brazil

LUANA DEMANGE // Contemporary Art SAMUEL RODRIGUES // Painting MARIANA LEAL // Painting, Drawing, Photo-object

Canada

KOUROSH GHAMSARI-ESFAHANI // Composition, music RACHAEL MCARTHUR // Photography ANGELA GLANZMANN // Installation, Media, Performance

France

SARA CAMPO // Image, painting, drawing MAIA FLORE // Photography, video, installation

Hong Kong

NAOMI CHAN // Interactivity, digital art, critical theory

Japan

YUKO NISHIGAKI // Illustration MIHO YOSHIDA // Painting AKIKO KEIRA // Drawing, Installation ASUKA NIRASAWA // Painting, Collage, Installation

Mexico

SISSY REYES // Video, photography PAUL LOZANO // Painting, installation

South Africa

NATALIE FIELD // Photography, digital-Manipulation NICCI OLIVIER // Printmaking, painting, installation

South Korea

SUNG EUN CHIN // Video, installation, art writing

Spain Sweden

SONIA TONEU // Painting, photography HELENA OLSSON // Performance, video

UK

USA

CLAIRE BURNETT // Photography, installation IAN BROWN // Contemporary Art ADAM WILSON // Writer KATHY MOSS // Drawing, painting SARAH RAPP // Design, technology, screenwriting CANNEO CANUL // Visual Arts, painting KELSEY MCDONOUGH // Painting, Drawing ROSEMARY FEIT COVEY // Experimental print and installation ZACK JOHN LEE // Audio, visual, spatial JUDY SUH // Filmmaking, video, installation KATHERINE RONDINA // Photography, bookmaking, installation LOREAL PRYSTAJ // Photography, moving images, performance ELIZABETH CLAIRE ALBERTS // Creative writing, radio arts ALLISON BAKER // Sculpture, video, installation DANIELLE RANTE // Drawing, Mixed media, Printmaking ROBERT BEAM // Photography, Drawing, Installation CAROLINE MCCAUGHEY // Writing, Film JAZMYNE M. K. GEIS // Performative storytelling, Visual arts KEVIN MACK // Painting, collage SIDONY Oâ&#x20AC;&#x2122;NEAL // Text, Performance, Multimedia BROOKS DIERDORFF // Photography, Sculpture, Video NICHOLAS KOVATCH // Installation, Sculpture


SILENCE . AWARENESS . EXISTENCE - Theme program January, February & November, December

NEO FUTURE - Theme program March, April,May

Australia

Australia

CISSI TSANG // Cross-disciplinary, audio, visual LIAM CROWLEY // Video, Sound, Sculpture LAUREN GUYMER // Drawing, visual Art FRANKIE CHOW // Video, Performance HONI RYAN // Nomadic social practice ELLIS HUTCH // Installation, sound, drawing LUKE ALEKSANDROW // Ceramics, video, sound installation ANNIKA HARDING // Painting, video, sound ROBERT FULLER // Sound

Belgium Canada

Chile Denmark

Ireland

Japan

South Korea

VERO VANDEGH // Drawing, aquatint BRANDON A. DALMER // Painting, Video, Installation DANI MINUSKIN // Photography, installation PIERRE LEBLANC // Time, sound, motion

EVA DAVIDOVA // New media, Performance, Photography ALISON TAYLOR // Video, Sound, Words SABINE LEBEL // Video, Sound, Words Iceland

DITTE RASMUSSEN // Writing, embroidery JEPPE ANDERSEN // Photography, sound AINE KELLY // Photography, sculpture, performance SAM BACHY // Painting, installation, sculpture RIEKO TSUJI // Photography, video, sculpture ALINA ZHDANOVA // Video Art, Graphic Design

Mexico

ABI TARIQ // Performing language as consciousness

Spain

DAVID MORATON // Videoart, Painting, Video-mapping LINA BERGLUND // Painting, installation

Taiwan

HSIU PING LIN // Metalwork, Large scale installation

Turkey

DAMLA YILMAZ // Photography, text, installation TAMSIN RELLY // Painting, Printmaking, Drawing AIDEN ATKIN // Video, Photography, Sound

USA

JESÚS JIMÉNEZ // Photography, video, installation

Netherlands

ANNA HOETJES // Film, Performance, Installation

Puerto Rico

SOFÍA CÓRDOVA // Video, Installation, Performance

Spain

UK

BYUNGWOOK JANG // Theatre, video

BEATA KOZLOWSKA // Drawing, installation, painting

UK

CHOR GUAN NG // Creator, Music composer, Noise maker

JUANA SUBERCASEAUX // Painting

Poland

Sweden

ÓLÖF BENEDIKTSDÓTTIR // Visual art, poetry

Malaysia

USA Pakistan

CHARLIE DONALDSON // Collage, Painting, Post-internet TYLER VIPOND // 2D, 3D, Digital PAUL HESLIN // “music” SUTU // Digital art, Motion Comics CHYNNA CAMPBELL // Film, Nail art, Design ANDY THOMAS // Film, Digital art

CYNTHIA HUNTINGTON // Poetry HANNAH SECORD WADE // Painting, photography, installation KATE ROBINSON // Creative writing, photography NATHANIEL OBER // Sound art, video installation MARISA FINOS // Sculpture, Performance IRFAN AHMED // Creative writing, Photography LEAH BEEFERMAN // Digital prints, Video, Sound DEREK G. LARSON // Animation, Video, New media HAI-HSIN HUANG // Painting, Drawing GENEVA SKEEN // Sound, music ALISE SPINELLA // Painting, drawing, performance BETSY WEIS // Photography, digital, nature RICHIE DEMARIA // Writing, music, photography SUMMER MCCORKLE // Video, photography, installation ALEXANDRA NEUMAN // Performance, installation, mixed media ALEX CROW // Energy, movement, performance

SARAH RASINES // Sound Art & Visuals ALBERTO MEHER // Sound Art & Visuals KATHERINE ANNE BRADLEY // Film, Sound, Photography EMMA CHARLES // Photography, film, sound OMSK SOCIAL CLUB FEAT.PUNK IS DADA // Visual arts NICOLE KILLIAN // Design, Video, Writing CHRISTOPHER ALLMAN // Sculpture, Costumes, Performance SID BRANCA // Video, Sound, Performance SELDEN PATERSON // New media, web, video HOLLY CHERNOBYL // Performance, Video, Sound art SADIE WEIS // Installation, Painting, Sculpture SARA GOODMAN // Performance, Video, Sound art GABE MICHAEL KENNEY // Installation, performance, print RYAN KUO // Computer, writing, photography ELENA BRUNNER // Drawing, Painting


RESIDENTS 2015 Arteles Creative Residency Program, March - September Argentina

Australia

TALI SERRUYA // Performance art ALEJANDRA URRESTI // Architecture, drawing, video/film DELFINA MOORE // Painting, drawing, installation VERÓNICA GÓMEZ // Drawing, installation, painting HELEN THURLOE // Poetry, writing

Mexico

KAREN PERRY RIOJA // Sculpture, installation

Netherlands

Poland

MARIA OLBRYCHTOWICZ // Sound, video, installation EMILIA MARYNIAK // Painting, installation

SAMUEL JAMES // Video, animation, drawing ELEANOR JACKSON // Writing, performance NAOMI BISHOP // Painting and works on paper KAYA BARRY // Installation, net-art GEORGIA DE BIASI // Textiles, video, performance ANNA SOLDING // Literature EVIE CAHIR // Fine Art MERRYL CUSTERS // Painting, drawing MORGAN PETTERSSON // Literature, Cabaret/Performance HANNAH MONSON // Acting, theatre-making, visual Art LUCIE STEVENS // Writing Austria

LAURA SKOCEK // Installation, video art

Belgium

Brazil

CÉLINE TALENS // Performance, video, installation

South Africa

SWAIN HOOGERVORST // Painting, photography

South Korea

SOJIN LIM // Painting, photography

Sweden

SUSANNE LUND PANGRAZIO // Painting, drawing, books

Taiwan

LING-YA SU // Painting, illustration, handicraft

Turkey

MERVE MORKOC // Painting, sculpture

UK

KIRSTY LOGAN // Literature LAURA SPRING // Printed textiles MARY WALTERS // Drawing, print-making, video

KATINKA DE JONGE // Performance, video, installation CATHÉRINE CLAEYÉ // Painting, installations in situ

HANA-MAI HAWKINS // Video, sound, digital media

MARIJKE AERTS // painting, drawing, in situ

EMILIA WHARFE // Writer, illustrator

PATRICIA BÁRBARA // Live art, Cinema, Contemporary dance

USA

MARY ELIZABETH YARBROUGH // Multi-media installation ELIZABETH WITHSTANDLEY //

Canada

Photography, video, installation

BRADY SIMPSON // Photography, painting, music

ADAM NEESE // Photography, video

JEANETTE JOHNS // Drawing, printmaking, collage

ELIZABETH MEANEY // Fiction, poetry

EMILY MCMEHEN // Film, video, textiles

CECILIA CHARLTON // Painting

MATTHEW CARSWELL // Performance, installation, A/V

JASON PEARSON // Visual arts

NATALIE WILLOW BOTERMAN // Intermedia

JESSE PEARSON // Visual arts

FELIX DUMERIL // Contemporary dance

ATIF AKIN // Media, photography, graphics

BART RAWLINSON // Poetry & Fiction France

PHILIPPE BEER GABEL // Music, video, photography

STEPHANIE PAINE // Photography EMMA FINEMAN // Painting, photography

Germany

NATALIE BÖHRER // Painting

MEGAN SOLIS // Painting, projection, animation MITCH PASTER // Lens based media

India

VISAKH MENON // Drawing, installation, video

JESSICA S. FRANK // Poetry AHMET CIVELEK // Painting, video, mixed medium

Japan

SHINOBU TERADA // Installation, photography MISATO INOUE // Contemporary dance

Kosovo

LENDITA XHEMAJLI // Sculpture, Installation, Drawing


SILENCE . AWARENESS . EXISTENCE - Theme program January, February and December

ENTER TEXT - Theme program October and November

Australia

Australia

ELLIS HUTCH // Installation, sound, drawing KATHERINE FRIES // Installation, sculpture, ephemeral

JANE SKELTON // Short fiction, novels, poetry MYFANWY MCDONALD // Fiction writing

TAHLEE ROUILLON // Music

ISABELLE LI // Writing, translation

MICHAEL TERREN // Sound, music, environmental art

JESSICA MILLER // Children’s literature GARRY MCDOUGALL // Writing, photography, painting

Canada

AMANDA MARCHAND // Photography, writing Belgium

Chile

NIELS POIZ // Video, installation, bookmaking

CONSTANZA GAZMURI LYON // Photography, video Canada

Colombia

CARLOS OROZCO // Photography, video, collage

Denmark

MARTIN KURT HAGLUND // Photography, writing

JULIA MARTIN // Photography, writing, installation PALLAVI THAMPI // Graphic design, typography & publication

Sweden

TINA WILLGREN // Video

IDA MARIE SETTERGREN // Painting, graphics, drawing LOUISE BØGELUND SAUGMANN // Photography

UK

IMI MAUFE // Printmaking, book arts, interactions FREYA DOOLEY // Writing, sound, visual arts

Germany

SANDRA BEER // Illustration, drawing, mixed Media PIA ZÖLZER // Illustration, drawing, mixed Media SSMIDD // Multipurpose artist

Hong Kong

Mexico

SCOTT NORTHRUP // Video, sculpture, photography ERICA MENA // Poetry KATHY MCTAVISH // Composition, new media, installation

CAROLINE ANDERSON // Writing, drawing, gifting

SIMONE SMITH // Film, theatre, visual art SHAUN STAMP // Objects, photography

USA

ILYN WONG // Mixed-media, installation ALLISON WADE // Painting, photography, sound installation

MAURICIO RODRIGUEZ // Sound, composition

BETH SOMETIMES // Installation, socially engaged art, drawing UK

AMANDA DELTUVIA // Writing, acting, painting TIMOTHY MCCOOL // Painting, drawing, sculpture GINNA WILKERSON // Poetry, digital photography, mixed media

JULVIAN HO // Drawing, painting, installation

JACOBO ALONSO // Painting, installation, video New Zealand

USA

LIA MIN // Neuroscience, installation, sculpture JOHEE KIM // Mixed media, installation, video MARY INCE // Drawing, photography, video ROBERT FALCONE // Sound and image LORETTA MAE HIRSCH // Painting, drawing ANTONIA KUO // Painting, photography, film ANGIE KUNNOE // Photography WILL HARRIS // Photography GRACE PETERS // Music, Film, Photography

ANASTAZIA LOUISE ARANAGA // Performance, fabric, installation

SHEILA PACKA // Writing


IN THE RESIDENCY Silence Awareness Existence Program, December 2016

“Open mind to whatever comes to my creations, always with grateful heart.”

HSIU PING LIN

Taiwan

leilalin0709@gmail.com // leilalin0709.wixsite.com/mywombmymotherearth Past few years, I have put my attention to the topics that are

in life and related to womb. based on those uterus drawings, I

related to women, female bodies and the relationship to the

started to curating exhibitions, meanwhile continue working on

mother earth. In 2014 we started a project called “ My Womb,

my handmade Jewelry brand, I work with precious metal, all kind

My Mother Earth – Uterus Painting”. Nearly two year, we have

of hardwood (sandalwood), mainly do customized Jewelry.

hosted over 15 Uterus Painting workshops in Taiwan, Hong Kong,

BONTE Handmade Jewelry | Designer, Creator, owner Visual

northern Thailand border, Nepal, South India and other places,

Design of Dhartimata Sustainable workshop My Womb, My Mother

thus collected all kinds of stories about people’s experiences

Earth Art Project| Exhibition curator / project initiator / creator


” I AM” PROJECT “I am” Project : During my stay in Arteles, I kept telling myself “try

to grow endless on the soil, also a symbol of blood. “I” means

not to do anything” just let the ideas come to me, and follow the

masculine side , “am” means the feminine side , like the balance

flow, slowly I began to trust my intuition, I imaging an old ancient

of ying and yang.

object which can connect the sky and the mother earth, in the end I made this mysterious object, the point of triangle is to link

Material: branches, wires, wool

the universe, and all the red wool strings, they are like the roots

Size: Triangle 60cm x 60cm


IN THE RESIDENCY Silence Awareness Existence Program, December 2016

“Expession of Memorization”

ALINA ZHDANOVA

Japan

zh@aszt.info // www.aszt.info/ZAlina Born in 1992, Moscow Russia, then I and my family moved to Japan

on differences of the environment that I was born and I grew

when I was 1 year old. Now I work as a freelance Video Artist

up. When I’m shooting an animated film using stop motion, I’m

and Graphic Designer in Japan. Graduated at Kyoto University

trying to record each moment. When making video, I usually use

of Art and Design, Information Design Department in 2015. The

ready-made music, but sometimes I effectively use human voice

biggest award I got is The Grand prize of the second CAF Prize,

or breath sound, environmental sound that can be heard from

Tokyo Japan. My graduation work “Favoritka” was shown in

outside. In this residency I would like to record various sounds

Hiroshima animation festival and other places, and this work was

and to experiment with video work. I’m interested in the theme of

collected at ARGOS Center of Art and Media, Brussels Belgium.

this residence, that is “silence”. I believe the experience of deep

My works explore the experience and memorization that based

silence air of Finland helps my work to get to the upper level.


SILENCE OF FLOWING THINGS The theme of my staying in this residency was ‘Flowing’. I

express the concept of flowing times, flowing things and flowing

collected human voices and I made some videos of what I felt and

connections in these works.

of what was connected with everything and everybody. I started

The theme transfers to meanings of emptiness or nothingness,

to make a short animation, the title is ‘Silences’. It started with

or relativity quoting Buddhism. It means that everything is just a

people saying together ‘Silence.’ I asked people to express their

concept, we depend on each case and condition.

own thoughts of silence, then I tried to analyze their statements.

Loneliness, silence, winter darkness, - and the culture of a

And I synthesized sounds that I heard in the forest. I’d like to

different country - all that helped me to get new ideas.


IN THE RESIDENCY Silence Awareness Existence Program, December 2016

â&#x20AC;&#x153; We experience the world through the filters of perception, the emotions that consume us, and the memories that have shaped and haunt us.â&#x20AC;?

IRFAN AHMED

Pakistan

irfanahm3d@gmail.com I embark on creative journeys with my pen, and occasionally

from memories, reality and illusion, existentialism, love, loss,

with my camera. I love storytelling, which explains my passion

mortality, coming-of-age, and the effect technology (and potential

for creating worlds through words. My nostalgia for classical

new discoveries) will have on our lives in the near future, to name

literature and an inclination towards magic realism influences

a few. I hope to move and inspire people through my stories and

my writing style - defining and elaborating worlds through

instill a thoughtfulness about the world around us and our place

eloquent prose - while I explore a multitude of concepts ranging

in it.


NABOKOVIAN INDEXES To liberate myself from writer’s block, which I suffer due to

Once I had a significant amount written down I would move my

technology – through procrastination or going into hyper-editing

work to the computer. I used the technique to good use, writing a

mode while writing the first draft – I employed a technique that

few poems, but primarily working on the short story I had intended

I call ‘Nabokovian Indexes’. I coined it after the author Vladimir

to work on. I also did some photography to allow breathing room

Nabokov who used to write his stories on index cards.

for my writing.

Writing on paper allowed me to write with more fluidity as I could

The story I worked on aims to create a narrative about Muslims

focus on the story rather than on making it ‘perfect’ in the first

that counters the general perception in western societies, which

draft. Being confined to limited dimensions (of the cards) also

has been shaped primarily by media coverage of conflict-ridden

allowed me to focus on particular events I wanted to explore in

regions in the world. I want to show how their desires are similar

the story, especially in a non-linear format thus further reducing

to others, such as living comfortable lives and in harmony with

the chances of getting inspiration block.

their neighbors and community. But I also want to delve into the difficulties they face living today in western societies. I will continue working on it after Arteles.


IN THE RESIDENCY Silence Awareness Existence Program, December 2016

MARÍA JOSÉ CHICA

Colombia

mariajosechicav@gmail.com // cargocollective.com/mariajosechicav I’m mainly a painter. My work has been moving between figuration and abstraction following an interest of contemplating my immediate surroundings and routine.


THE LIVING POSTCARD I painted a big canvas, I drew, slept, cooked, walked, breathed,

with a couple of good ideas for new projects, I saw the landscape

dreamt a lot, took photos, organized, cleaned. I did Sauna a

change every day, I walked on a frozen lake for the first time, I

few times, I knitted a scarf, I ate way too much chocolate, I had

experienced being in front of a campfire while it was snowing, I

long and interesting conversations, I met artists from different

saw a big and beautiful halo around the moon...yes, that among

countries, I watched a lot of movies and documentaries, I came up

many other amazing things.


IN THE RESIDENCY Silence Awareness Existence Program, December 2016

LAUREN GUYMER

Australia

laurenguymerart@gmail.com // www.laurenguymer.com Lauren Guymer is a Melbourne based visual artist with a Bachelor

Since beginning her professional career in mid-2015, Lauren has

in Communication Design. Lauren has a sharp eye for detail and

exhibited in more than 15 group shows and has shown her first

works at length with tiny illustrative dots, lines, and marks,

solo exhibition. She has had her work published in both print and

creating extremely intricate and imaginative landscape drawings

online, and has private collections across Australia and the UK.

with pen and ink on paper. Laurenâ&#x20AC;&#x2122;s work expresses her ongoing

Laurenâ&#x20AC;&#x2122;s primary focus is to continue her artistic development,

fascination and love for nature and travel.

having been selected for a second artist residency in Iceland 2017.


TILA During my stay at Arteles I utilised the time and space to develop

with pen and ink, watercolour, and gouache. These drawings

new concepts and to further my artistic practice. When I first

were based on imagined ideas, or drawn directly from my studio

arrived I had no plans or ideas in place, so I was able to create

desk and during my daily forest walk. I also hand stitched my own

work as a response to the amazing Finnish forest and countryside

sketch books, and made a terrarium with moss and earth from

around me. I created numerous landscape drawings and paintings

the forest.


IN THE RESIDENCY Silence Awareness Existence Program, December 2016

“ Leah Beeferman is a Brooklyn-based artist with interests in the digital, the geological, and the north.”

LEAH BEEFERMAN

USA

leah.beeferman@gmail.com // www.leahbeeferman.com I take pictures, record, and collect material in landscapes

subjective experience. At the root of my work is the merging

that interest me: rocky, icy, or salty terrain in, typically, barren

of this “real” space — from my observations, photographs and

northern or desert places. These landscapes evidence earthly

recordings — with an intangible and conceptual one informed by

processes; they are manifestations of physical systems and laws

abstract painting, contemporary physics, and the digital.

that determine the visible “real world” we live in. My visual work

The landscapes are crucial to each piece, but they are just one

and sound work have similar concerns: to create picture planes

element within a larger set of concerns. In the work, they become

or sonic spaces which shift between depth and flatness, confuse

something more ephemeral and elusive: pictures which layer

“solids” and “empty” space, juxtapose the natural and the digital,

gesture and landscape, and natural and digital color, in the flat,

and hang in a suspended balance just on the line between

yet vast, expanse of digital space; and sound spaces that suggest

stillness and motion.

sources immediately up close and real, and impossibly abstract

The finished pieces (c-prints; videos; sound pieces; performance-

and far away. The work relies on the specificity its elements

screenings incorporating video, text, and sound) refer to the

provide, but makes use of it only as a beginning point to anchor an

tangible real world but remain in a place of phenomenal,

experience that becomes, ultimately, intuitive and experiential.


LIGHT video still

LIGHT (Excerpt 1-4)

LIGHT MATTER At Arteles I worked on some new pieces for an upcoming exhibition

perception, small changes, details, light, and environment. The

at Sorbus, in Helsinki. I made a new video piece (title to come), a

images are actually from Hyrynsalmi, Finland, but I did a lot of

new digital print (also title to come), and a text piece about the

shooting of images here in Haukijärvi that will end up in some

science of light, white, color, and snow. I wanted to think about

other future work.


IN THE RESIDENCY Silence Awareness Existence Program, December 2016

ÁINE KELLY

Ireland

awnyar@gmail.com // cargocollective.com/ainekelly I’m a recent graduate in Fine Art from the Crawford College of

authentic ‘photograph’. Releasing myself from the camera, I work

Art and Design and currently based in Cork, Ireland. My work

directly with light sensitive papers, lens, transparent materials,

examines the nature of photographical representation and what

and most importantly, light. This photographic process allows me

it’s role plays in today’s image choked world. My practice involves

to present reality in a way that human perception does not permit.

an investigative approach in order to find new ways to capture an


NOVEMBERâ&#x20AC;&#x2122;S ASHES During my time I thought a lot about change. Change is often a

exposure, the prints were fixed, a photographic chemical that

dominant thought when I practise meditation. I observe immediate

stops and stablizes the papers reaction to light. Some of these

changes like my breath and more subtle changes I observe in my

prints remain unwashed, meaning the photographic chemical is

emotions, memories and relationships.

still in these prints, causing them to deteriorate over the coming

I placed snow, ice, and foliage found from the forest onto light

years.

sensitive paper that was exposed by sunlight and lamps. These

This work reflects on the futility of seizing change and has helped

exposures ranged from 30 seconds to several days. After the

me in processing the impermanence of all things in life


IN THE RESIDENCY Silence Awareness Existence Program, December 2016

“ Open mind to whatever comes to my creations, always with grateful heart. ”

HAI-HSIN HUANG

USA

hhhuang510@gmail.com // www.haihsinhuang.com Mt works explore images indicative of contemporary life.

am interested in the ridiculousness, fear, absurdity and loneliness

Particularly banal everyday life scenes that reveal an ambiguous

in society. To me, most aspects of life have the potential to be

atmosphere between humor and horror. Such as ordinary family

ridiculous, absurd, awkward, funny and meaningless all at once.

photos, tourists at attractions and the routine disaster drills… I


FINNISH WATER. FINNISH WOODS. FINNISH PEOPLE. I kept 2 drawing diaries of my Finnish experience. People and their land.


IN THE RESIDENCY Silence Awareness Existence Program, November-December 2016

DANI MINUSKIN

Canada

dani.minuskin@gmail.com // www.daniminuskin.com Within the rhythms of our cyclic nature we encounter the wisdom

What is our role in a long string of ancestral narratives?

of ritual; repeated behaviours that invoke forces far larger than

My practice is an expression of our entanglement in this eternal

us. As time unravels itself in circular motions, the accumulation

web. By means of repetitive processes, my work seeks to honour

of generational memory nestles into the crevices of our psyche.

the vulnerability and resiliency necessary to confront the repetitive

How are we impacted by the experiences of our ancestors? How

loops of these enduring patterns.

does familial history express itself in psychosomatic patterns?


NOVEMBER’S ASHES My main point of research during my two-month stay at Arteles

Ashes is a work consisting of about 35 glass bottles filled with the

was the transmission of memory over generations. While there,

ashes from each sauna use during November and December. This

I used my immediate surroundings to embody and preserve

work will remain behind the onsite sauna. Kikka is a preservation

memories that linger in the spaces. I began multiple projects

of a memory left behind and a work-in-progress. I found Kikka’s

around this theme: Messages in the Air (a collaboration with

notebook in the attic of the residency house, written in 1981 and

Nathaniel Ober), November’s Ashes, and Kikka. Messages in the

is full of poetry from her teenage years. With help translating it,

Air was a dialogue of drawing and audio compositions inspired

I turned her poetry into fading snapshots. Each poem is stamped

from the sounds of unsilenced quiet spaces. The final work was a

onto paper stained with the sauna’s ashes and charcoal and then

video installation depicting a performance and spoken word which

coated in honey. Over time, the honey disintegrates the text and

took place in the basement of the residency house. November’s

illuminates the ashes.


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

BRANDON A. DALMER

Canada

brandon.dalmer@gmail.com // www.badalmer.com Dalmer (b. 1984) is a multimedia video and installation artist, and

the 809 Gallery in Calgary. His practice is based within the

occasional curator living in Toronto, ON. He holds a BFA from

scientific method, exploring themes of impermanence, the way

the Alberta College of Art and Design, and has participated in

images are made, the relationship humans have with expanding

exhibitions and residencies across Canada and internationally.

technology, decaying memory, mortality and the passage of time.

He has been involved in a number of artist-run organizations and

Through research and process based projects, his work aims to

curatorial projects aimed at the incubation of emerging artists;

contextualize scientific theory into both multidisciplinary visual

such as The New Gallery, The Whitehouse, 811, The Roundtable

and narrative work.

Residency and M:ST. As well as being one of the founders of


UNIVERSALIS My time at Arteles was one of reflection and research. Reading

to electromagnetic data NASA had sonified. These are intended

first about the theoretical repercussions on society after the

as methods of deep listening. Allowing the viewer the opportunity

advent of Artificial Intelligence. Through interactions with my

to drift into a meditative state. In addition to this video work, I

fellow residents I became fascinated by the transferring of

spent a great deal of time creating digital files that I then was able

information during the extended periods of silence. During my

to produce on my return to Canada.

last few weeks I created a series of wireframe animations synced


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

“Focus on the tiny drama in the world.”

RIEKO TSUJI

Japan

rietsuji10@gmail.com // rietsuji.tumblr.com Since I studied photography and video during my bachelors, I have

Therefore, my artwork is mostly based on non-famous narratives

been interested in capturing ephemeral moments.

like someone’s personal history and a folk tale of a small town. I

We need to be aware there is something disappearing. Things

try to make them sharable with the audience by using materials

which disappear are not things which are false nor bad. They are

which do not remain as a solid form, such as sound, smell and

just not recognized.

temporary sculpture.

One of my mission is to find them and keep being handed down to people who don’t know them.


FORD An artwork is sometimes a recollection of the artist’s past. For

to fade, unforgettable fragments will always remain.It started

me, it all started with a Ford. I found the American car when I

from one ford. While I was walking the long way to the super

was walking down the long way to the super market, crashed

market, I found that American car had broken and covered with

and covered with shiny white snow. I started picking up iridescent

white shiny snow. So I picked up its iridescent front glass, rocks

pieces of the broken front window, together with rocks and

and a bunch of chamomiles around the crushed auto to keep in

bunches of chamomile flowers that grew near the car. I took them

my memory what I have seen! Artwork is sometimes recollection

home and froze them in ice, as if in an effort to keep the scene alive

of the artist’s past. Here I store my experiences in Hämeenkyrö

in my memory. Here I reflect on my experience in Hämeenkyrö:

with ice, which can be melted as if it was never there.

while the ice will eventually melt away, as memories are destined


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

BYUNGWOOK JANG

South Korea

projecthavoka@gmail.com // www.havoka.com Byungwook Jang is director of HaVokA Project. HaVokA’ means

and experimental artworks. Once the theme and content to be

‘destructor’ and refers to a project based creative team that

expressed through a performance is finalized, after researching

breaks free from previous conventions and strives for novelty

this performance from various perspectives, the performance is

based on creative destruction. It also includes the pioneering

created through actual experiments conducted in their everyday

spirit of “shall we try to change the world?” through new formats

lives.


SAUNA EXPERIENCE X CUT/INE Many things are decided by a razor thin margin. Efforts and

This one-day special sauna is somewhat weird. Some enjoyed this

investments that are made in the meanwhile are rewarded upon

strange sauna on their own way, some took adventure of taking

judgement. We admit difference, but discrimination. Drawing line

clothes off in us for the first time, and some were anxious about

is inevitable way of our society is running. I am not you. Humans

the sauna. Sometimes uneasiness might be an way of confronting

are animals with a practical sense of logic, and at very moment

our reality.

each of us makes optimal decisions to maximize our own senses

Many things are decided by a razor thin margin. Existence

of happiness. We draw lines. Goods and services of this world are

must be expressed not with numbers but with fundamental

limited and finite. To have a desire to be happier than other people

characteristics and nature. We should break down walls. We

is a fundamental human characteristic and this desire should be

are surrounded by discouragement, frustration, depression and

respected.

hostility by razor thin margins. We tear down walls. We express

Finnish sauna is used by both sexes at the same time. We are

our objections. We execute our justified feeling in front of unfair

undressed in sauna. It seems like a bare skin of Finn culture. It

policies and standards.

is precious and private. It is an important part of Finn’s cultural

What are the criterion? How do cutlines come to be? Wall, line,

essence. I did sauna every other day. Dimmed light, sound

distance and gap. How do cutlines come to be? Do you agree with

of burning logs, and smell of sauna. It was the most relaxed

the standards that have included you to be so? If you happen to

moment when I was alone in sauna at very late time. One day,

one day be shunned to the ‘OUT’ group, what will you be saying

I thought. What if there comes lines and walls at the primitive

and thinking at that time? How do our perspectives of the cutlines

place of we are taking the last barrier of ourselves off? When was

differ when looked upon as an ‘IN’ member and as an ‘OUT’

the first moment I drew line in our society? I do not remember.

member?


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

“Human Nature”

JEPPE ANDERSEN

Denmark

jeppeandersen88@hotmail.com // www.jeppeandersen.com I’m a Danish photographer studying Fine Art Photography on

The majority of my images have a combination of industrialized

my third year at Glasgow School of art. I work conceptually

behavior and natural elements, sometimes subtle sometimes

around landscape photography and the interaction with human

obvious, while still having a romantic feel to it: Factories and

interference in the nature. I want my work to talk about human

silos that look like mountains. Grandiose landscapes ready to

expansion, industrialization and the neglect of nature; without

be conquered. Power lines cutting through forests. Natural,

being too obviously biased in my imagery.

beautiful images that inspire hope, and eerily beautiful images that despair us.


THE NAKED AESTHETIC OF TREES I started to work on a series in which I photographed tall, naked

separated the trees from their surroundings and made them

trees. Each image is a collage, existing of up to 10 images each.

stand out - to be experienced and awed. You can really feel their

By photographing them up close and putting them together, I

texture and their majestic stature in this way.


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

“Emotion art”

VERO VANDEGH

Belgium

vero.vandegh@gmail.com // verovandegh.weebly.com I’m interested in human being.

“Patterns” is an observation of the repetitions, recurrences,

My work centres mostly on expressions, emotions, couples, and

loops that occur throughout our lifelong experience. I started this

other human interactions.

study focussing on nature as the subject with the idea of human

Two of my most recent series of images are “Reversals” and

patterns in the background.

“Patterns”.

I feel like a creation tool that help the pictures to arise, and a

“Reversals” is about the sensation to come back, to look back to

strong desire for deepening and accuracy leads me to the pictures.

the essentials. It is an attempt to capture the experience of the

It is a research, visually and symbolically, about the shapes,

point before the movement, before the action, before the choice.

concepts and patterns that make us what we are.

Like a standstill just where the doubt occurs...


ICI (HERE) This November in Arteles, I decided not to anticipate. I wanted to

From there, trees, shrubs, birds, squirrels, walkers... and

work on what comes naturally in silence, in meditation, and to be

meditation inspired a series of 16 pictures. I could called it

present in what I feel, hear, and see.

“silence,” or “here,” or “now.”

I saw contrasts, inside and outside. Immobility from outside and

When I look at them, on this 28th of November, I feel the quietness,

movement inside, silence from the nature outside and the voices

the tranquility, and the immobility I received here. It was a good

in, warm and cold. The changing light. The shape of things on

journey, a beautiful experience. The residency at Arteles was

the white snow.

made possible with the help of Wallonie-Bruxelles international.


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

DITTE RASMUSSEN Denmark dit.rasmussen@gmail.com // www.instagram.com/dittebeskidte I have a Master in Modern Culture and a Bachelor in Art History

I like embroidery as artistic expression because it traditionally

from the University of Copenhagen. I work creatively with writing

was made by women to decorate homes. An obvious contrast

about exhibitions and art experiences. I am interested in art’s

to political statements in the streets. With a simple mode of

accessibility and its potential to challenge certain environments

expression I often concentrate on political themes as nationality,

or positions. I have worked with art in public spaces and as an Art

ethnicity and gender. My academic and artistic interests interact

Educator at the National Gallery of Denmark among others.

in collaboration with each other, because they are about art’s

As an artist I work with embroidery, primarily as street art but I

capability to mirror the society and get people to turn their heads

have also participated in smaller exhibitions (alias ‘dittebeskidte’).

in new directions.


KUKAT During my stay at Arteles I wanted to work with the surroundings

transparent even for those who do not recognise the language but

especially the nature. I collected different kinds of plants and

only know the object.

leaves that I pressed and dried. I used them with my embroideries in interaction with the Finnish words that symbolise them. The mode of expression is simple and poetic â&#x20AC;&#x201C; understandable and


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

NATHANIEL OBER

USA

nio@pointe9.com // www.nathanielober.com Nathaniel Ober is a new media artist whose work crosses

India to serve as Program Director of Visual Communication and

disciplines from installation and performance, to video and

Interactive Media Design at Raffles Millennium International,

sound. His interdisciplinary works examine concepts of human

later transferring to the Raffles Design Institute in Colombo, Sri

perception and natural phenomena. Nathanielâ&#x20AC;&#x2122;s current research

Lanka. He is currently working as a hybrid artist and educator in

is focused on astronomy and astrophysics, which deal with

the Bay Area. He earned a Master of Fine Arts from the Digital

techniques of sonification and processes that attempt to expose

Arts and New Media program at the University of California, Santa

our innate connection with the universe.

Cruz, and a Bachelor of Fine Arts from the Columbus College of

Nathanielâ&#x20AC;&#x2122;s work has been exhibited nationally and internationally

Art and Design.

with over 40 solo and group shows. In 2009 he moved to New Delhi,


FROM SILENCE TO SOUND I began this residency with no intentions or direction, letting each

food, friends and memories and listened to the sounds of these

day inspire new thoughts and creative direction. I listened to the

simple acts.

sounds of silence and made an audio piece every other day in

I did many things while I was here, but perhaps, most importantly...

collaboration with Dani Minuskin. I played with cans and bowls

I learned to listen to others.

from the kitchen and summoned a spirit in the basement. I made


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

“Landscapes that suggests something further, a sing, a delicate sense of presage or indolence”

JUANA SUBERCASEAUX

Chile

juanasbx@gmail.com // juanasubercaseaux.tumblr.com My imaginary arises in indeterminate space between nature

decadence. Or that suggest that something is about to happen or

and human being: landscape, artifice, construction, the often

end. The contemplation of landscapes is inherent to the human

contradictory relationship between both worlds. From that

being and the distance between his existence and the evolution

place, the matter of death appears. The end, the expiration of

of nature has generated a dark space, approached in many

one universe against the other, as each one inhabit in a radically

ways through arts but consistently inabarcable. That distance,

different temporality and in those points of intersection, is

that sublime and unnamed gap, is what I want to explore from

inevitable to think in what lasts and what ends.

painting (landscape, nature and still life painting) and the edges

I don’t know how to define the kind of nature that attracts me

of it tradition.

and maybe thats the first impulse in my choice: the strange, the

I’m interested on generate landscapes that are not too complex

indeterminate. Vague scenes that associates to some hidden

in its construction but that suggests something further, a sing, a

message that hints something about waiting, pass of time,

delicate sense of presage or indolence.


AGUAS MARINAS I began to develop a narrative construction about a mysterious

The idea is to generate a mental image about a possible but

dream-like experience journey, that is going to take form in a

ambiguous nature, that suggests something further, a sign, a

kind on fake diary thatâ&#x20AC;&#x2122;s talks about some uncertain landscape,

delicate sense of presage, pass of time, decadence.

with descriptive paintings and botanical illustrations of the surroundings.


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

HANNAH SECORD WADE

USA

hannahswade@gmail.com // www.hannahsecordwade.com My work has focused on landscape for the past nine years,

into large mounds. The mounds function as both hoards, and

exploring themes of removal and fear, and a lack of control

trash piles. The works deal with the tension of wanting to contain

over my surroundings. I work on a project-by-project basis, with

and guard pieces of my environment, and conversely, to throw

each series addressing a specific concern. My current series,

them all away.

Everything All Together, is a gathering of landscape and debris


UNTITLED COVERINGS During the residency I worked on translating my paintings into

Viewers were allowed to try on the pieces, and become part of the

wearable coverings.

final piece.

Each garment was hand sewn over the

course of the month, and ready to wear by the final exhibition.


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

â&#x20AC;&#x153;Cross-disciplinary artistâ&#x20AC;?

CISSI TSANG

Australia

netizenette@gmail.com // www.samarobryn.com Born in 1982 in Hong Kong, Cissi Tsang is a cross-disciplinary artist

Tsang has performed and exhibited her works in Australia, Asia,

living in Perth, Australia. Her work explores the sonification and

UK and the USA under the name timeofhex, and her photography

visualisation of the found environment using data. The main focus

has been short-listed in various international awards. She is a

of her practice has been on found artefacts in the environment, her

PhD candidate at the Western Australian Academy Of Performing

response to the natural landscape as a composer and performer,

Arts (Edith Cowan University) and holds a MCDArtDes from the

and using the landscape as a narrative device.

University of New South Wales.


THERE IS NO ESCAPE FROM YOURSELF During my time at Arteles, I broke down elements of found data

tracks to create a graphical score for hand drum, and using

(field recordings and field footage) and used them as the basis

granular synthesis to explore the details within a sound recording.

for audio-visual pieces. I went on many long walks around the

I was particularly interested in exploring the use of the landscape

area, to explore the terrain and to document my responses to the

as a means of intra-personal communication, with the landscape

environment. My emotive responses were channelled through the

being used as a means to conduct self-reflection and analysis.

reconstruction process, through a mixture of audio manipulations

The resultant work is therefore an abstracted, internal landscape,

and music visualisation. Some of the techniques I explored

rather than faithful reproduction of the landscape as it was

included mapping hexadecimal data to music, mapping animal

documented.


IN THE RESIDENCY Silence Awareness Existence Program, November 2016

â&#x20AC;&#x153;A word after a word after a word is power.â&#x20AC;? ~Margaret Atwood

KATE ROBINSON

USA

katerwriter@gmail.com // katerwriter.tripod.com AKA @katerwriter, I began my literary career writing bad poetry at

decades, and a novel of connected flash stories created solely

age ten in Des Moines, Iowa, USA. Dreaming, mindful awareness,

from my dreams.

and the appearance of the extraordinary in ordinary daily life

I dabble in natural light photography and record the beings and

are my primary fascinations, and I aspire to dance always with

places, urban and rural, that I live in and visit. In this era of global

paradox and absurdity.

weather catastrophe and degradation of environment, there is

My writing contains an intersection of dreams, nature, spirituality,

a great need to stand as a witness and protector of beings and

and social justice themes. My works in progress are a themed

environments who cannot speak for themselves.

collection of nature essays, a poetry collection spanning several


I CONCENTRATED UPON USING CONSCIOUS AND UNCONSCIOUS MIND TO APPRECIATE THE EXTRAORDINARY IN ORDINARY DAILY LIFE. I’ve developed a renewed enthusiasm for blending my interests

After the startling U.S. presidential election, I wrote a lengthy

in dreams, nature, literature, music and photography. I’ve spent

essay examining President-elect Donald J. Trump’s narcissistic

many hours hiking and bicycling around Arteles Creative Center

traits and the human tendency to reassure people dismayed by

and attempted to capture the haunting ambiance of the forests

his rhetoric, that “everything will be fine,” when the reality is that

and lakes in photos. I also found abandoned, vacant buildings

people with NPD enjoy the destruction created by their verbal

visually appealing and emotionally evocative and symbolic of

recklessness. The piece is posted at my blog, Jellyfish Day.

inevitable change.

I discovered that my ability to edit older, unpublished fiction was

“Natural Soul” is a work in progress about my experiences with

enhanced by the creative equanimity at Arteles. I re-edited Loop:

wildlife in Arizona, where I lived for thirty-six years. I completed

Life Is But a Dream, an unpublished novella I wrote in 2010. This

one essay, “Snakey,” about a young king snake who entered

factor supported penning opening scenes for Dreamphemera, a

our home in 2005 and started another essay, “Miss T,” about a

sequel. The rather dystopic current events have inspired many

humorous experience with a desert tortoise.

concrete ideas for a sequel to my alternate history / metaphysical sci-fi novel, published in 2014.


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

PAUL LOZANO

Mexico

lozanopaul@hotmail.com // www.paullozano.com My work has a critical view on the environmental, social and

them and take them to the gallery or museum. In installations

political issues. Often makes references to environmental issues,

create a space to play with the public view.

construction and destruction of landscapes.

“I am interested in creating arising after destruction, and likewise

Use a variety of materials and processes to produce the pieces,

analogy, I’m interested in how something beautiful gradually

from traditional techniques such as oil on canvas or wood, from

degenerates into a horrible, horrible thing and how mutating step

intervening in the woods, or collect pieces of forests to intervene

is transformed into something beautiful.”


SUSTAINABLE HABITAT The practice, is a historical and social foundation of man capable

A sustainable habitat is an ecosystem that is capable of producing

of transforming nature and in this way create a world suitable to

food and refuge for people and for other organisms without

him.

running out of resources. This sustainable habitat can evolve

A dialogue will be produced with the landscape in reference to the

naturally or can be generated by man through architecture.

natural and urban.

A sustainable habitat created and designed by human intelligence

Habitats change constantly via natural elements or via human

should imitate nature in order to be successful.

influence, Iâ&#x20AC;&#x2122;m interested in mixing these two elements to achieve my work.


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

â&#x20AC;&#x153;Claire Burnett, Scottish environmental photographerâ&#x20AC;?

CLAIRE BURNETT

UK

claire-burnett@hotmail.com // www.claireburnett.co.uk Graduated this year with a BA(Hons) in Contemporary Art Practice.

that art can be a means of gently spreading a message. Therefore,

My practice is photography based and I use it as a means of

I also bring aspects of humankind into my work. The comparison

observing and honouring nature. The majority of my photographs

and contrast between man-made and wild landscapes. Working

are of naturally found forms: plants, light reflecting water, shadow

with humanity in mind, poetically exploring our relationship with

pattern. Anything wild that catches my eye, especially the small

the environment. Our attempted control over nature, and the

details. I have a keen interest in environmental issues and believe

durability that it shows in return.


RESUSCITATE During my time at Arteles I have had the time to reflect on my

and importance, then bringing in elements of mankind to try and

practice, explore (physically and creatively), put my feelings into

spread a message about control and protection.

words, and try to capture the enchanted beauty of the forest.

Some images show natural forms being suffocated by man made

My practice has had two contrasting sides to it over the last few

objects, but others show how thought-provoking each individual

years: celebrating my own personal relationship with nature, but

leaf can be. Previously in my work I used a harsh, red line cutting

also showing my animosity towards how our species treats the

through a landscape to symbolise humanity and how we can be

earth.

so devastatingly destructive. Since Iâ&#x20AC;&#x2122;ve been here, spending time

I have created work from each side since Iâ&#x20AC;&#x2122;ve been here, and

in the wilderness, the red line now symbolises life and the blood

have been considering the possibility that each side can in fact

flow of the forest.

help the other. Reconnecting with nature- showing off its allure


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

KOUROSH GHAMSARI-ESFAHANI

Canada

kourosh.ge@gmail.com // soundcloud.com/kouroshkhan Kourosh Ghamsari-Esfahani completed his B. Mus. in Violin

was premiered by NUMUS, one of Canada’s leading new music

Performance and Contemporary Music at Wilfrid Laurier

organisations. He has also presented at PDA Projects Art Gallery

University, where he was awarded a Music Faculty Scholarship

in Ottawa, the Toronto International Electroacoustic Symposium,

as well as the Terrence and Janet Levesque Music Composition

and the Montreal Contemporary Music Lab. Kourosh’s current

Award. Born in Karaj, Iran, he immigrated to Canada with his family

projects explore the intersections of solo improvisations and

in 2000. He enjoys an active career as a contemporary violinist

electro-acoustic design.

and composer across Canada; his violin-viola duet “Masks”


RHAPSODY OF AN EMPTY ROOM For the final project, I decided to collaborate with fellow resident

juskiddink/sounds/78955/]. Then, I altered, edited, and arranged

artist Sung Eun Chin on a site-specific video performance

them using Ableton Live.

project, telling a mythic narrative. We transformed a room into

In addition to the final project, I gave a lot of my time at Arteles

the installation and performance space, where we projected

to reflecting on the ways in which I practise and create music. By

the video with digital audio playback, and performed a joint

documenting my processes extensively through audio and video

live improvisation- myself on violin and Sung with spoken

recordings, and writing about them on a daily basis, I was able to

word. I created the sound track first by taking several samples:

address many issues- both artistic and technical. The freedom

conversations with Sung, my own improvisations on the violin,

enjoyed at Arteles made this an ideal environment for expanding

sounds taken from the instruments at Arteles, and one audio

my perspective and becoming a better musician.

clip from freesound.org [https://www.freesound.org/people/


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

â&#x20AC;&#x153;Sounds to my eyes.â&#x20AC;?

SONIA TONEU

Spain

sonia.ferre.toneu@gmail.com // www.soniatoneu.com Music to my eyes: thus operate sound of Sonia Toneu maps.

and performs. The chaos is back order in the land of the color.

Are paintings, no doubt; colourful, too; and are equipped with a

The set seems to live in a score plastic. Many laws come in play

musicality symbolic. The fruit turn ideas into an imaginary and

during this translation of the sound to the image: a result frankly

that imagination in works in which each element, each stroke is

seductive. Depends on each let be conquered by these songs of

an instrument in an orchestra that refines, interprets, improvises

siren.


TRAVEL AND MAPPING. TESTS OF COLOR, SHAPE AND MATERIAL In Arteles creative center Iâ&#x20AC;&#x2122;ve wanted to try everything in my usual

through imaginary maps, where concur nature sounds, noises of

studio could not, I tried to be more free and innocent, playing

cities, roads, islands, forests and lakes. The result is an unknown

as a child with the materials, the composition of space, with

place, uncharted place. An imaginary universe where small parts

photographs, paintings on different media, video and installations.

are linked to form a whole, as if it were an orchestra.

I also spent some of the time to upgrade the ideas of my artistic

I have had a fantastic experience with the other residents, have

statement, writing with the help of my fellow residents.

served me inspiration, motivation and support.

I worked around the idea of sharing my experiences and emotions


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

“in between”

SUNG EUN CHIN

South Korea

zinsethinks@gmail.com // www.zinsethinks.com Sung Eun Chin’s work discusses about the way of seeing,

only by fragmentary stills of a story and readers through their

perceiving, and imagining. Her interest is focused on how

interpretation correlate them. Sung Eun intends to emancipate

individuals can preserve their own subjectivity regardless of the

these narratives from the linearity of the story through her

flow of information that surrounds them or is given to them.

incorporation of mixed aesthetics and media. Recently she works

As a methodology to approach her subject matter, Sung Eun

on merging those elements into video work to embed psychology

usually writes a short story -often a sort of myth- which then she

of digital time in this subject.

depicts through graphic novel frames. Graphic novels are built


RHAPSODY OF AN EMPTY ROOM From inspiration to the final presentation, the project <Rhapsody

improvisation performance. First, the actual space/object are

of an Empty Room> is solidly entangled with Arteles and its

the subject matter of the story and the visual expression and

surrounding. I wrote a short story inspired from the nature,

also the core of this project, leading the narrative back and

objects, spaces of the story, extracted a few lines and words, and

forth, dissolving the boundaries between fictionality and reality.

translated them to the various visual formats.

The video work has various styles of moving images like 90â&#x20AC;&#x2122;s

The story starts with an inner monologue of the main figure

computer game interface, tacky digital collage, cinematography.

(myself) while strolling around a forest, she meets a nymph of

Meanwhile, the audio work and live improvisation were performed

forest, the nymph helps her to have a short journey to a room.

in collaboration with violinist and composer Kourosh Ghamsari-

She attempts to fill the room and confronts difficulty in discerning

Esfahani, who is one of the residents of October at Arteles. As my

what she needs and wants. After the journey, she comes back to

practice and research aim at emancipating the narrative from the

the forest and carries on her walk.

linearity of written stories, Kouroshâ&#x20AC;&#x2122;s interpretation and play on

Based on this story, the work consists of three main mediums:

the text infuses the colourful liquidity into the whole presentation.

the actual space and object, digital video/audio work, live


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

“Creation is a way to say the unspeakable”

SARA CAMPO

France

saracampo27@gmail.com Sara Campo likes to invent her own poetical/alternative

introspection. The deconstruction is an tentative attempt to show

techniques to create images. Through minimalist and quite

how things can take a different form, how a story can be told in

simple actions, she tries to make an experience of image, and

another way. It is an art of unfinishement with the research of an

to propose others meanings or new circulations to the reading.

unfixed form. This research is linked to her background and to all

She likes to consider her creations like a static journey, seated

the processes and possibilities of printmaking, which she studied

at her desk but at the same time far away from it. Re-reading an

when she was younger. Her foreign origins and an “elsewhere

image is a way for her to be connected to her interior life, to be in

heritage” also feeds her reflection.


COMBINING ROCKS During the month I have spent in Arteles, I have worked on some

pieces, gives me the freedom to tell a new story, by combining the

existing projects (a serie of drawings called â&#x20AC;&#x2DC;The Outside Coming

pieces in a new order. I am able to find new meaning, and a sense

Insideâ&#x20AC;&#x2122;, and a serie of scratched postcards) and some new projects.

of poetry in the work. Later I changed the scale and worked on

In my new work, I started by collecting small rocks outside, and

bigger rocks in the forest with enlarged pictures from my Finnish

selected images of Finnish landscapes to attach to the rocks with

family photo album. It is interesting returning these pictures back

glue. This specific form, an image composed by a lot of smaller

into their original environment.


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

KATHY MOSS

USA

kathy.moss.artist1@gmail.com // www.kathymoss.com I use botanicals as archetypes in my work. This emanates from

by work as a surface designer I have come to see repetition as a

my regard for the natural world which is beautiful and my concern

type of abstract structure; one which infers less linear narrative

about the marginalization of and degradation of nature. I use

even as a narrative is added by the inferred denial of it. I imply

these objects as subject matter, in silhouette. I have turned them-

pattern as a way of giving meaning- suggesting a rhythm, and

flowers, seed pods, skeletons of pine cones, thistles into icons.

then breaking that rhythm. The forms are somewhat silhouetted;

The motifs are beards; they stand in for figures, or landscape, or

I am interested in the edge, dark on light, and its stark effect of

their arrangement a poetic depiction of the internal self. In the

push and pull, the situation of figure on ground. Color is subtle,

early 1990s I began to evolve a language of signs, and a way of

implicitly referential. I think of my work as situational haiku: a

painting and mark making specific to those signs. I was aware

rare, tightly held moment. Ultimately the works must succeed

of the suggestiveness of, and psychological meaning attached to

formally, hold the surface, have a discreet narrative, and be

some flowers. They are ambiguous, mysterious, a way to get to

beautiful.

the paint. This is the text and the subtext of my work. Influenced


PAINTING ROSES AND DRAWING TREES I brought an assortment of small already prepared surfaces to

visual response to the size and shape of the particular support.

Arteles because I use the renaissance ‘chalk-and-oil’ gesso for

A second goal was to use more color which I accomplished

my paintings. My intention was to play with the paint, to find

albeit subtly; for me the drawing and the situation of the motifs

things in the paint. I have a number of started paintings in my

are most important. I like to use darker color, less suggestive

studio at home and wanted to work out in small studies fresh

as narrative and more about the poetry of the visual. In addition

approaches to the work. There is specific subject matter that I

to making these paintings I made drawings of the various trees

am drawn to- so called ‘girly’ subject matter such as ‘hearts’ and

around the area. This is a continuation of a project I have been

flower forms, but the paintings are in no way ‘girly’. My work is

working on for a few years; the trees in Finland are different from

minimal and repetitive, although by repetition I am only implying

the trees I have been drawing in upstate New York. Time away

pattern. The motifs are painted individually and are in fact not the

from obligations and distractions enabled me to engage fully in

same, although the scale might be; this makes them appear as

the further development of my artistic ideas.

beats, stamps of the same image. I also played with scale, the


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

NATALIE FIELD

South Africa

info@nataliefield.photography // www.nataliefield.photography Natalie Field is a creative image-maker with a B.Tech Degree in

the human in…” (2015), adding natural elements from the ocean

Photography from the Nelson Mandela Metropolitan University

to point towards evolution and the ever-evolving state of the

(Port Elizabeth, South Africa). Known for her digital artworks

human existence.

created from deconstructed photographs, Field’s latest interest

“Consider the human being as a part of the Universe. We are star

lies with the spontaneity of in-camera effects. Through her art

dust. All matter made up of the very same protons, neutrons and

she explores concepts around consciousness, our connection

electrons. In fact, you can even picture the atom as a miniature

with nature and the transmigration of the soul; imploring viewers

Solar System, with the nucleus playing the role of a Sun orbited

to reflect upon their own humanity.

by electrons as planets. The pattern of these atoms are repeated

Field first started exploring ORGANIC MORPHOLOGY and

within and without the human form, stretching through the very

TRANSFORMATION in the series “Breathe in… Breathe out… Let

fabric of space-time.


HUMAN.NATURE The story of our universe begins with a singularity. Due to some

Through my work I wish to celebrate the cycle of life, and alleviate

inconceivable force, space expanded and matter formed. The

the fear of death. As such I worked with a colour palette that

stars, the earth, oceans, animals and even our bodies, are all

evoked a mood of twilight, the transition between day and night.

made up from this matter that existed since the beginning of time.

As surely as day follows night, it stands to reason that life should

The Oxford Dictionary has a term for this collective: NATURE.

follow death.

Human.Nature considers humanity and our relationship with

Working in a foreign environment, it was important to me to

nature: both the external environment as well as our inner

draw inspiration from the Finnish landscape and culture. Several

biology. It reflects upon both matter (creation, the body) and form

images from the series are imbued with narratives from Finno-

(consciousness, the soul). It is about a return to nature. The city-

Ugric mythologies surrounding concepts of the soul and the

dweller reconnecting with the earth. Soft moss under bare feet.

transmigration thereof.

Cold air against warm body. The body that will eventually return to the soil to give life anew.


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

ADAM WILSON

USA

adamzwilson@gmail.com // www.amazon.com/Whats-Important-Feeling-Adam-Wilson-ebook/dp/B00DB3D442/ref=asap_bc?ie=UTF8bc?ie=UTF8 Adam Wilson is the author of the novel Flatscreen, and the

from the James Merrill Foundation and the Aspen Institute. He

collection of short stories, Whatâ&#x20AC;&#x2122;s Important Is Feeling. His short

teaches creative writing at Columbia University and NYU, and

fiction has appeared in The Paris Review, Tin House, VICE, and The

is currently working to complete a novel that explores a diverse

Best American Short Stories, among many other publications. He

array of topics including Social Media, International Finance, and

is a recipient of the Terry Southern Prize, as well as fellowships

Hip-Hop.


SENSATION MACHINES At Arteles, I continued work on a novel -- SENSATION MACHINES

larger space, and, particularly, at a much larger desk, which I

-- that explores, among many other topics, global finance, news

used as a kind of living outline on which I was able to map and

media, love, death, and hip-hop. As I am used to working in a small

constantly re-shape the structure my project, in much the same

New York apartment, I relished the opportunity to write in a much

way that detectives on television plot their murder investigations.


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

SARAH RAPP

USA

sarahktrapp@gmail.com Sarah Rapp graduated with a B.A. in Film Studies from Barnard

and technology both to impact our lives for the better and solve

College in New York City. For the past seven years, she has

some of the toughest problems we face today. Sarah is currently

worked as the Head of Community at Behance, a platform that

exploring her own creative projects, including Screenwriting,

over eight million creative professionals use to showcase their

and working at the intersection of design, technology, and social

visual art online. She believes in the power of design-thinking

impact.


SCREENPLAY EXCERPT: FIRST DAY AT LISTEE During my stay at Arteles, I began work on a screenplay for a

drastically morphing as I gravitated toward more personal topics

feature film. When I arrived in Finland, I had just completed seven

and imbued the protagonist with more of myself. Given the

years at an exciting but demanding marketing job in the tech

distance from my “normal” life, I was able to regard the settings

industry. Suddenly, I found myself in the tranquil woods of Finland,

and events of my New York life as rich opportunities for parody.

given a rare opportunity to step outside the world of routine

For the final showcase, another resident and I filmed a table-read

and responsibility. Reflecting on what I wanted to create and

from one of the more fleshed-out scenes: the character’s first day

express through my writing, I soon found the plot and characters

at her new job.


IN THE RESIDENCY Arteles Creative Residency Program, October 2016

SARAH CLARKE

Australia

sareclarke@hotmail.com // www.sareclarke.com Sarah Clarke is a writer, actor and theatre maker based in

Her first play, Semi Charmed, premiered at the 2015 Melbourne

Melbourne, Australia. She is a co-founder of theatre company

Fringe Festival.

Second Breakfast with whom she writes, acts and produces.

She graduated from the full time program at the Howard Fine

Sarah became interested in performing from a young age,

Acting Studio Australia in 2014 and from Southbank Institute of

devising music and dance concerts at home with her brother and

Technologyâ&#x20AC;&#x2122;s full time acting program in 2012 with an Advanced

cousins. Storytelling has developed into a long-term passion, as

Diploma Arts (Acting). She is a waitress, a drama teacher, an

Sarah begins to find her voice as a writer.

actor, a writer, a sister, a daughter, a lover, and a friend, and she has stories to tell.


PLAYWRIGHT My stay at Arteles consisted of a lot of research and writing. I

attempts to spice up their relationship. They decide to play a

drafted, deleted and repeated. The result is a web series script

game. A game where strangers meet for the first time, and rules

ready for production, and two plays.

are made up on the spot. It explores what happens when the lines

‘Justin Bieber I Love You’ follows Annabelle Williams as she

between reality and fantasy become blurred.

attempts to write the perfect year 12 oral presentation. She is

‘Girl in Box’ is the story of a girl who is stuck in a box. She is forced

writing about love. Specifically, about loving Justin Bieber.

to entertain herself to pass the time between meals. Based on the

‘The Game’ unfolds over one evening as a long-term couple

true, unsolved abduction mystery of Eloise Worledge.


IN THE RESIDENCY Arteles Creative Residency Program, September 2016

â&#x20AC;&#x153;Body is just a gate to the greater conscious. Stay calm and take a breath to feel the connection with our universe.â&#x20AC;?

NAOMI CHAN

Hong Kong

naomiwtchan@gmail.com // www.naomichan.net Naomi Chan is a multimedia artist who was born and raised in

process. She believes art is a communication tool that goes

Hong Kong. With solid skills in traditional art, Naomi likes to

beyond existing text and spoken language which can deliver some

explore alternatives in many different media like installation,

raw thoughts. Besides art making, Chan is a nature lover and

electronics, interactivity and videos. She takes both theoretical

yoga teacher. She highly appreciates that yogic life attitude that

and practical elements as interconnected aspects in her creative

could raise her awareness of her existence.


SEIZE THE DAYS IN A NORMAL LIVING SITE-SPECIFIC INSTALLATION SEASONAL [S]ELECTION MICRO-NARRATIVE CINEMA A project of two pieces is about the things happened in Early fall of 2016, about a citizen of Hong Kong spent a month in Finland. “Seize the days in a normal living” is an installation using the

from the woods, put them on the clothes that I got here and how

wild berries in Fall of Finland and some second-hand clothes are

could it be elaborated on topics related to September or early fall.

linens, pillowcases and with daily housework purposes. Making

“seasonal [s]election” is a micro-narrative cinema emphasised on

the pattern on clothes likes a housewife’s daily activities in a

time and space, audience viewing and expectation. 4 September

peaceful life. The piece attempted to raise a peaceful, normal,

2016 was the legislative council election of Hong Kong, which

and yet stereotyped feminine life, which is definitely not common

would be held every 4 years, and this was the first and significant

in Hong Kong.

legislative council election after ‘Umbrella Revolution’ in 2014. As

Being in the countryside of Finland for a week, I started to think of

a citizen of Hong Kong, I truly feel guilty about being absent and

using the materials from nature. I tried to explore the alternative

did not use my stamp to fight for my city.

of taking the colour from the seasonal wild berries that I collected


IN THE RESIDENCY Arteles Creative Residency Program, September 2016

HELENA OLSSON

Sweden

helenapetronella@gmail.com // www.helenapetronella.se Helena Olsson took her Master at Malmo Art Academy in 2014.

and political context. She has exhibit at Malmรถ Art Museum

Through video and performance, her artistic practice explores the

(SWE), Spectrum Berlin (GE) Bothnia Biennale (FI) and Gallery CC

line between documentary and fiction, how stories are created

(SWE).

and communicated in relation to history and identity in a social


FINISHING THE VIDEO WORK ”THE FEMINIST VISION” BUILDING A NEW WEBPAGE SCREENING AND PUBLIC TALK ABOUT THE VIDEO AT GALLERY RAJATAIDE I TAMMERFORS During my time at Arteles I have been working on finishing the

of economic and political difficulties in one’s everyday life. We

editing the video The Feminist Vision. I also had a screening of

had barbecue, numerous saunas, movie nights and discussions.

the work at Gallery Rajatila in Tampere with a public talk about

I have also experienced Finnish culture and discovered that there

the work and how the situation of women in Sweden has changed

are far more similarities than what I previously knew between

from the 1930s to today. My goal with screening and conversation

Sweden and Finland. But the best part of the residency has been

was to create an atmosphere where people could be comfortable

that I had so much time! Time to think, learn and find peace in

to express themselves, and therefore, I focused also on creating

a different way than in everyday life. I also been building a new

a mood by allowing visitors to sit on cushions on the floor, served

website, starting doing research on a new. Thank you so much

coffee, cakes and fruit. During my time at Arteles I have also been

Arteles for inviting me and Culture foundation for Sweden and

spending time with the other artists at the residency, discussing

Finland for making it possible.

and learning from the each other experiences and perspectives


IN THE RESIDENCY Arteles Creative Residency Program, September 2016

YUKO NISHIGAKI

Japan

yuko@nishigaki.org // portfolio.nishigaki.org Yuko Nishigaki graduated from the University of the Arts in

world. Her work is fun and whimsical, with dark undertones. She

Philadelphia with a BFA in Illustration. She is interested in

pulls inspiration from her own childhood, dreams and nature. She

childrenâ&#x20AC;&#x2122;s book illustration and textile design. She often uses

enjoys creating unique creatures and hiding narratives in each

folk/fairy tales as base concepts and then creates her own new

piece.


THE CHILDREN’S BOOK, MIKKO AND ANNIKA During this residency, I worked on a short children’s book that

on the back of my shoes made me feel the real nature. Since I

is greatly influenced by the nature in Finland. On the first day of

had lived in New York in the past few years, it was definitely an

the residency, I went to pick wild berries in a forest with others.

exciting moment for me. Therefore, this book story starts from

It wasn’t the first time for me to pick wild berries, but stepped

that a sibling goes berry picking in a forest.

into the Finnish woods and felt soft green moss like a blanket


IN THE RESIDENCY Arteles Creative Residency Program, September 2016

MIHO YOSHIDA

Japan

tootsuoumi@gmail.com // totsu-awaumi.tumblr.com I have an interest in the relationship between ourselves and

The things that encircle we living things are, in turn, life itself.

scenery. A familiar view is a segment that offers continuity to our

I reflect the places I physically walk through every day as oil

bodies and souls, and provides the foundation for our daily lives.

paintings spread across the flat surfaces of canvases, searching

However, when our connections to our surrounding scenery is

among the points of contact between our mutual consciousnesses

shaken by disaster, or a move to a new location, the hold on our

and the way we ought to be, for a third field of vision.

own reality is rendered uncertain.

As long as there is a horizon and depth in a field of vision, our imaginations will discover a new profoundness therein.


THINGS SHINING BEHIND While here, I experimented with creating a canvas by hand and

My time here was too short for me to be able to create something

made an attempt at painting on this ambiguous support on the

new by innovating in terms of my painting’s composition and

frame. I worked in a form close to drawing, with a more seamless

motifs. However, thanks to my many walks in the forest and by

borderline with the wall.

the lake, a vision of “”the wide expanse of a bright body of water

Each day I walked around and produced a large number of

hidden away at the back of the forest”” has left its impact on me.

drawings inspired by the landscapes around me. Although I was in

I have a feeling that this deep scene will indirectly slip into my

a place that was completely new to me, the beautiful countryside

paintings in the future.

filled me with nostalgic and familiar feelings.


IN THE RESIDENCY Arteles Creative Residency Program, September 2016

KELSEY MCDONOUGH

USA

kmcd1@live.com // www.kelseymcd.com Iâ&#x20AC;&#x2122;m a Montana based painter working in fragmented landscapes.

social norms. I am interested in combining the natural with the

Most of my time is devoted to being outside, wether that be

contrived, representing the growing distance between humans

working or playing. My work is a reaction to the disillusionment

and the natural world. I focus on the exploitation of both nature

of nature from a female perspective. Exploring the factors that

and the female form, combing a sense of realism with the artificial.

are changing our landscape both through human physicality and


SLUDGE I focused on a series of paintings exploring climate change and

are world. I wanted to explore these ideas in less literal ways,

the digitalization of our world. I feel that we are departing further

using geometric shapes and small bits of realism. Tying together

from our natural instincts everyday while leaving the planet

the fact that we are not only becoming separated from nature,

behind. “Sludge” is a representation of diminishing natural

but also truth. “Sludge” is an exploration of the oozing mucky

resources, the melting of ice, fossil fuels that pollute and control

problems the world is facing, what is real and what is natural.


IN THE RESIDENCY Arteles Creative Residency Program, September 2016

“Reinventing constantly, pushing to say it better, being an artist is always a struggle and a joy.”

ROSEMARY FEIT COVEY

USA

rosemarycovey@aol.com // www.rosemaryfeitcovey.com Rosemary Feit Covey’s work has evolved from traditional

of work called Black Ice. These works are constructed using

printmaking to large scale experimental and collaborative works

engraving, painting and Japanese paper. Another current project

engaging musicians, dancers and the spectator in an immersive

is a collaboration with scientists and artists at Dartmouth

environment. For example, Red Handed, a project on the

University, artistically calling attention to the critically endangered

theme of non-culpable guilt forces the public to walk on art, an

Coconut Crab. A large crab currently resides in her studio for up

uncomfortable experience. The discomfort leads to reaction and

close observation.

discussion. The art itself printed on vinyl is site specific and can

Rosemary Feit Covey was born in Johannesburg South Africa,

fill a large gallery. The project is portable and can be constructed

her work is housed in over forty museum and library collections

and displayed world wide.

worldwide. In 2012, five-hundred of her prints were acquired

Her environmental work involves research and a personal

for the permanent collection of Georgetown University Library,

interaction with the subject. Currently two projects are underway.

Special Collections. She is a recipient of a Rockefeller Foundation

A trip to the North Pole area above Norway, inspired a series

Fellowship and an Alpha Delta Kappa Foundation National Fine Art Award.


THE EARTH IS A DELICATE THING Abuse of the environment is highlighted by artists and scientists

I combined fragile pieces of plants I found on my solitary walks,

worldwide. Our single voices when combined create a call. While

with drawing and photography. I would never usually combine

at Arteles I created wood engravings for a large scale work on the

media in this way. But never say never in art! Everything is fodder

globally diminishing water supply. Long walks and the chance to

for the artist. Arteles fosters this concept. Somehow I absorbed it

think while in Finland also led me in an unexpected direction. I

and I am grateful.

started a new set of work called- The Planet is a Delicate Thing.


IN THE RESIDENCY Arteles Creative Residency Program, September 2016

ZACK JOHN LEE

USA

zackjohnlee@gmail.com // www.zackjohnlee.com My artistic interests lie in our experiences as existential beings.

perceptions into a cohesive work of art the viewer is instilled with

My work explores our psychological and physiological reactions

a novel experience intended to spark a deeper curiosity about our

to audio, visual and spatial awareness. By combining these

everyday awareness.


COVERED IN SPIDERS/TUULI HARP “I began 2 new projects during my stay at Arteles. The first,

My second project, “Tuuli Harp” was a new direction in instrument

“Covered in spiders” is a musical composition experimenting

making. inspired by my field recording I began researching the

with sound recordings and my own instrumentation. The work

fundamentals of sound and discovered organology, the study

involved taking field recordings of the Finnish country side and

of musical instruments. Through this new found interest I

blending them with other recorded sounds. In essence it was an

endeavored into making a simple string instrument that would

exploration of sound and music production.

harness the wind to power tiny “hammer.” to strike the string. “Tuuli,” the Finnish word for wind, is an instrument to be played by nature and over time, eventually consumed by nature.


IN THE RESIDENCY Arteles Creative Residency Program, September-October 2016

“La lucha nunca muere”

CANNEO CANÚL

USA

canneocanul@gmail.com // www.canneo.xyz Boston University, Masters of Fine Art, 2016.

common heritages and achieve true ethnic and economic equality.

University of California, Davis B.A Philosophy of Language and

Awards and Recognition:

Critical Theory, 2013.

Esther B. and Albert S. Kahn Award (Nominated, 2016).

My work is a focus on the Chicano experience.

Dedalus Foundation MFA Fellowship in Painting and Sculpture

Through my work I endeavour to engage majority culture, as

(Nominated, 2016).

my work offers cultural criticisms in an effort to decolonize and

Constantin Alajalov Memorial Scholarship (Boston University,

re-indigenize the Americas.

2014-2016).

I do so as I feel that it is important for all indigenous people and

Joseph Ablow Memorial Prize in Painting (Boston University,

cultures to combat all systematic forms of oppression, oppressive

2015).

governments, and ruling classes-in an effort to reclaim our


MIRANDO INSTALLATION, 2016

NORTHERN STARS WATERCOLOR ON PAPER, 2016

An installation project referencing the US/Mexican border. The

My paintings incorporate iconography and symbols that are best

installation offers itself as a witness to the social-politics of the

associated with the Latin American culture, gang culture, and

United States, and other countries that implement militarized

prison culture. I use these symbols and icons as a vehicle of

border zones.

empowerment for communities of color-where such elements are prevalent but seldom discussed in a larger cultural setting.


IN THE RESIDENCY Arteles Creative Residency Program, August-September 2016

ELIZABETH ALLEN

Australia

elizabethallen240@gmail.com While I tend to write stand-alone poems rather than long

constantly juggle intimacy and connection with what is unfamiliar

sequences, certain themes and preoccupations bind my poetry

and strange. I like to experiment with form as well as voice, writing

together – family, friendship, loss and acceptance, the attempt

found poems, dramatic monologues, extended prose poems, and

to gain meaning from the experiences of daily life. My work is

micro fiction.

confessional poetry with a playful and sometimes sardonic twist:

My poetry has appeared in many major Australian literary journals

poetry of the personal and the “I”.

and anthologies. I am the author of a collection, Body Language

I attempt to convey that which can’t be expressed by traditional

(Vagabond Press, 2012), which won the Anne Elder Award. I live in

autobiographical modes of writing. My writing is also concerned

Sydney where I work as the events manager at Gleebooks, and I

with distance – the distances between our real and imagined

was one of the judges of the inaugural Noel Rowe Poetry Award.

selves, between the past and the present, between people – and

Apart from writing my other addictions are yoga and shopping.

how in all relationships (including that of narrator and reader) we


I WENT TO ARTELES AND ALL I GOT WAS THIS LOUSY BOOK OF POEMS During the two months I spent at Arteles I edited a second draft

of a painting titled ‘Sininen niitty’ (‘Blue meadow’) and I wrote a

of my poetry collection, Present (forthcoming through Vagabond

625-word jigsaw puzzle poem about a view of a yellow meadow. I

Press, 2017). I also began writing poems about my experiences of

really appreciated the time the residency gave me to feed my soul

daily life in Japan and Finland as a tourist and observer. As well as

through the basic and repetitive daily activities of writing, cooking,

this I wrote new work in response to well-known poems and texts

reading, running and going for long walks as well as the chance

that have always been part of my poetic memory and cultural

to reflect on what I want my life and artistic practice to look like

identity such as “This Is Just To Say” by William Carlos Williams,

in the future. For me, community is everything and while I will

“The Cloths of Heaven” by WB Yeats and the fairytale Snow White.

greatly miss all of the artists I met at Arteles I feel blessed to have

Through these responses I explored themes of love and romance,

crossed paths with them. I leave here with a much greater sense

beauty, colour, food, consumerism, and feminism in a playful and

of inner and outer space.

at times biting way. I also completed a 1000-piece jigsaw puzzle


IN THE RESIDENCY Arteles Creative Residency Program, August 2016

â&#x20AC;&#x153;Rachael McArthur is a lens-based artist from Toronto, Canada working within the medium of photo-sculpture and character creation.â&#x20AC;?

RACHAEL MCARTHUR

Canada

rachael.elizabeth.mcarthur@gmail.com // www.rachaelmcarthur.com Rachael McArthur is a lens-based artist from Toronto, Canada.

Prop design and set creation are elements she implements to

She has graduated from Ontario College of Art and Design

create the stories through her work, the ideas represented in

University with a BFA in photography and works within the

her images are influences from real life experiences within the

medium of photo-sculpture and character creation. She uses

family dynamic, personal development of the self and the fictional

these mediums to embody surreal aspects of the traditional

representations of subjects.

portrait and the sculptural forms to represent her subjects.


RACHAEL MCARTHUR - LITURGIES During my time at Arteles Creative Centre I have created a new

and I constructed my own natural places of worship. Within the

body of work called Liturgies. A liturgy is a fixed set of ceremonies,

images I used my technique of photo-sculpture and pig parts to

words, etc., that are used during public worship in a religion.

reflect upon the constructed sets. I wanted to create a narrative

I created 5 images while here at my residency inspired by the

surrounding the ideas of sacrifice, flawed beauty and rebirth. This

idea of creating altars out of the surrounding nature in Finland

exploration will continue on my return to Canada.


IN THE RESIDENCY Arteles Creative Residency Program, August 2016

VILMA BADER

Australia

vilma_bader@hotmail.com // www.vilmabader.com My multifaceted practice straddles various materials and

of a facilitator who continues to speak but in a way that is not

concerns, moving between painting, sculpture, installation and

heard. The viewer’s role on the other hand is that of an active

performance. Framed by linguistics and semiotics, my work

participator. It is only through projection and engagement that the

can be seen to function as manifestos, but I see it as having an

work exists. Since 2014, I have extended my enquiries from an

implicit social thrust without being explicitly political or didactic.

urban to a rural context, with a focus on environmental issues and

Rather, it urges the viewer not to submit to dominant narratives,

sustainability. This resulted in a one month walk of the Camino de

but to work through and be attentive to the mnemonic messages

Santiago in Spain and two artist residencies the following year in

disclosed and revealed. The seriality and repetition which are

rural Bundanon in Australia.

important components in my work heighten the sense of “losing

Vilma completed a PhD in 2013 on an Australian Postgraduate

a portion of oneself” while alluding to the sheer volume of

Award scholarship, an MVA in 2009, a BVA Honours in 2007 all at

information and data being generated in our every day lives. I

Sydney College of the Arts, the University of Sydney and a BFA at

see my art as a collective activity and my role as an artist as that

the National Art School in 2006.


HAND MADE IN FINLAND Hand Made in Finland is an installation based work consisting of

are sparingly painted and much of the wood exposed. Each piece

a series of pieces within a larger body of work. The installation

highlights the difference in the way the woodâ&#x20AC;&#x2122;s grain differs. The

is composed of five series of paintings on wood, a hand carved

hand-carved cube follows the lines and rings of natureâ&#x20AC;&#x2122;s way.

wooden sculpture, a series of works on paper, and an assemblage

When painted, the central forms are not enclosed in negative

of flora collected from the forests in Haukijärvi. A characteristic

spaces or happenstance voids but in gestural spaces with an

of the work is the playful proliferation of colour, shapes and text

existential energy. The expressive gesture and concern for surface

that overlap, merge and play off each other. While playful, the

textures is retained, juxtaposing the hand-made with the work of

work has a formal quality through a reductive and minimalist

nature, allowing these elements to blur, overlap and create new

aesthetic. Similarly, colour is used not as a form of gratuitous

perceptions. While the flora assemblage has a free and poetic

embellishment but for their strong properties. The predominant

element, the wire grid it sits on has a formal quality. Each element

material used in this installation is wood and its integrity is

holds its place in the installation and enters in a dialogue with one

preserved. The surface of most of the twenty-nine wooden pieces

another animating the space for further exploration.


IN THE RESIDENCY Arteles Creative Residency Program, August 2016

IAN BROWN

UK

ian@ibrown.co.uk // www.ibrown.co.uk/home My individual practice utilises video, photography, sculpture,

by bringing together diverse positions: from botany, scientific

performance, print and other interdisciplinary processes and

illustration, natural history documentaries and science fiction

materials to produce artworks engaging the human interface

writings. In collaborating with a taxonomist and a phytochemist

with the Invented World and the Natural World. There is a focus

dialogues were formed on methodology, speculation and forms of

on the mediation of these relationships through forms of popular

dissemination. One element centres on how filmic and televisual

culture and how the commodification of culture impacts on our

languages, utilised by natural history documentaries, create

engagement with these specific subjects.

a distancing from the subject through overt technical forms of

‘Stories of Alienation and Disaster’ considered our relationship

mediation (time-lapse, 3D).

with the technological and the natural by considering the disaster,

I am part of the artist’s group, Common Culture, with David

or ‘Accident’. The work centred on specific forms of narrative

Campbell and Mark Durden. We have taken part in group and solo

dissemination, from folk song traditions to film and literature,

exhibitions throughout Europe, Asia and North America. Through

to work with fictional and non-fictional forms of communication

sculptural, photographic, performance and video projects,

as a central position to navigate our assumed relationships to

Common Culture explores how contemporary social identity is

these subjects. ‘An Incredible World of Beauty and Terror’ (with

constructed through the rituals of consumption within popular

Royal Botanical Gardens, Kew) questions plant/human relations

culture.


THERE IS NO ONE ELSE IN SIGHT (KETÄÄN EI OLE NÄKÖPIIRISSÄ) During the month of the residency I produced a set of video works,

The particular context of Arteles, and its immediate environment

to allow an investigation into the natural world, the invented world

of forests, lakes and particular light and weather conditions,

and the mediation of the human experiences of these subjects.

allowed me to tap into certain conventions within natural history

The consequences of filmic and narrative languages, associated

documentaries and science fiction narratives to appropriate and

with fiction and documentary, have been explored with the use of

deploy in alternate ways.

footage filmed around the region of Hämeenkryö and the use of

Alongside the production of moving image and photographic

00/HO scale models.

work, the time to read, to travel and to produce a series of musical compositions is indicative of how the residency has afforded me the time and space to be productive, engaged and relaxed.


IN THE RESIDENCY Arteles Creative Residency Program, August 2016

SISSY REYES

Mexico / Australia

sissymreyes@yahoo.com.mx // www.sissyreyes.com I am a Mexican-Australian artist based in Sydney, Australia. My

consumerism, ethnicity and mortality. My work draws from the

practice sits between film narrative, video art and photography.

storytelling elements of cinema and mythology, through which I

With a background in cultural studies and film production I am

create surreal and colourful imagery and narratives that explore

fascinated by the way in which different cultures experience

these themes from a humorous, often absurd and sometimes

social constructs and discourses, mainly those of gender,

tragic perspective.


ARE WE THERE NOW?” AND ”THE MARTIANS ARE COMING! “Are we there now?

The Martians are coming!

Is an exploration of human mortality through time and light. Shot

Driving around dirt roads, past paper factories, abandoned pubs,

with in the Hämeenkyrö area in the last days of summer, the

forest intersections and empty parking lots. It is late, late at night,

portraits are taken solely during twilight at long exposure intervals

and you find yourself alone in the middle of a familiar place. You

which, allow the image to become blurred with movement. The

stand still as the wind shapes the trees, as the clouds walk slowly

outcome is a photograph that looks a bit like a painting. The

past the blue twilight which refuses to hide beyond the horizon.

portraits are presented as diptychs or triptychs, alternating

You remain still, listening.

between a portrait of the person and the background landscapes

Melancholic gratitude.

alone, so portraying the person in sequence as a temporal

Deep chested fear.

element with in the space. I am interested in finding emotional

A moment of clarity perhaps.

shifts with in the person as they move through the frame, as well

You exist here… and you know then, just then… The Martians are

as how they connect or disconnect with the landscape. What

coming.

remains in the space they no longer inhabit? What is left behind? Can we grasp the fleeting quality of a human life?


IN THE RESIDENCY Arteles Creative Residency Program, August 2016

â&#x20AC;&#x153;A multidisciplinary filmmakerâ&#x20AC;?

JUDY SUH

USA

iamjudysuh@gmail.com // www.judysuh.com Hailing from Chicago, Judy is an artist and filmmaker in the

this process she explores possibilities for transmedia storytelling,

process of developing a personal language using video. Her work

with a particular interest in how narrative translates and evolves

is characterized by a desire to take video out of screens and instead

from one medium to another.

integrating it into real space, installations and performances. In


TO THE MOON AND BACK This project started off as an experiment for the variety of

I wanted to break away from the confines of what we know as

surfaces and materials I can project video onto and the effects

cinema and mix with other medium. The resulting project was

I can get from it. It was during this time that I had the impulse

a projection-mapped installation that uses George Meliese’s “A

to research into the birth of cinema, as I was striving to push the

Trip to the Moon” as a motif, that brings the moving image off

medium of video outside the screen and into physical space. What

the flat wall, spilling onto the floor and other found objects as

emerged from the research was an eye-opening discovery that my

a life-size video collage. Using techniques uniquely available to

efforts may have come full circle back to the strivings from early

projection mapping, I tried creating a world that recalls the past

cinema. What they were inclined to do in the early 1900s because

and future at the same time, immersing the viewer into a magic-

they were still inventing the medium, I tried to create because

realist dream.


IN THE RESIDENCY Arteles Creative Residency Program, August 2016

“What lies beneath”

NICCI OLIVIER

South Africa

niccisolivier@gmail.com // www.assemblage.co.za The broad concept which I am currently exploring is ‘Travel Light

journey. My interest is in the history, memories and stories,

/ The Psyche of a Nation’, which references decluttering, focusing

implications from the past on the future which are formed in the

on the journey which takes you to what really matters. It embraces

land where people live.

the notions of freedom, clarity, vision, wisdom and peace. ‘Travel

Developing the concept involves printmaking or painting layers

Light / ‘ The Psyche of a Nation’ encourages making choices to

of images, texture, form, movement and cutting away parts

dispose of unnecessary excess.

of the work to get rid of excess which creates new meaning to

The Human Condition and the causes of human behavior, that

a surface. I enjoy processes and while working I will naturally

which lies beneath, fascinates me. Nature plays a pivotal role

question the mark making process, break a few boundaries and

in ‘unearthing’ and connecting with our essential needs as

always contemplate final presentation. Continual dialogue with

human beings. Therefore, key to my work process is sketching

materials and subject matter are key to my creative practice. My

in situ in nature in order to absorb, experience and understand

penchant for research, exploration and experimentation enables

my surroundings which forms the starting point of my creative

me to develop a concept into either installation, multimedia, land

journey. The land and nature is the place where people live and

art and sculpture.


Nicci Olivier/ ‘ Rukinlapa ‘ (part of a series)/ Mixed Media/2016

Nicci Olivier/ A Creative Right Of Passage (part of a series)/Mixed Media/2016

WHAT LIES BENEATH / THE PSYCHE OF A NATION During my residency at Arteles my visual documentation and

my concept by guiding me back to the basics of ‘Sketching :

response to the vast forests of Finland evolved into three projects

The Mental Scaffolding Of The Mind ‘. Together with traditional

1. ‘ A Creative Right Of Passage ‘

sketching I revel in ‘sketching’ and experimenting with materials,

2. ‘ Rukinlapa

cutting, working with my hands etc in order to find ‘sketched’

3 ‘ Layered Lakes and Forests ‘

solutions which will inform resolved final artworks.

Each project evolved into a series documenting the journey of the

‘ A Creative Right Of Passage’ afforded me a wonderful AHA!

human condition. This involved the interplay of layers, layering,

moment when I looked at the completed art work and discovered

cutting out, shadows and impressions in order to discover what

the inherent structure for the basis of my creative process through

lies beneath .

sketching.

The pieces are currently all in the form of intimate ‘sketches’.

Thank you Arteles!

My residency at Arteles encouraged me to declutter and develop


IN THE RESIDENCY Arteles Creative Residency Program, July 2016

ELIZABETH CLAIRE ALBERTS

USA

elizabethCAlberts@gmail.com // www.elizabethclairealberts.com Elizabeth Claire Alberts has a PhD in creative writing from

of the Great Turning. In addition to her PhD, Elizabeth has a BA

Macquarie University, and has taught creative writing at

in theatre from The College of Wooster, and an MA in creative

Macquarie University for the past seven years. Her creative

writing from Macquarie University. She is currently working on

stories and poems have appeared in publications like Island

an audio storytelling project, EarthVoice, which will tell stories

Magazine, Australia Poetry, Yarn Review, and her narrative

of passionate individuals working in the environmental and

journalism has appeared in Earth Island Journal, Audubon,

animal welfare movements. These stories will be recorded and

Great Ocean Quarterly, Alternatives Journal, The Dodo, Afar, and

crafted with passion, creativity, and high quality writing, then

Wild. She is the co-author of a childrenâ&#x20AC;&#x2122;s book, Joselina Piggy

disseminated online.

Cleans Her Room, and a contributing author to the book, Stories


EARTHVOICE PODCAST / ”MERLOT’S MEOW: A SOUNDWALK THROUGH MEMORY” While at Arteles, I began working on my scripts for my audio

end of 2016. I also wrote and produced a creative audio essay,

storytelling project, EarthVoice Podcast, which tells stories of

entitled “Merlot’s Meow: a soundwalk through memory,” and

people and organizations working to protect animals and the

worked on commissioned journal pieces for Earth Island Journal,

environment. I plan to release the EarthVoice audio stories by the

Overland, and The Dodo.


IN THE RESIDENCY Arteles Creative Residency Program, July 2016

“I am an artist with a camera.”

LOREAL PRYSTAJ

USA

lorealprystaj@gmail.com // www.lorealprystaj.com Loreal Prystaj is a visual artist based in New York. Her work often

Where it falls, the daily schedule disappears, routine no longer

times exposes the relationship between time and space, with a

exists.

juxtaposition of the human form and it’s environment. Prystaj

When captured in thin slices of illumination, time vanishes, and

creates using photography as her base medium, and expands

only truth remains.

ideas through video, installation, performance, and interactive

As a child, even in the darkest moments,

pieces. Her archive of work has led to speaking at accredited

a place full of color, wonder, and light can be created;

universities, being represented in numerous galleries throughout

a world exempt from all darkness.

the world, from within the States to China, Japan, Italy, and

Light allows us to see beyond ourselves.

France, and she has been published in numerous magazines such

Darkness conceals all, and injects fear.

as L’Oeil de la Photographie, CREEM Magazine, Icon and Hue to

Many of our truths and happiness exist from the child within.

name a few.

For who we are as children, is our being at purest form—It is not

Loreal Prystaj continues to express her ideas through the eye of

influenced,

her lens.

manipulated or forced;

Light sheds truth.

it just is—and to just be, is where light can be found within each individual.


REFLECTING ON NATURE During this Residency I realized that there is no such thing as

often? What do you see? Is it the small details you notice about

compromising with nature; we simply abide to how it lives, and

yourself? Are they good? bad? Are your accentuating them?

exist as a part of it. Nature is very relevant to each individual’s

Getting rid of them? Would you change anything? What would

well-being, but more so than it is part of us, we are part of it.

you change?

I wanted to show this idea somehow in a way that was unique.

Often times, mirrors are used to emphasize the minute details,

Rather than placing people “harmonically” or “naturally” (nude)

but rarely used to look at the big picture. What if nature looked at

in nature, doing something different appealed to me. I woke

itself? What would it see? What would we be? Would our identity

up one morning, looked in the mirror, determined to solve this

stand out or would we be a small detail? Would nature change

riddle…then I came across one mirror after the other throughout

us? Would we be a beauty mark or a blemish? Accentuated?

my living space…I started experimenting!

Concealed?

I asked myself simply, what is a mirror? Yes, a reflective surface,

With observing nature’s schedule and landscapes, I placed myself

but why do people use mirrors? Do you look in the mirror? How

in its environments while nature looked at itself in the mirror.


IN THE RESIDENCY Arteles Creative Residency Program, July 2016

“Music for effortless transformation”

TAHLEE ROUILLON

Australia

music@sonesence.com // www.sonesence.com Tahlee Rouillon is music composer extraordinaire at Sonesence.

When she isn’t blissing out to music, you can find Tahlee wandering

She offers peace seekers an easy way to achieve inner peace with

about the rainforest, eating good food with good friends and

a sonic shortcut called meditones.

laughing out loud. Really loud. When you hear it, you’ll know.

After going through many difficult changes, Tahlee also created

She also creates bespoke meditation music for other wellness

The Gentle Transition e-course for other sensitive souls struggling

entrepreneurs and hangs out on Instagram a lot.

with change (who want to feel a whole lot better).


LUMINOUS Nothing can dim the light that shines from within ~ Maya Angelou

clouds, sunlight sparkling across the lake, and waves of wind

Inspired by the eternal light of a Nordic Summer, Luminous

through wheat fields.

connects to your inner radiance.

Channelling this gentle energy into the album through layers

Instead of the incandescent expanse of summer I expected there

of intuitive vocals, Luminous provides an effortless meditative

was a surprising sweetness; bright blue skies, cotton candy

practice, so you can begin to beam with peace and joy.


IN THE RESIDENCY Arteles Creative Residency Program, July 2016

KATHERINE RONDINA

USA

katherinerondina@gmail.com // www.katherinerondinaphoto.com With landscape as my subject, I explore vast spaces and edges

containing non-linear timescales, microcosms and the quiet

of perception in pursuit of resolving the cognitive disconnect I

depths of the universe. I allow mistakes while processing, such as

experience as I try to understand the largeness of the universe.

using water from ponds and rivers where I photograph to develop

My work pivots on profound events and experiences in natural

my negatives. I store my film with soil and rocks collected from

spaces, such as qualities of light and sound. With an installation

sites I photograph, allowing it to register physical interactions on

of photographic objects, natural matter and lighting, I consider

the light sensitive emulsion. By allowing these intrusions, I locate

how bodily scale is lost in landscapes and spaces that exceed

the photograph as an inscribed site of eventâ&#x20AC;&#x201C;as a palimpsest.

rational understanding. I disrupt perception creating a dialogue


LODESTAR / LUMINOUS MASSES During my time at Arteles, I worked on creating and editing

beacons, repository for folklore, space immense enough to

images for an ongoing project titled Lodestar / Luminous Masses.

rehearse our dreams while also leading to innovative discovery.

Using photographic negatives from a planetary observatory, I

Although originally scientific documents, the precise observatory

created work in response to contemporary astrophysics research

images are representations of an objective need to capture,

surrounding black holes. Since these structures don’t reflect

retain and comprehend. I view them as notations of pathways

light, they will never be visible. The enormity of the universe, with

across the night sky with my parallel wanderings on the land

complex forces continually reforming space, leaves me sleepless

duplicating these bodies in motion. As a location of immeasurable

at night as I try to locate my position within this endless structure.

fluctuations, variations and subtly, deep space resonates Werner

I am fascinated with this inability to view black holes and use

Heisenberg’s uncertainty principle—with the act of observation

materials, landforms and found objects attempting to understand

altering what is being observed. Using the uncertainty principle, I

the complex theories of stellar physics. This project elucidates

hope to establish methods of observing to expand what I see—to

the multiplicitous functions of the night sky: navigational

look beyond what is in front of me to what could be farther.


IN THE RESIDENCY Arteles Creative Residency Program, July 2016

SKYLAR DELPHINUS

Australia

RHYS JAMES

Australia

sdelphinus@icloud.com // http://www.skylardelphinus.com

rhysjames01@gmail.com

Skipping around a giant sunflower, holding a red watering can,

Rhys is an emerging artist based in Melbourne, Australia. He

wearing a tutu that was too big is Skylarâ&#x20AC;&#x2122;s earliest memory of

completed his studies in acting, yet his work ventures across film,

dance. Skylar is a technically trained dancer in all styles, inspired

direction, theatre-making and photography. His aim has never

by the world around her, with a strong belief that actions speak

been to make statements or to change the world, but instead to

louder than words. Her choreography fuses idiosyncrasies of

comment on the process of creation. Some of his pieces do not

human behaviour and natural movement with technical dance

bear much resemblance to the character of the body of his work.

elements. People-watching is particularly important to her

His desire is to be proficient in many forms of art and to further

process, as she believes one can learn so much just by observing

his investigation into different narratives.

people who are under the impression that they are alone (think Hitchcockâ&#x20AC;&#x2122;s Rear Window). This helps her incorporate nuances of human behaviour in her work. Forever a student, Skylar wants to develop her education, and become increasingly versatile and honest.


A COLLECTIVE SOLO Our work is normally devised and developed through ensembles

video with either complimentary images from a seperate space,

and collaboration. Here at Arteles we did not have this luxury.

e.g. split screen or masked multiple people in to the continuous

Instead this month we explored duplication through video and

shot. Arteles was an opportunity to freely create in foreign ground.

performance. Working with dance and film techniques we created


IN THE RESIDENCY Arteles Creative Residency Program, July 2016

ALLISON BAKER

USA

abaker09@hamline.edu // www.allisonbaker.com My work bucks notions of traditional femininity with a subverted

We sad girls are bad girls. Blatantly refusing to act properly, show

re-appropriation of femaleness using the very thing that

decorum, and be the well-mannered darlings we were raised to

oppresses us: our prescriptive gender roles, our weakness, our

be.

plight, and our fits of fancy.


WAFFLER Sweetness is the most cunning means of crowd control, an

Repulsive and candy colored to greedily over-consume until your

effective method to subdue the masses yet disarming enough to

stomach sours and the grape gum has lost all its flavor, yet you

preserve the egos of men.

hungrily work your jaw, chewing away hoping that the cloying

Gilded gumdrops: pastel, gelatinous, rolled in sugar and arsenic

artificiality will rush back to your mouth still wet with anticipation.

that suck fillings from your molars and leave sweaters on your

â&#x20AC;Ś

teeth.

We sad girls are bad girls. Blatantly refusing to act properly, show

My work is half-melted ice cream peppered with sand.

decorum, and be the well-mannered darlings we were raised to be.

My work is an incantation.


IN THE RESIDENCY Arteles Creative Residency Program, July 2016

“Linking the perceptions of enviroment and the materials”

MARIA SANTI

Argentina

mariasanti38@icloud.com // www.mariasanti.com.ar Today, my artistic work refers to the natural world. In it I question

beauty its primordial elements and which I feel closely linked with

the materiality with which I work, the power of images, the use

the intuitive process present in my painting.

of the senses. I work creating a structure that interweaves the

Since landscape has been modified by degrading actions, for

strength of the material with the visible, my personal experiences

which man is responsible and whose consequences are largely

and the experiences of those whom my work challenges.

irreversible, I believe that my art practice has the capacity to repair

In this process I show an underlying premise: the matter is alive,

and take care of this world. Landscape has always been one of

that is why I consider it an active component of the pictorial

the most prominent genres, today it has become something more

practice, which is especially noticeable in its manifest expansion

than the perception of the place around us. In the contemporary

during contemporaneity.

scene, it is the undisputed protagonist whenever it tells us that

I am interested in the fusion between different representations

life on a horizon without seas and skies, in a world without life or

of nature; also in exploring an instictive “”sixth sense””, which

colour, is meaningless.

I think is a quality of the natural world, which makes purity and


TIMELESS PATH. TO MAKE VISIBLE THE INVISIBLE

PONCHO PAINTINGS

This project is focused on environmental awareness. In line with

Poncho Paintings is a project about exploring and tense my own

the history of the gathering, the starting point of the project is the

painting practice.

path in the landscape with observation and subsequent collection

The residency like a laboratory where developing a special type of

of native plants. What grows horizontally, radicant, that is not

read and write in space.

planted, the nomad, which will spread.

In this process I show an underlying premise: the matter is alive,

With the intention of achieve an awareness and appreciation of

that is why I consider it an active component of the pictorial

indigenous plants in the region.

practice, which is especially noticeable in its manifest expansion

By

combining

various

graphic

techniques,

seeking

the

during contemporaneity.

hybridization between the language of photography, drawing and

And linking the Poncho, that is a traditional cloth in Argentina,

video, this work is developed as an open and susceptible notebook

displaying them in the amazing Finish nature. In the contemporary

with multiple transformations and combinations.

scene, the landscape it is undisputed protagonist whenever tells

Itâ&#x20AC;&#x2122;s an artwork that starts as a project in residence with the

us that life on a horizon without seas and skies, in a world without

native flora of Finland . It has the property of unfinished work,

life or color, meaningless.

without definitively feature as a mobile album. A succession of fragmentary images, made silently defining a space by walking movements that flow in relation with time.


IN THE RESIDENCY Arteles Creative Residency Program, June-July 2016

ASUKA NIRASAWA

Japan

shiropocha0@gmail.com // www.asukanirasawa.com The concept of Nirasawaâ&#x20AC;&#x2122;s project is to find a phenomenon

years. In her works, one can find a mix of the modern, traditional

that leads to a secluded existence, hidden from the external

and the pop culture world in a vivid, eccentric way with infinite

world and representing the feelings and emotions in a profound

colors. Her process of creating a piece of art, creates a tangible

silence. Dynamics of modernity (sophistication) and primitiveness

version of her thoughts and emotions, often involving moving back

(savagery) stirred her imagination. She has continued to do the

and forth between the conscious and sub-conscious. Nirasawa is

experimental drawing and photographic collage works for several

always in the process of finding such a moment.


AMBIVALENT PERCEPTION [VIDEO INSTALLATION PROJECT] Through the journey of Finland, Asuka Nirasawa’s work in progress

She photographed many different homes, and added animation

manifested itself into something unexpected. She explored the

effects specifically of straight line motions layered on the house

environment that surrounded her. What she discovered was a

images. To her surprise through experimenting, Nirasawa

new variety of words, and wide range of colors in the sky and

found a new image created. She was captivated by the natural

nature. She looked at how humans’s related to their environment

and unnatural elements that visually came to surface. What

of nature and observed their lifestyle. Nirasawa’s intrigue allowed

she discovered was something similar to the sun rising, winds

her to spontaneously accept the new world that surrounded her.

blowing, and skies changing. This new experience was stimulating

What caught her attention was the unique structure and design of

for Nirasawa as she opened herself to the forests and silence –

the houses people lived. Therefore she found a pinnacle point of

she was forced to go deeper into her own imagination.

focus; each home was made of wood – natural elements. Almost

Asuka Nirasawa’s work in progress will be shown as 30 different

all of the structures were designed graphically, with vertical and

video clips. Each will play at different rates for about 2 minutes

horizontal lines; something Nirasawa found to be an artificial

continuously. The installation will be presented on horizontal

element.

digital monitors.


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

CAROLINE MCCAUGHEY

USA

carolinemccaughey@yahoo.com I am a writer and filmmaker who was born and raised in New

Before graduate school, I worked in New York Cityâ&#x20AC;&#x2122;s film and

York City. I write personal essays, memoir, and articles about

television industry, as a researcher in a law office, as a bike

politics, health, and the arts. In 2015 I graduated from Columbia

messenger, a chauffeur, and a migrant farm worker. I directed,

University with a MFA in Nonfiction Writing. I earned a BA from

shot, and edited a feature documentary about the squatting

Brown University, where I double majored in History and Art-

movement and gentrification of Manhattanâ&#x20AC;&#x2122;s Lower East Side

Semiotics.

called Your House Is Mine. I also spent a year hopping freight trains and hitchhiking across the United States. I currently live in the East Village. I love dogs and hate cheese.


HOLY DIRT At Arteles I finished â&#x20AC;&#x153;Holy Dirt,â&#x20AC;? an essay on the current heroin

the politics of harm reduction; and my own personal experiences.

and opioid epidemics in the United States. The piece focuses on

I also started two new personal essays and began research on my

intergenerational heroin abuse in Chimayo, New Mexico; the 2015

next big project.

HIV outbreak in Austin, Indiana; needle exchange programs and


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

ROBERT BEAM

USA

BROOKS DIERDORFF

USA

robertc.beam@gmail.com // www.robertcollierbeam.com

brooksdierdorff@gmail.com // www.brooksdierdorff.com

The ability to construct an object that collects and alters ones

Though the foundations of my current practice originate in

environment has fascinated me ever since I built and operated

photography, I currently work across a variety of media that include

my first solar water purifier. To this day I am captivated with

video, sculpture, and performance, and installation. Combining

the fact that there is energy and elements working that I am

conventional and non-traditional methods and materials ranging

unable to see, only able to record. Experiments rule my practice

from woodworking to video to photograms, I explore the ways in

and direct my focus to vast expanses and isolated locations.

which images interface between various and often-contesting

Recording through photographic means, using both traditional

representations of the natural world. My practice searches for

and digital processes, my work examines the effects of the record

new meanings in the intentional and incidental forms that we

and the experience of the viewer. Finding inspiration from the

individually and collectively create through our interactions with

land, scientific exploration, and natural phenomena â&#x20AC;&#x201C; I focus on

nature.

perception and the spaces we create. Creating object and image based works that infer our inherent need to explore and see further. Through a broad range of experimental processes and photographic materials, I create impressions of events in the landscape that I believe to exist but are beyond my awareness. These impressions of spaces and objects confound the standard expectations of photographic veracity. The image responds to a sense of space beyond our perception, not existing as a record of an event, but as a site for viewingâ&#x20AC;&#x201C; becoming the event.


THE LIGHT OF OTHER DAYS During our time at Arteles we collaborated on a number of

including above the arctic circle and during the summer solstice

projects revolving around ideas about the light, time, and the

in order to investigate our own perception of those times and

landscape. We sought out the unique characteristics of the

spaces. We produced studio images by rephotographing images

unending summer light in Finland as a point of departure.

of the sun taken from the Hubble telescope, and made a lens out

We made Camera Obscuras in the various locations in Finland

of water to focus the sun on to light sensitive photographic paper.


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

ANGELA GLANZMANN

Canada

angelaglanzmann@gmail.com // www.angelaglanzmann.com My practice is concerned with a loss of orientation and

experiencing sensations of landscapes, questioning/criticizing

re-navigating a sense of place. My art and personal life intersect

the romantic notion of the â&#x20AC;&#x153;sublimeâ&#x20AC;? experience in nature and the

through subjective experiences of hiking, camping and exploring

patriarchal associations with it. Themes of survival also permeate

landscapes, which later show up in my work. These landscapes

my work and I often use mapping as a metaphor for processing

have different manifestations of physical, phenomenological and

trauma and fabricating memory. Within my performances and

psychogeographical presence in my practice. I work through

installations, my projects become highly gestural, allowing bodily

these mappings and explorations via new media, installation,

presence and ephemera to arise.

performance and sculpture. My work is informed by a feminist

Angela Glanzmann is an interdisciplinary artist and cultural

gaze that includes questioning colonialism, racism and power

worker from Halifax, Canada. Her work has been exhibited

imbalances within various geographies and spaces. Under these

in galleries, artist run centres, festivals and public spaces

considerations I use loneliness/aloneness as a subjectivity of

throughout Canada and the UK.


THE OTHER NIGHT AND OTHERS Baked a chocolate cake, fermented a sourdough starter, devoured

feedback systems involving the pituitary gland, adrenal gland and

Lucy Lippard, filmed 16 sunsets and sunrises, filmed my sleep,

hippocamus, was flocked by mosquitoes, chopped wood, chopped

drew maps of Pangea over and over, painted dogs, painted berries,

footage of chopping wood, sang songs that melted my teenage

devoured Wayson Choy, readied Saunas, researched biochemical

heart, tried to build a sleep cave, saw Venus only once.


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

AKIKO KEIRA

Japan

keiraa302@docomo.ne.jp // akikokeira.wixsite.com/akiko-keira For many years, I’ve been drawing with an aim of making “doodle

I look for things that inspire me to create new works. This

art” worthy of (appreciation) being appreciated as an art form (in

chance will, I hope, serve as an opportunity to stretch myself, to

its own right).

experiment with other materials and techniques.

Recently, what I’ve been trying to do is expand the range of my artistic expression by exploring new drawing styles and other possibilities to develop my ideas.


NATURE ALWAYS WINS My first work was an attempt to counteract nature, which I saw as

However, as I thought in the beginning nature has won.

being greater than the humans it surrounded. I wanted to make

As a result I decided to make my second work closer to nature, I

something better than nature using strong red colors to oppose

tried to blend with nature rather than oppose it.

the green and drawing straight lines not seen in nature.


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

MARIANA LEAL

Brazil

falecom.marianaleal@gmail.com // marianaleal.art.br My work as an artist reflects my interest in psycho-emotional

symbolizes gifts that are blast to me by Oriental winds as an

practices and in the possibility of accessing and resignifying

ability and a tool to perform my art work. When metaphorically

subconscious contents.

stucked in head it works as an eye or antenna. When held in hand

Some works bring my indigenous/afro/european ancestry

it performs strokes and lines.

references as Brazilian. Many information and knowledge comes

My paintings shows mysterious figures and beings that vibrate

to my mind intuitively through mysterious channels, so I organize

and seems to exist in a coexistent dimension. In drawings there

them in a poetical way bringing renewed shapes to past events,

are lines that flows by hand to paper by automatism resulting in

working contemporarily as an artist that is an inhabitant of the

organic-geometric entities that are vibrational and feathery. When

future in relation to those ancient times.

I work with photographs images I put out tangible bodies to the

Iâ&#x20AC;&#x2122;m interested in the state of presence and in energy flows between

photographic content and so I can interfere in the material body

the center of the chest and the hands, between foot soles and the

of these moments. Sometimes I also include to these pictures

ground, between the top of the head and the above.

things that the eye of the camera was not able to â&#x20AC;&#x153;seeâ&#x20AC;? because

Some nature elements are recurring in my works. Water and

they are related to an inner dimension.

feathers, especially peacock feathers that in a subjective meaning


WHERE YOU’RE GOING, IT DOESN’T EVEN GET DARK The midnight sun .The inner suns . The flow of waters . The bodies

flowing tribe . The flying seeds . The rocket-shaped trees . The

of energy . The lake .The beading pearls . The personal ocean.

rocket-shaped flowers . The bird house . The body entrances .The

The astronauts . The friendly shoulders . The landing tracks .

inner dimension . The wings . And the roots

The center of the heart . The pieces of eart . The entourage . The


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

“Fuck your human(ist) hope”

SIDONY O’NEAL

USA

sidonyoneal@gmail.com While my work is multidisciplinary, at its core remains a

texts, textiles, and printed materials, I investigate the lethality of

performative writing practice, a translation-- something like an

(black) existence and oscillation, troubling the idea that a body in

algorithm or a grammar. Mostly, I am in murky pursuit and refusal

place is structured by deficit, Iack, and non-being.

of (an)other humanism. Using mutable performances, music,


ALWAYS IN DOUBT: SKETCHES TOWARD AN ASYLUM I spent much of the residency writing short critical texts, poems,

many of these pieces will be activated in an upcoming series of

and digital collages investigating the black femme body as data

performances and installations.

object, prosthesis, desiring machine, and errant algorithm.


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

JAZMYNE M. K. GEIS

USA

CY GORMAN

Australia

jaz@jazmynekoch.com // www.jazmynekoch.com

geomatdiplomat@gmail.com // www.cygormanvisual.com

Born in Maui (Hawai’i/USA) Jazmyne has grown up in a place that

I create, produce & direct interdisciplinary artwork & projects across

harbors diversity-- different cultures, ways of thinking, island

transnational cultural, media & social landscapes. My educational

traditions and American influences--and through her artistic

& professional skill sets facilitate unique collaborations, hybrid

work speaks to these life experiences. As an interdisciplinary

language formations & conceptual or developments for adaptive

artist, Jazmyne uses dance movement, film, poetry, design and

and responsive artistic and transmedia expressions. Key areas of

visual art to explore socio-cultural narratives related to identity

interest, research and artistic practice are:

and place. Her work is inspired by her mixed ethnic background;

Light/ Animateuring/ Transmedia/ AV Design/ Digital & New Media

contemporary cultural identities; traditional arts, mythology and

Art/ Videography/ Photography/ Music Production/ Sound Design/

storytelling; the natural world, and the shifts between physical

Movement & Choreography/ Therapy/ Relational Aesthetics/ Art

and digital spaces. During the residency, Jazmyne will be teaming

in Public Space & Cyberspace/ Audiovisual Philosophy/ Spatial

up with Cy Gorman, and artistic contributor Neil Harbisson,

Awareness/ Experiential/ Theatre/ Geomatics/ VR/ AR/ Mixed

to work on their project Augmented Organism (AugOrg) —a

Reality.

project bringing together science, art and technology with world

When bridging the digital and physical realms a guiding light for

wisdom traditions, sounds and movements. AugOrg’s aim is to

me is always to search for the work that is asking to reveal itself.

use creative practice based research to lead their exploration in

This for me relates to concepts of alchemy, biomagnetics & ‘being

the relationships between technology, organism, and its relation/

in tune’ with the identities and environments that are holding

communication with its environment; with purpose to create

space for the work to emerge from. Properties of the physical

art that supports the voice of our natural world, using current

world oscillate with the metaphysical. Aesthetics dissolve into

technologies as tools to connect us back to the wisdom of Mother

metaesthetics. Outcomes or artistic products wherever possible

Earth, and re-instill presence and deepen awareness within our

are crafted towards expressions of ‘presence’ that transcend

communities and ourselves.

relational awareness of a dualistic nature. For the June 2016 Arteles Residency I am working on Augmented Organism. Augmented Organism is a project bringing together science, art and technology with world wisdom traditions, sounds and movements. Aug Org values connection with Land. Aug Org sees nature as an intelligent voice. Aug Org’s purpose is to create globally relevant art by supporting the voice of our natural world & use technologies of today and tomorrow as tools to connect us back to the wisdom of Mother Earth. Aug Org’s vision is to reinstill presence in our communities and deepen awareness within ourselves.


AUGMENTED ORGANISM WWW.AUGORG.COM During our residency we successfully achieved our creative

We allowed ourselves to be present & witness nature just as it

production goals to devise, script, perform & produce several

is. Collaboratively mapping physical and conceptual identities/

short environmental-contemporary dance films, sonochromatic

environments we converged space & place resulting in ‘embodied

AV designs, 360 photography and video transmedia assets as

nature-led design environments’ .

well as develop the foundations of a tourable live performance

Our landscaped performance space became a zone to integrate our

including elements of our digital assets and our landscaped/

embodied design environments connecting our interdisciplinary

spatial set designs.

practices with the surrounding forests. The long Finnish summer

We embraced the Finnish spirit, it’s local customs, culture &

days, disorienting at first, helped us explore at any hour of the

landscapes whilst integrating them within our shared practice-

day to shoot footage, rehearse & perform outdoors. Ahead of

based research areas: Technology/Mythology. Digital/Non-Digital

us now is the digital post-production process of integrating the

Communication. Geomatics & Spatial Design. Biomagnetics.

sonochromatic work of our third collaborator, cyborg artist Neil

When visiting our chosen sites, we observed the movements of

Harbisson. Our Arteles production residency was successfully

nature; their sensory spectrums & immersive characteristics.

crowd funded to the value of 14K+ using the Indiegogo platform.


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

NICHOLAS KOVATCH

USA

kovatch.nick@gmail.com // www.nicholaskovatch.com Nicholas Kovatch is an active sculptor, installation artist

Nicholas received an MFA in Visual Studies from the Minneapolis

and instructor based in Minneapolis, MN. He was a National

College of Art and Design. His work has been exhibited across

Endowment for the Arts Fellow at the MacDowell Colony in 2014

the United States and is currently an adjunct professor at the

and was a fellow at the Virginia Center for the Creative Arts in 2015.

Minneapolis College of Art and Design.


IMPLANTED While at Arteles, I constructed a site-specific outdoor sculpture.

viewer to question where the sculpture, and void, originates and

The piece existed on the side of a large rock face and in the form

ends. When standing in front of the piece a distorted mirrored

of a hexagon. A clear sheet of acrylic plexiglass covers the black

image of the natural environment and the viewer occurs from

void interior of the form. My work is influenced by a minimalist

the combination of the black void and clear plexiglass. This

aesthetic and a curiosity to see how people react when their

reflection creates a personal experience for the viewer, as the

traditional environment is disrupted and unfamiliar. The sculpture

person becomes part of the installation. This interaction allows

at Arteles proposes questions about the relationship between

the person to witness his or her relationship to space and the

manufactured objects and the natural environment. The illusion

environment existing around them.

of the piece being physically embedded into the rock allows the


IN THE RESIDENCY Arteles Creative Residency Program, June 2016

“Stars, sky, earth, flowers”

DANIELLE RANTE

USA

daniellerante@gmail.com // www.daniellerante.com Rante works in drawing, painting, printing, paper cutting, installations

the wild, or an astronomist mapping locations beyond the earth’s

and tableaus of small organic objects. Sourcing material directly

atmosphere, Rante is interested in the meeting place between the

from the environments she visits, Rante’s practice incorporates

physical environment we encounter and the narratives of a place.

site-specific field research into geographical happenings, direct

She explores our cultural subjectivity in relation to historical events

interaction with the landscape and its inhabitants, and meditative

or shifts in the landscape, investigating collective and personal

mark-making. Akin to a botanist collecting live plant specimens in

speculation, while remaining a present witness.


”BLUE OF DISTANCE” SERIES OF 3 LARGE SCALE DRAWINGS DONE WITH CARBON TRANSFERS, INK AND CUT PAPER Arteles residency provided an excellent time to work on drawings

I was also able to do additional exploration and experimentation

for an upcoming exhibition. I came with a pre-determined plan,

that I am looking forward to working with back in my home studio.

so it was easy to settle in and begin. For the drawings, I used

I collected pigment samples from plants throughout the month,

references from the surrounding landscape and plants native to

making a scroll of the pigment rubbings.

Finland.


IN THE RESIDENCY Arteles Creative Residency Program, June-July 2016

KEVIN MACK

USA

kevinmack.phl@gmail.com // kevinmack.virb.com Endless bounds of shapes stacked and colors chased, my collaged

lost in, reconnecting with the unknown like an old friend. My

worlds are spacious yet flat. Similar to dismantling a toy, I dissect

vibrant works play with physicality and layering. Paint is applied

and rebuild spaces to understand their precise particularities. I

like icing to give autonomy; ghostly outlines of previous thoughts

am an explorer, and am always searching for new mazes to be

emerge throughout. My favorite color is purple.


COSMIC CARTOGRAPHY & THE ESCAPIST In my two months at Arteles I found a home. I studied and fell

a proud stranger to a group of new residents. I was properly

deeply in love with the ever-changing sky and all of its wild colors.

challenged, and the work I made reflects that. At times I was

I wandered all night in search of a mythical moose. I slayed

lonely, other times I felt loved. I made wonderful friends, many of

hundreds of mosquitos and infused all my clothes with the smell

whom I know Iâ&#x20AC;&#x2122;ll see again. In my two months at Arteles I made

of bonfire. I painted for 13-hour sessions while everyone was

six paintings and left behind a joyous mural for future residents to

asleep, and I bonded with my ideal mug- a rectangular gravy boat

enjoy. I am thankful for this opportunity which has brought me to

perfect for coffee and mixed drinks. I left a family to paint murals

Finland, and has given me more than I could have ever expected.

in Romania on a spontaneous Instagram invite, and I came home


IN THE RESIDENCY Neo Future program, May 2016

“Scientific Mysticism”

CHRISTOPHER ALLMAN

USA

christopherkallman@gmail.com // www.peopleofieya.com Born in raised in Utah as a devout Mormon, I left the faith in

I like books, walking, thinking, solitude, friendship, drinking

my early 20’s, moved to Washington State and graduated from

tea, growing flowers & herbs, science, sci-fi and mysticism. As

The Evergreen State College, where I studied art, religion and

an artist I seek to explore the intersections of spirituality and

Philosophy. I then came to Chicago to attend The School of the Art

science/technology.

Institute of Chicago, earning an Mfa in Ceramics.


SCI-FI FOREST COSTUME FOR SHAMANIC CHANNELING OF FUTURE BEINGS. I made a sci-fi shield, that protects from bad vibes, a staff and

I also made a few post human figurines and a little alter to house

a mask meant to help induce a shamanic state for channeling

them in.

future beings.


IN THE RESIDENCY Neo Future program, May 2016

ANNA HOETJES

The Netherlands

annahoetjes@gmail.com // www.annahoetjes.nl The eye, the screen and the camera lens play an important role

the different definitions of reality and the multiple perspectives

in my work. I look at the relationship between the human body,

that this causes.

digital perception and collectivity. Lately I’m exploring narrative

My projects try to capture the moment that utopia and dystopia

fiction and technology as a mediator between the human body

simultaneously exist within a system. Who determines how we see

and ‘the outside’. Looking is increasingly outsourced to machines;

things and how we shape our own identity? How is the collective

augmented reality and virtual reality become more and more

represented? How does our own body relate to this collective?

important when registering our surroundings. I like to juggle with

And how do our own decisions and that of society merge?


INTERFACE and THE INFINITE NAVIGATION The future doesn’t look much different from today in INTERFACE,

Next tot hat I’ve been projecting found footage and my own footage

but no one has ever seen a face and cameras have replaced the

onto the trees in the forest, onto artificial fog and onto many of

human eye. Every head is locked in a reflective mask; a one-way

my fellow residents here. Playing around with poetic narratives

mirror that allows you to look out, but no one can look in to see

that deal with navigation and space. Like this I’ve been developing

your face. If you look at each other, you drown in an infinite empty

thoughts for new work that deals with the concept of parallel

reflection of a reflection. This is the starting point of the short

universes as a way to think through contemporary structures of

science fiction film that I’ve been working on for months before

labour, production, marginalization and the way space travel is

arriving to Arteles. The residency gave me the opportunity to edit

represented.

this film, getting musical input by Ng Chor Guan and the curious eyes of all other residents.


IN THE RESIDENCY Neo Future program, May 2016

â&#x20AC;&#x153;A multimedia performerâ&#x20AC;?

SID BRANCA

USA

sid@sidbranca.com // www.sidbranca.com I am an artist, writer, and performer based in Chicago and Los

of the human body, the physical world, and our sense of self. In

Angeles. My pastiche-driven practice blends contemporary pop

exploring these, I then blend in elements of classical literature,

culture, classical literature, and speculative autobiography in

with a particular affinity for the tragedies of ancient Greece. I

projects using performance, video, sound, text, and new media.

draw out parallels across my varied sources related to issues

I am especially interested in the ways in which technology and

of gender, ability, mental illness, and the encouragement and

mass media teach us to view ourselves and each other.

exploitation of destructive behavior. Within this mixture, I try on

I often focus on celebrity worship, the ubiquity of technology, the

different performative personas and write imagined futures for

cult(ures) of the Internet, and how these impact our experience

myself, ranging from the fantastic to the tragic to the mundane.


[ENTER BODY INTO FIELD] While at Arteles, I developed a performance character, a

After spending some time delving into research and writing, I

constructed alien/human cyborg being with implanted memories

began rehearsing and performing as Shari. I recorded audio and

taken from a human abductee--musical theater teacher Sharon

video footage for a variety of site-specific diaristic vlogs, musical

White. Our cyborg, Shari, crash-lands on Earth, looking for answers

numbers, and quasi-documentary nature shots, which I will edit

about the planet and their identity. As they face the challenges

into a series of videos to then be annotated through YouTubeâ&#x20AC;&#x2122;s

of an unfamiliar environment and the dysphoria brought on by

interface.

conflicting memories, they send video transmissions out into the internet, and comfort themselves with songs from classic musicals.


IN THE RESIDENCY Neo Future program, May 2016

“What does the brain do when it doesn’t fabricate behavior?” - Zhivka Baltadzhieva

EVA DAVIDOVA

Bulgaria

edavidova@gmail.com // www.vimeo.com/user1477168 Somehow I know that the space, and the circular time around,

for the coercive. Being undeniably manipulated, I am interested

are exactly as our viscera are. War What if we are the games

in using manipulation back—taking behaviors out of context

our children will program some day? How technology and

and creating a new, paradoxical sense of the being. I don’t try

psychology are converging? Manipulation, yielding, contempt

to explain, to comment, or discuss, but to capture forces in their

and propaganda. war for profit I am sticking my fingers in the

unuttered state, and make them “act”.

flesh of utopia. Pursuing political action through displacement

Eva Davidova is a multidisciplinary artist based in New York. Her

of the awareness’ entry-point; through fantasy and the explosion

work has been shown at museums, private galleries and public

of technology’s “possibles”. I think of data as a clear sign, and a

spaces in New York, Barcelona, Madrid, Oporto, Sofia and many

trigger, of the permeability of the material world. A space can

others. She is recipient of international awards and fellowships in

become a person and, in a sense, give their information away.

the US and Europe. Her recent institutional solo exhibitions were

Maybe also a download of “us” is happening, and erasure.

at the Contemporary Arts Center La Regenta in Tenerife, and the

Nabokov talks about the intent of deception as an instrument

Urban Video Project at The Everson Museum Facade, Syracuse, NY.


GLOBAL MODE. PLAYGROUND FOR DROWNING ANIMALS At Arteles I worked on animations, 3D animals and Virtual Reality

cruelty and pre-determination. By “cruelty” I mean the force

interactivity for my ongoing project Global Mode. I also spent

or sentiment behind all these: “war for profit”, “industrialized

many hours with “Cassandra”, the research part of the project,

farming”,

which explores the shaping of our perception, the construction,

towards other’s pain, or even pleasure derived from it. By

and the denial of a possible future.

“predetermination”—the acceptance of a role as a non-maker of

In Global mode/ Playground for Drowning Animals, cruelty

reality as is, or as it seem.

and death are snatched off from everyday perception. Only the

Virtual Reality it is already used to augment cruelty—by

fantasy—the shiny fairy tales—could hold them. Semi-human,

transferring the physical confrontation to a virtual one—in drone

semi-cows, semi-horses, women, almost inexistent Instances of

bombing. It is also used to present scenes as “absolute real”

life, these 3D animals are instances perhaps of an animal lost.

although they are heavily staged and have an even heavier agenda.

Their rebellion or submission changes with each appearance, but

And of course there are the exploding possibilities of intrusive

they are one. I am also an instance, imagining.

advertising, or oblivion of all kind. I work towards destabilizing

I am interested in the capacities of Virtual Reality to combat

and turning around these purposes.

“mental control”, “social injustice”, indifference


IN THE RESIDENCY Neo Future program, May 2016

SOFÍA CÓRDOVA

Puerto Rico

sofia.v.cordova@gmail.com // www.sofiacordova.com Sofía Córdova (b.1985 Carolina, Puerto Rico) is an artist focusing

while serving as a distorted lens aimed at our present.

on states of unbelonging and in betweenness .

Córdova received her BFA from St. John’s University in Queens,

Originally, her practice looked at dance music and colonialism as

NY in 2006, and her MFA from the California College of the

both relate to the creation of identity, specifically for those that

Arts in San Francisco in 2010. She also completed the one year

are product of Caribbean Diaspora through the performance and

certificate program at the International Center for Photography in

installation work, Baby, Remember My Name. Currently, she is

New York in 2006. She has performed at SFMOMA, SOMArts and

creating a work which asks how life might play out for humankind,

Galeria De La Raza among others. Her work has been exhibited

specifically for those in the margins, 1000 years from now through

at the Sonoma Valley Museum of Art, AMOA/Art House, Southern

a cross-platform piece involving 8mm film, music, video and live

Exposure, The International Center of Photography as well as

performance, photography, painting and installation. This work

other venues internationally. She was awarded the 2014-2015

imagines a world where our current social structures - racial and

Kala Fellowship and has recently participated in a residency at

gender hierarchies, the environment vis-à-vis technological and

the Bay Area Video Coalition in San Francisco. Her work will be

capitalist society - have been radically upended. The landscape of

the subject of a solo exhibition at the Rochester Art Center in the

this future world provides both a site for considering new realities

Spring of 2017 and is part of Pier 24’s permanent collection.


DAWN CHORUS - LA PREKUELA (WORKING TITLE) Shot primarily in the woods of Western Finland and borrowing

The work centers on how these systems have accelerated the

from texts such as the Kalevala and Ursula K. LeGuin’s Earthsea

conditions of our fall by focusing on climate change and the

cycle to build its narrative, ‘Dawn Chorus - La Prekuela’ shows the

third world labor and inequity upon which our contemporary

history of our planet in the next 500 years. This video serves as the

technological infrastructure is built. The piece will also show

prequel to the video and performance work ‘Echoes of A Tumbling

footage from the filmmaking itself as part of the structure of the

Throne (Odas Al Fin De Los Tiempos)’ which takes place 1000

piece furthering its meta narrative. In keeping with my other work

years in the future and which focuses on the decline of earth as a

which is concerned with creating simultaneously disorienting

site of rebirth and reinvention for those currently in the margins.

and pleasurable experiences, this work, while dealing with very

‘Dawn Chorus...’, though abstract in narrative, comprises my

concrete themes, doesn’t seek to be moralizing or entirely clear.

most ‘cinematic’ work to date and functions as a sort of ‘play

The video ends with a deluge -- itself a call back to the oft clichéd

within a play’ about the early days of our collapse as tethered

idea of ‘washing away’ in various human mythologies, giving way

to our contemporary systems of global-industrial capitalism.

to the world presented in ‘Echoes...’


IN THE RESIDENCY Neo Future program, May 2016

ALISON TAYLOR AND SABINE LEBEL

Canada

alison11@sympatico.ca Sabine LeBel and Alison Taylor have been collaborating for over

The stories we tell often deal with queer themes and difficult

fifteen years making short videos that tell stories while challenging

emotions: alienation, revenge, loss, anxiety, and remorse. We

narrative form. Visual fragments, sketchy animations, voiceover,

like to work with soundscapes and landscapes, and use â&#x20AC;&#x2DC;obsoleteâ&#x20AC;&#x2122;

found-object costumes and props, and densely woven images

technologies to capture sounds and images. Wild animals roam

and sounds, all work for an aesthetic that tends to be low-fi and

our cities, and feral humans scavenge in a world without oil.

non-linear with multi-layered soundscapes as counterpoint.


MESSAGES FROM VISITORS Our main goal when we arrived at Arteles was to shoot the third

light turned our world upside down and objects we found made

video in an experimental environmental trilogy, til then only

characters evolve and surprise us.

an loose idea floating around our heads. The landscape was

The visitors made allies with the trees. Red rubber boots and

unfamiliar but familiar, similar to home.

climbing the roof. A dilapidated dock that felt important. The post-

Things imploded. Creative process sent us into the woods to

oil world of our imaginations became almost tangible as images

re-shoot at new locations discovered on aimless walks. Endless

of cells dividing played on our naked skin.


IN THE RESIDENCY Neo Future program, May 2016

NICOLE KILLIAN

USA

nicole@nylondip.com // www.nylondip.com My practice is interested in the relationship between online

become entangled in empirical histories and imagined narratives.

systems of association and the role of magical thinking within

The information we glean from images is underpinned by our

our current cultural climate. The intersection of magical thinking

engagement with images being increasingly defined by their

and associative systems form the framework of my research

ability to connect with each other. My aim is to explore how I can

manifested as collage- and installation-based practice. Magical

take control of these associative systems to reveal something

thinking allows the connections formed in archival collage to

hidden about our world.


MYSTIC MEDITATIONS♀ // ░WHAT PIXELS FORM░ I made objects — smart stones + divining weapons — and shot

In addition, I worked on two videos for a bigger body of work titled

footage for a new project titled “Mystic Meditations♀” in which a

“░What Pixels Form░.” In this project within the duration of a pop

band of witchy women are found in the magical forest (hiisi) up to

song, tweets from my language archive and whatever is in the

something unbeknownst to others.

folders on my desktop are combined as moving image to make poetry.✔


IN THE RESIDENCY Neo Future program, May 2016

CHARLIE DONALDSON

Australia

charlie.donaldson91@gmail.com // www.charliedonaldson.com My practice is interested in the relationship between online

become entangled in empirical histories and imagined narratives.

systems of association and the role of magical thinking within

The information we glean from images is underpinned by our

our current cultural climate. The intersection of magical thinking

engagement with images being increasingly defined by their

and associative systems form the framework of my research

ability to connect with each other. My aim is to explore how I can

manifested as collage- and installation-based practice. Magical

take control of these associative systems to reveal something

thinking allows the connections formed in archival collage to

hidden about our world.


AARNIVALKEA RESEARCH SOCIETY During my residency I completed an installation work related to

structure and allows the viewer to create their own story out of

the Finnish myth of the Aarnivalkea (will oâ&#x20AC;&#x2122; the wisp). Created in

the images at hand. This project continued my inquiry into the use

the guise of an anonymous researcher, the laboratory-style setup

of associative image-driven systems on the internet as tools for

of the installation feeds unrelated information into a narrative

creating narrative.


IN THE RESIDENCY Neo Future program, April 2016

“Primordial dreamer, life spectrum documentarian”

SADIE WEIS

USA

sadie.mw@gmail.com // www.sadieweis.com Sadie Weis is a multi-media artist working in the disciplines

natural decay. She attempts to convey magic and beauty in the

of Installation, Sculpture, Painting, Printmaking, and Video

implication of isolation of these discarded elements and broken

with influences of the spiritual, the occult, magic, and science

human memories of their former ‘worlds’ and their ultimate

fiction. Her primary philosophy and inspiration in art production

transition and re-representation into dream-like and fantastical

focuses on a combination of these elements to create alternative

universes via transcendental mediums. These creations become

environments and otherwordly sensations. These elements are

ritualized moments of presence and awareness in a societal

combined with the re-appropriation of found relics and memories

landscape of common unconscious.

in accordance with organic processes such as crystal growth and


GRAVITY’S RAINBOW Through the mediums of installation, painting and sculpture,

also paradoxically proposing dystopian futures.

‘Gravity’s

During my period in residence, I created a transcendental time

Rainbow’

addresses

alternate

dimensional

environments and channels to otherworldly sensations through

portal within the peaceful

influences of spirituality, science fiction, the occult, magic, the

surroundings of nature as a means for reflective purposes

galaxy, and beyond. My creative research is based in astronomy

and contemplation of one’s place in this universe; one’s own

and astrology, space and time travel, fantasy, chemistry, alchemy,

‘kopfkino”- one’s ‘cinema of the mind.’ Additionaly, I collected

extraterrestrials, and the exploration of mystical and metaphysical

various flora and objects of the surrounding nature, leaves,

realms. This research and experimental work continues to find

blossoms, nuts, tree branches, moss, and imprints from

insight from these constructs which I have in turn manifested into

passing creatures and beings- both in nature and in human

environmental installations consisting of self- cultivated crystals

circumstances- organic and chemical, useful and redundant, alive

on both found and discarded objects from nature and human

and dead. Through a collaboration between chemistry and art I

excess, as well as curious reliquary objects from the future,

crystallized and arrange these elements into a collective space.

mimicking an archaelogical uncovery from a future dimension. I

This work explores but does not answer, questions evoking one

aim to create beautiful and wondrous environments, shrine-like

to examine more than the individual self. This portal/installation

spaces, overgrown with crystals and mystical objects, arising

created a collaborative experience between the viewer and the

curiosity and wonder in the viewer. My inspirations come from

unknown. How do we find a self within the intangible concept and

the future-world making that science-fiction novelists propose

vastness that is the universe? How fleeting and insignificant is

in their iconic novels, such as feminist writer Ursula K. Leguin,

one human life in the grand scheme of it all, and how do we defy

or by the possibilities of such a laboratory that one would find

the face of this knowledge.? This work queries our iconography

in a Phillip K. Dick novel or a Blade Runner universe. These

and questions our places of worship, reflection, and intention

multifaceted universes are forever magical and enchanting while

through sacred imagery.


IN THE RESIDENCY Neo Future program, April 2016

RYAN KUO

USA

ryankuo@gmail.com // www.rkuo.net Ryan Kuo is an artist and writer drawn to reflexive systems

In 2014 Ryan completed a thesis at MITâ&#x20AC;&#x2122;s graduate program in Art,

and acts of non-knowledge. Many of his works occur in video,

Culture and Technology which described vibrational and affective

hypertext and game environments, and invoke a person or people

metaphors for encountering the computer. He has also been a

arguing. Common to them are dialectical processes, attempts

medical student and a videogame critic. Recent interests include

to triangulate new openings, wherein both artist and audience

spirals and sequencers, dogs, arpeggiators, office parties, and

retain questionable agency.

the creep along the white margin. Up to half of his residency will be spent jumping rope.


DEATH DRIVER / FILE DEATH DRIVER intends to isolate and rematerialize seams and

FILE is a process work produced for Berlin’s digital Left Gallery,

aberrations on the road: evidence of an underlying violence that is

which sells artist files editioned via blockchain. Rather than

regularly paved over by the pace of capital flows. Commissioned

reconstitute itself as a physical object, FILE aims to maintain

for the Speeding and Braking: Navigating Acceleration conference

the contingency of the digital file. It offers shared access to

at Goldsmiths College, DEATH DRIVER utilizes drivelapse films

a folder in which the FILE is continuously updated alongside

sampled from the internet, which not only subtract visible time,

research materials for an ongoing speculation on the the place

but reveal that the road easily recomposes itself around these

of the artist (or anybody, really) in the era of mobile studios

excised segments as a seamless line. The road is always readable,

and virtual workspaces. The center of the FILE is a hypertext

although all signs point to death. That is why the line must spiral

essay multitasking as technical documentation for the FILE, a

out of control. DEATH DRIVER is a collaboration with the poet Levi

collaborative wiki for the team building the FILE, and a todo app

Rubeck.

that builds and releases anticipation for the always-imminent deployment of the FILE. The FILE asks the user to file the file in the file, and wonders, “How does one file oneself?”.


IN THE RESIDENCY Neo Future program, April 2016

ELENA BRUNNER

USA

ebrunner@mica.edu // portfolios.mica.edu/ebrunner Elena Brunner is a New England based artist who works primarily

American police force. She collages digital images to make large

in drawing and illustration. She is interested in unpacking

scale photorealistic drawings. She works primarily in black and

systems of power that are upheld physically, socially and

white as a way of presenting the images as factual or â&#x20AC;&#x2DC;objectiveâ&#x20AC;&#x2122;

subconsciously. Her current project is the militarization of the

even though they are completely constructed.


COPSCAPES During my time at Arteles I focused on two large graphite

I also drew large ominous cop caricatures with black oil bar on a

drawings I call â&#x20AC;&#x2DC;Copscapesâ&#x20AC;&#x2122;. Each drawing is 8 feet in length and

white backgrounds. Thanks to conversations I have had at Arteles

depict police barriers scattered through abandoned near-future

I now see the drawing is a version of my own superego as well as a

landscapes. These barriers simultaneously form, move through,

representation of the oppressive gaze particularly the white male

and obstruct the landscapes.

gaze. I drew it as an act of expelling or revealing my tendency to self-police.


IN THE RESIDENCY Neo Future program, April-May 2016

“Happiness is a choice. If you don’t like what you are looking at, change the way you look at it.” GABE MICHAEL KENNEY

USA

gabe.mpk@gmail.com // www.gabemichaelkenney.com Hailing from the Laurel Highlands in southwestern Pennsylvania

provocative, yet slightly entertaining manner. Currently, the work

and currently residing and working out of Columbus, Ohio, I am

has evolved into an eclectic hybrid of printmaking, installation,

an visual artist, cosmological researcher and social activist. As a

performance and mixed media. During an exhibition or public

young man hungry for adventure, I pursued my BFA at Western

viewing, the work becomes a didactic presentation of abstract

State Colorado University. There, I specialized in traditional

ideologies embedded in historical research. By challenging

printmaking and formal aesthetic theory, while exploring the

audiences to focus and engage in critical thinking, I create an

wild, wild, west. Years later, I returned to school seeking my

extraordinary opportunity for discoveries to be made. My work

MFA at Pennsylvania State University. Here, I focused more on

consistently questions the intellectual power source, how do we

conceptual and contemporary art theory and practice, while

interpret information and where does it come from? Who are we

still obtaining a strong emphasis in printmaking. Since then, I

as a race, where are we in the vastness of space, and what are we

developed a framework that demonstrates arts true power to incite

doing here?

sociopolitical awareness and advocate positive global reform in a


NEO-FUTURE LAB #1: PARALLELS, MIRRORS, AND WORMHOLES Part one of my investigation maps visual conclusions based on

dystopic in appearance and the other, utopic. In Lab #1, “The

a particular anomaly that took place when “The Technician” was

Researcher” emerges and attempts to clarify how and why “Time

doing trial runs in “The Time Machine” back in May of 2015. This

Skipping” takes place, leading the investigation towards exploring

anomaly is called “Skipping” and it happens when there is an error

theories concerning Parallel Multiverses, Super String Theory,

during travel. If the user (The Technician) has a brief moment of

Numerology, Free Will, positive and negative effects technology

either hesitation, doubt, disbelief or in this case indecision during

imposes on our species, and the importance of understanding the

the launch, the unit of consciousness splits in half, presenting a

true power of the brain.

blurry glimpse into two separate future realms, one seemingly


IN THE RESIDENCY Neo Future program, April 2016

ANDY THOMAS

Australia

andy@android.net.au // www.andythomas.com.au Andy Thomas creates a visual fusion between Nature and

and the Daintree River. Over the past decade Andy has exhibited

Technology, by taking photos of plants, insects and machines

work at galleries in Australia, North America and Europe. His

and compositing them with artificially created forms in various

work seeks to explore ideas such as self similarity in nature and

3D programs. His photographic endeavours have led him to such

how evolution and technology co-exist on the planet we call Earth.

exotic locations as Borneo, Laos and the rainforests of Tasmania


VISUAL SOUNDS OF FINLAND Andy Thomas has created a project visualizing the sounds of the

representation of the sounds of birds and other animals in and

natural environment of Finland by travelling to various forest

around the residency and several other locations in Finland.

locations and sampling nature with a digital camera and digital

The final piece will be displayed at the nature centre in Haltia in

audio recorder. The sounds are then used to trigger particle

August 2016.

effects in 3D software so as to produce an audio visual abstract


IN THE RESIDENCY Neo Future program, April 2016

“If the doors of perception were cleansed, then everything would appear to man as it is, infinite.”

KATHERINE ANNE BRADLEY

UK

katkat1991@hotmail.com // katherineannebradley.allyou.net Somewhere between techno paganism and digital dharma,

I meditate, I believe in oneness and I don’t see a separation

between post-humanism and new-materialism. Experimentation

between us, nature or technology; I take a transversal and inter-

with auditory and visual stimulation to induce meditative states

relational, non-anthropocentric world view and I want to blur the

and expand consciousness. Binaural beats, homogenous visual

lines between art, technology and spirituality to manipulate our

fields, immersion and sense isolation. I am a wanderer, I’m on

perceptual states towards a place of understanding and oneness.

the spiritual path, I make films, sound, photographs, I draw,


TECHNOLOGIES OF THE SELF + YOU ARE LIGHT I continued my research into ‘technologies of the self’. These are

for a Meditation Chamber that could read and respond to users’

spiritual technologies, or ‘bio-hacks’ like binaural beats, sensory

biometric data with auditory and visual stimuli to deepen their

deprivation tanks and even phone applications that can be used

meditation.

to aid one’s spiritual practice, with a view to helping us change

I also worked on a film called “YOU ARE LIGHT”, in collaboration

our perception and our understanding, and reach higher states

with another resident on the Neo-Future program. The film

of consciousness. I am interested in developing technologies

shifts through imagery of life at the micro and macrocosmic

that individuals can use in their meditation practice, and working

scale, loosely narrating a personal and universal discovery of our

with other artists, scientists and designers to explore this area of

connection to all things.

new technology. During the residency I started to develop ideas


IN THE RESIDENCY Neo Future program, April 2016

“Ryokō is a sound and visual experimentation joint project that finds a comfortable place among the raw noise and contemporary electronic music.”

RYOKO (SARAH RASINES & ALBERTO MEHER)

Basque Country & Spain

sarahrasiness@gmail.com // www.sarahrasines.com Alberto Meher utilizes static and moving images removed from

Bizkaia (Etirbil Bizkaia Plastic Arts Itinerant Exhibition) in Sala

conventionalisms. Over time he has researched different media

Rekalde in Bilbao (2013); 2nd Edition of the T-Festa Festival with

through which he has shaped his concepts: from theatre to video

the exhibition entitled “”Cuando de repente la furiosa descripción

creation along with performances, instalations, photography

toma otro rumbo” ( When furious description suddenly changes

projects, etc. He is intent on discovering sensory relations that will

course) at Azkuna Zentroa in Bilbao (2014). She has also done

convey experimentation and social themes thereby achieving the

numerous performances at Sala Magatzems Wall&Video, at the

right mix to unify his ideas and show them in real time as well as

Sporting Club in Russafa (Valencia), at Instituto Francés (The

pre-edited. He has taken part in various audiovisual projects like

French Institute) and at the IVAM in Valencia (2008-2010). Recently

XSANP, Piel (with Luis Tabuenca), Gastromusic, Pure Hemp and

we listened to her at Lata de Zinc in Oviedo (2016), at Màgia Roja

Espiral Tangente. He has performed as a Vj with numerous artists

in Barcelona (2015), at La Escucha Errante Festival in Bilbao

among which Alexander Kowalski, Ben Sims, Ángel Molina, La M.

(2015), at Gijón’s Noche Blanca (Gema Llamazares Art Gallery,

O. D. A. and Grotèsque. He has also performed in plays like Volk.

2014) and before that at Polifonía de los Tiempos at Guadalupe

He has performed at such venues as La Casa Encendida (Madrid),

Fort (2013), at the ZarataFest (2013, 2014, at the XXIV Exposición

Espacio Tangente (Burgos), Antic Teatre (Barcelona) and Burgos

Audiovisual y Sonora at the BBVA Foundation (2013), at the MEM-

Conservatory.

MUSICAEXMACHINA Festival (2012), at the Arteleku AMMMRB_III

Sarah Rasines is a visual and sound artist. She was awarded

Conference (2012) and at Club Le Larraskito in Bilbao.

her Degree in Fine Arts at San Carlos Faculty of Fine Arts at the

Ryoko is a sound and visual experimentation joint project that

Universidad Politécnica of Valencia. She divides her time between

finds a comfortable place among the raw noise and contemporary

artistic creation with her PhD research at the Faculty of Fine

electronic music. It establishes an interplay with the spectator

Arts at the University of the Basque Country. She belongs to the

through simple and direct messages, without overlooking well-

Research Group Ikersoinu (Sound Research and Artistic Space).

grounded research. They started this project together with other

Her work has been exhibited in numerous venues, among which La

musicians at the Dual Club at the Espacio Tangente in Burgos in

Juan Gallery in Madrid (2016), Huarte Center in Pamplona (2015),

2015.

La Cosmos Gallery in Bilbao (2015), Espacio Tangente in Burgos (2008, 2012, 2015); in Muestra Itinerante de Artes Plásticas Ertibil


SYNKKÄ EI RALLILLE Through this project we seek to render the language of the people

We are currently looking into sound’s potential. Sound

from near Haukijärvi an artistic instrument that will promote a

experimentation has been our main concern over the last few

positive relationship.

years. Our own artistic research is closely related to “non-

We invited several people to take part in this project. Our

idiomatic improvisation.”, which liberates the musician from

ignorance of the language renders us a reliable collector of their

abiding by any rule that goes against his or her own logic or

contributions. Their secrets will always be kept secret.

inclinations. We intend to make field recordings in Haukijärvi that

The video contains two different scenes. The first one features a

will later be processed with a view to integrating them with the

youngster who lives with his family and his cars in a house close

videos, the latter being the truly experimental stage of the project.

to Mouhijärvi. The second scene contains images of a Finnish

Last but not least, we undertake to make an installation which

family from Sastamala whose life story is fairly peculiar. The link

will include images and documents that will illustrate the process

between the former and the latter scenes is a motorbike social

of our project complete with videos and soundtracks.

club. We have recorded part of their daily lives in different settings common to all the protagonists, where we have spent time with them.


IN THE RESIDENCY Neo Future program, April 2016

“Reassembling beauty through destruction”

SARA GOODMAN & HOLLY CHERNOBYL

USA

hollychernobyl@gmail.com // hollychernobyl.weebly.com We’re interested in exploring queer narratives through science

& I both studied poetry at the university level, & are attracted to

fiction/Butoh movement & highlighting intersections of queerness,

Ecopoetry: poetry with a strong ecological emphasis or message,

feminism, & the “othering” of bodies. Queerness is a non-binary

often confronting disaster, the difficulty of urban reality, &

identity, underpinned by a foundational antinormativity. Our work

mapping patterns of micro systems (e.g. evolutionary biology)

together investigates the underworld, in-between spaces, &

reflected in macro systems (e.g. innovation systems such as

reassembling beauty through destruction.

Google). All these points excite us! We are incredibly eager to

In our work together, there’s a clear throughline of failure,

begin work on Love Letters to Earth, as the project is a neat

surrender, collapse, celestial bodies, poetry, and resilience. Sara

continuation, synthesis, & evolution of our previous work together.


LOVE LETTERS TO EARTH Holly and Sara worked on a series of experimental shorts about

documentary style interviews of humans living on Mars, and is

the life of a woman on inhabited Mars who is homesick for Earth.

interwoven with field recordings of nature and glitchy interludes.

The story is told through Butoh dance daydreams of earth,


IN THE RESIDENCY Neo Future program, April 2016

“Zen, Speed, Organic: 3 lifestyle diets.”

OMSK SOCIAL CLUB FEAT PUNK IS DADA

UK

rafferty.pv@gmail.com // www.punkisdada.com Omsk Social Club feat.PUNK IS DADA is “futuristically political”,

to break down social, political, cultural and aesthetic dimensions.

[i.e. unrealistic] proposing the contents and makings as a form

She often creates work with a certain cosmic pessimism allowing

of post-political entertainment. The content examines other

problems of the non-human world to be explored through her

virtual egos and experiences allowing the works to become a

works ultimate negation of form as anti form is her ideal structure.

dematerialized hybrid of modern day culture.

Yet she declares herself an untrend; Omsk Social Club feat.PUNK

The Artist has a consumptive response to civil society, often the

IS DADA assumes the visage of poverty in her anti-nostalgic

“readymade” sits in the works a recognizable tool of identity yet

distopia she is industrial by nature and de-gendered by style.

PUNK IS DADA sees this as a compression artifact (or artefact) of

“Zen, Speed, Organic: 3 lifestyle diets.” NO SEX PLEASE WE ARE

Modern-western identity. She exploits the ease of these resources

POSTHUMAN PUNK IS DADA FOREVER


ACIDWASH Acidwash, a leaked NSA codeword explores the youth trend of

leaving us somewhere between the life and the living. These

Sadness online through the lost art of Butoh. Perception, today

images are deeply unpersonal therefore they are personal to all

has become habitual and automatic, it negates the sublime, once

they let the viewer ponder subject, object, sound or animal - Life

promised to us via URL. Mass Data hacks the arts to suspend our

trapped inside motionless matter - they are our future.

own unique seeing technology. Its toys with our image ecology


IN THE RESIDENCY Neo Future program, April 2016

“Let your life be your Art!”

JESÚS JIMÉNEZ

Mexico

gsus08@mac.com // www.jesusjimenez.com Working in photography, video and installation, I have found my

document aims to dislocate our perception the intention is to

inspiration in a personal obsession for the object, the trace, and

appeal to open answers and questions from the audience it

the space. The photographed set of action art ephemeral absurd

appeals to the spectators for the virtue of human action to be

situations for the camera is a description of my particular relation

conscious active participants of our role traces in the constant

with the World, the choreographed artwork for the camera as a

evolution creation of the Universe.


X7R8 CONSTELLATION X7R8 Constellation is a mathematical program drawing that

aims to dislocate our perception the intention is to appeal to

encodes a new constellation. Working in photography, video and

open answers and questions from the audience not only on our

installation, I have found my inspiration in a personal obsession

existance in the Universe, but also on the constant evolution of

for the object, the trace, and the space. The set of action art and

the Universe.

ephemeral absurd situations are a description of my particular

Rolling Paper, hole puncher, grafite. Light box. Size variable.

relation with the World, the choreographed artwork as a document

2016.


IN THE RESIDENCY Neo Future program, March 2016

“Curiosity is the key to creating.”

ÓLÖF BENEDIKTSDÓTTIR

Iceland

olofbenedikts@gmail.com // www.instagram.com/olofbenedikts My creative process is driven by curiosity. When I find a subject I want

around it also plays a big part and is always an underlying theme.

to work with I dig deep into various aspects of the phenomenon,

In my practice I rarely manage to stay true to one medium from

searching for any piece of information or knowledge I can use in my

one work to another, I let the ideas that arise control how they will

process. Soon small sketches and short poems get mixed in with

be materialised. Sometimes the materialisation is in a medium

the research and the border between fact and fiction start blurring.

that I don’t know, so I have to just learn it from scratch. I allow

The common thread in my works is this border of fact and fiction

the ideas to steer me into unexplored territories and they can be

and how our minds mix and match truths and untruths to create our

pretty reckless drivers.

understanding of the world.The self and its interaction with the world


INTERACTIVE WEB ART In Arteles I wanted to explore possibilities of creating interactive

because a large amount of people saw it, shared it with others and

web art. I was not only looking at technically interactive works

talked about it. Since I wanted to explore this particular internet

but also things(not only artwork) that engage popular culture and

behaviour I sort of went straight for the most fool-proof way to go

reach out into the social and physical realm outside of the internet.

viral, which is of course kittens. I got the domain infinitekittens.

My point of reference for this sort of thing would be memes and

website and spent most of my time in the residency working on

viral material. I am fascinated by the moment when a culture

a code and visuals for the website, although I did end up with a

jam, an artwork or a joke becomes a sort of a happening simply

couple of related side projects.


IN THE RESIDENCY Neo Future program, March 2016

EMMA CHARLES

UK

emmavictoriacharles@gmail.com // www.emma-charles.com Emma Charles is a London-based artist. Working with photography

how time, productivity and labour are altered through technology.

and moving image, her practice stems from an inquiry into

Primarily focusing on the abstract elements of industry and

temporality. Drawn to the boundary as a physical and conceptual

corporate environments, Charlesâ&#x20AC;&#x2122; work incorporates aspects of

notion, the photographic medium acts as a tool to address wider

documentary and fiction. More recently, Charles has directed her

social and political systems of time and space, focusing on the

practice towards exploring the materiality of the Internet, seeking

point at which these divisions may rupture or collide. Charles

to uncover the hidden, physical infrastructures that support our

has been particularly concerned with the financial sector and

technologically driven lives.


WHITE MOUNTAIN During the residency I completed a new film work ‘White

fiction films such as‘Silent Running’. Playing on the science

Mountain’. White Mountain is a 16mm docu-fiction film focusing

fiction aesthetic, White Mountain uncovers the varying forms of

on the Pionen data centre. This former Cold War era civil defence

temporality brought about through an exploration of data space

bunker was redesigned by architect Albert France-Lanord in

and geology.

2008 into a data centre, housing servers for clients which once

In addition to the film, I also redesigned my website and completed

included WikiLeaks and PirateBay. Located 30 meters under the

a music video for experimental and minimalist musician Nicola

granite rocks of Vita Bergen Park in Stockholm, the subterranean

Ratti and Where To Now? Records.

data centre has been designed with direct references to science


IN THE RESIDENCY Neo Future program, March 2016

CHYNNA CAMPBELL

Australia

chynna@fatjunkie.com // www.fatjunkie.com Chynna Campbell is an Australian filmmaker, nail art blogger and the boss girl of the online store, fatjunkieshop.com.


HYPERBOREAN Hyperborean is a collection of photos and gifs from remote areas of northern Western Australia and the Arctic where there is little evidence of human life. These places are bleak and beautiful.


IN THE RESIDENCY Neo Future program, March 2016

â&#x20AC;&#x153;CEO, Beta Plus Inc.; COO, City at Newcomb Craterâ&#x20AC;?

SELDEN PATERSON

USA

selden@buttzlol.com // www.buttzlol.com Selden uses contemporary technologies and their limitations to

She runs a number of corporations that allow the multimedia

process ideas about digital systems, constructed reality, new & old

expression of these ideas, including a leading lifestyle

visual languages, and the ways humans organize themselves and

improvement products manufacturer, the first all-amenities-

their environments as they move further into the space-age future.

included colony on the moon, and the #1 waterfall museum.


INTEGRATIVE ONTOLOGICAL PRACTICES BY BETA PLUS SYSTEMS [ SYSTEMS.BETAPLUSINC.COM ] IOP B+ is a self-help & healing system designed to help integrate

taking contemplative time to work through some broader ideas.

the being-ness of the modern cyborg. While at Arteles I had

Occasional discussions on the nature of our impending sci-fi

the time & space to develop the finer details of the philosophy

future with my co-residents helped the system evolve, leaving

& framework behind the system, and produce a series of videos

me with a ready-to-launch cult with an informational website & a

made from a combination of animations created here, audio

range of accompanying AV materials, plus momentum to continue

recorded here, and footage captured previously. The unstructured

expanding and deepening the project.

time allowed me to focus on rigorous technical work while also


IN THE RESIDENCY Neo Future program, March 2016

PAUL HESLIN

Australia

pxxlhxslxn at gmail dot com // www. pxxlhxslxn.com I am predominantly interested in musique concrete and

About me, I grew up in the south of Canberra, which is a pretty

microcomputers. My interest in musique concrete stems from

unremarkable part of the world. I was raised in a large and

a hardline approach to authorship and creation, and a general

extremely conservative family, and have found myself gradually

disinterest in sampling and remix culture. Recent developments

as philosophically far from that upbringing as possible.

in microcomputing, plus opensource audio programming

I discovered sequencers and audio effects as a teenager, which

environments, allow dynamic music systems to operate

gradually became my predominant way of spending my spare time.

on increasingly small and affordable devices, engineering

I have always been destructively interested in new approaches,

possibilities for a (maybe) democratization of electronic music

and creating new tools and environments to work within. I get

production.

bored easily and that seems coincidentally to be where the most satisfying work lives.


VAS-Y The first half of my residency was spent programming a new

microphones in the Arteles sauna and made a ‘studio’ recording

system in Pure Data which allows for sequencing and performing

of the finished piece for release in the near future. Lastly, I began

music from a Raspberry Pi. One of the biggest challenges was

work on some software updates, restructuring the compositional

creating a specific system to turn parts of the patch on or off

process and beginning work on two further pieces of music. My

to prevent glitches during performance. Once a version was

time here has been overwhelmingly positive, and has allowed me

completed, I spent time recording source material in nearby

to develop this work substantially within a short space of time.

forests and working on a new composition, entitled ‘Vas-y’. I set up


IN THE RESIDENCY Neo Future program, March 2016

â&#x20AC;&#x153;Sutu Eats Fliesâ&#x20AC;?

SUTU

Australia

sutu@sutueatsfl ies.com // www.sutueatsflies.com Sutu uses art and technology to tell stories in new ways. He is

an Augmented Reality Comic book and the NEOMAD interactive

an author, illustrator, and interactive designer. He is best known

comic - a space opera set in the Aussie outback. His lastest

for Nawlz, a 24 episode interactive cyberpunk comic book series

project is a sci-fi anthology called Razorlegs!

created for web and iPad. He has also created Modern Polaxis,


RAZORLEGS - TALES FROM THE COSMIC GUTTER I worked on Issue 2 of ‘Razorlegs, Tales from the Cosmic Gutter’

city and must risk her life to get back what was stolen. I also

- a comic book sci-fi anthology. I completed one short story titled

began two other short stories which will also be featured in the

‘2 Extra Lives’, about a girl who is robbed in a futuristic mega

anthology.


IN THE RESIDENCY Silence.Awareness.Existance program, February 2016

“I trace the sounds of my breath.”

ALISE SPINELLA as@alisespinella.com

USA

// www.alisespinella.com

Translation lies at the heart of my practice. I make paintings,

end result is a time-lapse, archeological record of the painting’s

drawings, and performance to record elusive elements (memory,

own making, as well as a snapshot of the landscape (physical

time, sound) as form, and I use poetic systems to translate from

and personal) from which it was created. The objects are at once

one metaphoric language to another.

autobiography, self-portraiture, and landscape painting.

In the ongoing project Meditation Drawings (2014 - 2016), I

With all my work, I investigate conditions in which the ethereal

trace the sounds of my breath along with the sounds from the

and the concrete interact. I aim to slow the viewing experience,

environment. While meditating, I use my body as an instrument

to reward deep looking over time, and to celebrate the side-door,

to record subtle internal and external sounds through gesture,

narrative power of abstract images.

building each of these plein air drawings layer upon layer. The


MEDITATION DRAWINGS During my winter month at the Silence/Awareness/Existence

my heartbeat. The process of drawing-while-meditating evolved

residency, I worked on a series of small drawings as a continuation

and shifted while at Arteles, and Iâ&#x20AC;&#x2122;m deeply grateful for both the

of the Meditation Drawings project. Each paper became an archive

silent landscape and the people I met during this extraordinary

of sounds heard: tree branches dropping snow, fellow residents

experience.

cooking dinner, boots crunching along the path, internal dialogue,


IN THE RESIDENCY Silence.Awareness.Existance program, February 2016

“Time is matter, malleable and resistant.”

COMMISSION GÉDÉON COMMISSION AKA PIERRE N. LEBLANC

Canada

gedcom@gmail.com // www.gedeoncommission.ca Pierre N. LeBlanc studied Visual Arts at the Université de Moncton

of silence is contradictory and therefore essential to the notion

and completed an MFA at Montréal’s Concordia University in 1992.

of sound. Nothing is louder than the sound of silence. We are

Pierre became the/la Commission GEDEON Commission in 01992.

inspired by the writings of Acker, Volodine and Wallace; the

As a “group”,we explore collaborative aspects of imagination

sounds of P. Orridge, Artificial Memory Trace, and the quiet of

at the limits of experience and memory, collaborators are both

the films of Andrei Tarkovsky. Experience and reflection are our

imaginary and real. Since 02010 time-as-matter has become the

mentors. Events are collected, re-contextualized and performed

focus of work that blends transposed experiential data and real-

both publicly and privately.

time evolution of the expressive mo(ve)ment (soundvideo).

The Commission GEDEON Commission is seated in Corner

Our locus of interest is Event Philosophy; we ask the question,

Brook Newfoundland, Canada and has shown work in Canada,

“”How does one transfer the impact of an experience to a

France, Ireland and Tasmania, and distributes work freely

transportable, modular material”? We are interested in the

on-line. Projects have been funded by the Social Sciences and

noise of silence, how to inhabit it as well as transmit it. The idea

Humanities Research Council of Canada, Memorial University of Newfoundland and the government of New Brunswick.


STASIS IN MOTION VERSIONS 1 AND 2 The opportunity to work uninterrupted by daily concerns was

The high degree of randomization and interaction produces a

instrumental in opening the space to explore programming as

self-generating image to be projected while performing sound

an aesthetic concept. Silence, Awareness and Existence (the

environments publicly. Variability and unpredictability will be

theme[s] of the residency) were used as variables and wicked

reflected in the audio experience and create a platform for

mathematics were the tools to place them in direct interaction

evolution and variance inspired by Gilles Deleuze’s “Différence et

to affect the placement, colour (tint) and interaction of images

Répétition” and Henri Bergson’s “L’évolution créatrice”.

created for the purpose. The works hope to reflect on a complex series of relations between the impossibility of silence, the improbability of awareness and the enduring (endearing) nature of existence.


IN THE RESIDENCY Silence.Awareness.Existance program, February 2016

BETSY WEIS

USA

betsy@betsyweis.com // www.betsyweis.com I like to go out in nature (to a secluded place, usually far from my

Working at Arteles in rural Finland the time and (physical) space

city life) where I can walk, observe the landscape, trees, plants,

between the outdoor photography and the inside computer work

the weather, the sky, and take pictures. Returning to my studio

is condensed. Usually, there is a longer in-between time when I

with a cache of digital files, I develop the pictures, recreating the

think about and remember the place I photographed, away from

nature visit as I remember it. My intention is to show the beauty

the nature setting, while anticipating the studio work. At Arteles,

of what is right in front of us and to suggest that more is literally

the creative cycle is circular; I can quickly commute back and

there than we can see, somewhere we can fall in, away from the

forth between real and virtual.

rest of the world. A photograph of a seemingly peaceful view of

The space between what I observe and what I feel, what is

a beautiful place may result, with the history of the land and the

perceived and desired, what is chosen and realized, between the

memory of the day part of the picture.

action and the reaction, this intervening space, can be calmly intellectual or suffused with emotion. This is where I work.


WISH YOU WERE HERE (SILENCE) As soon as I arrived at Arteles, I started photographing the

(computer work). Nostalgia and its counterpart fernweh were the

forest, fields, and frozen lake, in the snow, wind, and cold. In the

inherent characteristics I was feeling, and then found in the print.

studio, in order to create something from the digital files, I began

Discovering my happy success with the laser printer, and

using the laser jet printer I found there to print my pictures,

thrilled to be photographing in the beautiful Finnish landscape,

and discovered that a slight blur of the wet ink resulted, and

I was inspired to continue to spend the month making small

an unrefined texture of the print instantly aged the image and

photographic objects to reflect the space and time passed at

created a distinction between the real (nature) and the virtual

Arteles.


IN THE RESIDENCY Silence.Awareness.Existance program, February 2016

“The thing which stands a far is the most intriguing object to the eye. Intricate and alluring in distance, as one gets closer it seems as it is; an empty field filled with illusion.” DAMLA YILMAZ

Turkey

damlayil@gmail.com // www.cargocollective.com/damlayilmaz Currently based in Istanbul, Damla Yılmaz holds a BA degree in

by various subjects in which she finds promising lands, imaginary

Visual Arts and Communication Design, Sabancı University and

friends and intimate relationships.

completed her MA at Central Saint Martins College of Art&Design,

During her stay in Arteles; her aim is to bring text and photography

London on Photography. She is continuing her Phd onThe Sublime

in one profound project called Spells; which contains photographs

in Contemporary Art at Yıldız Technical University

of enchanted objects accompanied with poems she is been

Her work is based on a quest on that which cannot be seen; but

writing for years. Yet; she is looking forward for an unforeseen

felt and longed for. From metaphysics to psychology; she is stirred

conception.


PRAYER SEQUENCE 1,2,3 (HANDWRITTEN PRAYER ON PAPER WITH FOUND OBJECTS VARIOUS SIZES) 2091 SAMPO (21X21 CM EACH 12 SQUARES, ACRYLIC ON FOREX) Prayer Sequence 3/ Prayer for Hoofs; is a part of of the

thereafter only tiny fragments could be found. As some other

project

body

specific astroids in mythological constellations; Sampo 2091 is

parts (teeth, fur and hoofs) of hunted animals found in the

seen as a symbol for fortune in astrology that can be located in

residency building. These are handwritten mantras for the

individuals’ natal charts. The twelve squares represent the natal

deceased and their organs which were functioning perfectly

charts of the residents in Arteles during the residency period

in nature long ago, though now become ornamental displays.

February 2016; and the placement of Sampo is measured in

Sampo (2091) is an astroid discovered by Y. Väisälä at Turku

degrees according to each resident’s specific birth data. Although

Observatory on April 26 1941 and got its name from the Finish

the circles are not visible on daylight; the little circles appear in

mythology Kalevala. It is a precious stone which got broken

the dark just like the northern lights.

Prayer

Sequence

1,2,3

includes

different

into pieces during the fight between Kalevala and Pohjola; and


IN THE RESIDENCY Silence.Awareness.Existance program, February 2016

GENEVA SKEEN

USA

geneva.skeen@gmail.com

// www.soundcloud.com/geneeeeves

Geneva Skeen is an interdisciplinary sound and visual artist

of the Armory building in Long Beach, California, amongst others.

based in Los Angeles. Her solo and collaborative works have been

She graduated from Occidental College with a degree in Critical

performed or presented at the Los Angeles County Museum of

Theory & Social Justice and a minor in performance studies. She

Art, Human Resources (L.A.), Les Figues Press, on the rooftop of

is an active member of VOLUME, a curatorial collective focused

The Standard Hotel in downtown Los Angeles, and on the faรงade

on sound-based practices.


A FINE DUST | DEAFNESS (BLOW OVER) | WEIGHT OF WATER | A POWER LINE, AN ECHO Deeply inspired by the richness of the landscape in true winter,

and subtle changes in repeated actions, including:

much of my work at Arteles became about gathering material

a fine dust: piano, voice, text

and beginning to process it, technically and conceptually. These

deafness (blow over): video

processes aligned with the research I was also conducting

weight of water: piano, organ, cassette tape, field recording, voice

on repetition as a means of transformation, using alchemical

a power line, an echo: photo series, accompanied by processed

symbolism as a guide for shaping the work. I left the residency

field recordings

with a slew of works in progress exploring the absence of light


IN THE RESIDENCY Silence.Awareness.Existance program, February 2016

LINA BERGLUND

Sweden

linab80@yahoo.se // www.linaberglund.com My work emerges from intuitive experience and an urge to make

blend. A scene where the division of subject and object, observer

visible that which cannot be seen. This visibility may be silent

and observed, can dissolve.

and invisible to the eye, but seen or heard more like a feeling or

I like to work with site-specific projects where I can collaborate

thought - an intuition that is recognized in the mind.

and tune in to the particular conditions of a place, and coordinate

Painting is for me an ongoing process of transmitting energies,

my series of paintings with an awareness of the viewers presence,

transforming substances, observing mental unfoldings, and

gaze and movements in the space.

understanding the relationship between internal experience and

Besides my work with painting I am running a small Artist-In-

external gesture. Painting has the properties to speak about the

Residence program in my house in Sweden:

layers, skins, surfaces and textures of physical and mental life.

www.rudair.tumblr.com

To me it is a contact-surface where inner and outer worlds can


UNFOLDING CONSCIOUSNESS THROUGH PAINTING I have been working with seven oil paintings on plexi glass.

observing what was unfolding. In a reciprocal action between

I approached the work with certain notions in mind, having

doing and thinking, I asked my mind what am I actually doing

to do with mutual perception, sensing and being sensed,

while I am painting? What does it really mean to apply paint

transmission of energy, collaboration and empathy. I worked

on a surface like this? What is the painting doing to me?

by shifting my awareness between different states of mind:

I use painting as a way of exploring and gaining knowledge about

Painting spontaneously, relaxed and playful, as in a mindful

life, and the tools that I have to do so; the senses, the feelings,

meditation on the painting strokes themselves. I let my

the intuition, the awareness, the thoughts, the paint, the painting

thoughts dissolve in the colors, textures and sensations that

surface, the brushes, the words. The paintings themselves are

appeared, while simultaneously stepping outside the flow and

like traces of this ongoing journey.


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

“Expand and connect”

BEATA KOZLOWSKA b.z.kozlowska@gmail.com

Poland

// www.beatakozlowska.com

Short after studying Literature and Linguistics at the University of

such as drawing as a way of self observation and self definition.

Warsaw, I moved to London to study at the Camberwell College of

I also explore other disciplines to extend my drawing meditative

Arts, and completed Drawing with a Bachelor Degree (BA ) (Hons)

practice into other time-based and three-dimensional spaces,

in 2008. Later I continued my studies with a Master Degree in Fine

experimenting with performance and installation.

Arts ( MFA) at Chelsea College of Art and Design in London (2010).

Opposite to the pop culture focused on searching the self in the

Since then I have been fully involved in my practice that spreads

external imaginary, my works look deep inside and build complex

through many disciplines like drawing, painting, performance,

syntax and structures from within, authentic “quasi” maps or

installation and sculpture.

geographical representations of the mind. Therefore there is

My latest works live between the realms of drawing and painting

a possibility for unlimited re-creation, re-construction of the

and are defined by the spontaneous force of gestural expressionism

abstract, non-objectified dimension. In other words my drawings

and the improvisational drive that, playfully, weaves a complex

and installations project the subjective inner reality, and build a

and structured “drawscape”. I tend to use most direct medium

way to Transcendence and Transition.


THEATRE OF LIGHT AND LINES Art residency at Arteles this January was a good experience,

mainly inspired by my fixation on the concept of line. I then

not only to withdraw my mind into further investigation of

used video to record a three-dimensional journey across

line and drawing medium in general, but also to express the

these installations, with a playful approach that allowed

improvisational essence of my work into new installations and

me to make new abstract compositions with every different

videos.

camera angle.

During the residency I made a series of works on paper,

mixed media in order to recreate the unique

using acrylic and gel pen. It was a response to the meditative

the silent narration of the “unknown” and the “unspeakable”.

experience of being surrounded by the beauty of an untouched

I was fascinated by the frozen, silent landscape, brightly lid by

frozen atmosphere and also a reaction to Sibelius music, heard

the winter Sun and bluish shadows thrown on the snowy fields,

from time to time in my studio.

and these magical light effects became one of the most exciting

The occasional silence during the residency prompted me to

elements reintroduced in my new drawings, installations and

create site specific installations with shadows and projections,

videos.

I used red and black wool strings- and also atmosphere,


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

“Vibrating with the coloured music of life”

DAVID MORATON

Spain

davidmoraton@gmail.com // www.davidmoraton.com I am currently focused on three-dimensional fully computer made

I started studying Computer Science but after three years I left

animations that are a faithful reflect of Contemporary Classical

it to study Art and became Graduate in Fine Arts in Valencia and

Music, specially the one from Finish composer Einojuhani

also in Hannover. These two educational systems, Spanish - more

Rautavaara. I have a perceptual condition called synaesthesia,

traditional- and German -more “free style”-, gave me a rich

this means that when I hear sounds I get to see involuntarily

artistic basis to grow. After my studies, I blended all my knowledge

colours in my mind. So in my practice I project this very personal

in art and technology, transitioning gradually from oil painting to

chromatic experience of music and sound, always under the

video art. Studying all kinds of computer and digital techniques I

frame of my philosophical vision of Nature, that roots into the

eventually became a professional in the film industry. I currently

concepts of mystic and the sublime.

work as a Senior FX Technical Director, developing computer visual effects based on Nature phenomena for blockbuster movies such as “Jupiter Ascending” or “Interstellar”.


SYNAESTHESIA AND NORTHERN LIGHTS During my residency in Arteles I really felt the connection with

I couldn’t have expected when I came to Arteles that I would

my best self, helped by the opportunity of a month of free time,

find the real atmosphere of this music in front of my eyes.

surrounded by a very mystical winter environment that truly

Under -30 degrees, I took many photographies of the frozen lake

resonated with my artistic core.

and I developed software tools to map those images into a 3D

Mainly I worked in the second part of my synaesthetic video

environment. This way, I could move freely my virtual camera. I

animation “Visus Sonitus”, based on the second movement of

worked as well on the look of the sounds of the orchestra strings,

Concerto for Birds and Orchestra, composed by the internationally

inspired by the shape of Northern Lights.

acclaimed Finish composer Einojuhani Rautavaara. When I asked

Also I started working on the third movement of this Concerto,

him two years ago what inspired him to compose this movement,

called “Migration of Swans”, by studying birds flocking algorithms.

called “Melancholia” , he told me that the essence of anything he

In the meantime, I had the chance to start a book about the concept

ever composed was “the atmosphere”.

of time. As time there seemed to be slower, like a prolonged celo note with the colour of the twilight.


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

â&#x20AC;&#x153;Apes are still apes, though you clothe them in velvet.â&#x20AC;?

ALEXANDRA NEUMAN

USA

alexandrabneuman@gmail.com // www.alexandraneuman.com Have we permanently disconnected from our intuitive relation to

biological future. I employ and conflate symbolic extremes of the

the infinite? or are we about to achieve unlimited virtual access to

virtual and material in order to encourage a critical examination

outer and inner space?

of our current confused status between ape and avatar, and to

Through performance and installation I aim to pinpoint where

bring forth the vulnerable materiality of our bodies and emotions

contemporary humans stand on the evolutionary timeline, taking

as mediators of this transformation process.

seriously the idea of some form of an earth-conscious post-


OOTHECA: FEMALE BODIES, BUGS, AND FUTURE Ootheca (pronounced owa-thee-kuh) is a firm-walled egg case

wisdom and power, and from which we all came. In my tiny stories

or capsule made by any member of a variety of insect species,

I attempt to visually engender this power, weaving technological

commonly associated with the mass larvae of cockroaches and

alien insects with hyper sensory female subjects, using bodies

praying mantids. I chose this word as the title for my compilation

of water as earth wombs and sink drains as space portals.

of micro-fictions because to me it sounds like the name of an

Atexcac

alien queen, and a female energy is already intrinsic to the word

Just outside Guadalupe-Victoria, there are three volcanic lakes,

through the egg making.

their toxic bodies guarded by cacti and black widow spiders. Each

In Tantric philosophy the egg or Yoni is the inner sanctum, the

sits still and blue-green, basking and bubbling in sunlight, and a

sacred temple that is the womb, a point from which to draw cosmic

thing swallowed by one is said to get spit out by another.


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

RICHIE DEMARIA

USA

demariarichard@gmail.com // richiedemariajr.wordpress.com Richie DeMaria is from Santa Barbara, California. He is a writer

family and friends. He is very grateful to participate in the Arteles

for the Santa Barbara Independent. In his spare time he loves

residency.

to go outdoors, play music, take pictures, and spend time with


”DAWNS & DUSKS” AND ”VAST” I worked on two albums of ambient music, called “Dawns and Dusks” and “Vast.” I also took pictures.


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

SUMMER MCCORKLE

USA

summermccorkle@gmail.com

// www.summermccorkle.com

My interests are in using photography, moving image and

about the desire to believe in something and how this desire

sculpture to channel the invisible and play with perception.

manifests itself. I strive to create work that makes the viewer

Using visual traditions such as portraiture, documentation or

question what they are looking at and transforms passive looking

landscape, I explore issues of time, memory, disappointment,

into active looking.

meditation, wanderings and uneasiness. Many of my pieces are


DES ABENDS During my stay, I explored and documented in video and

on memory, memory loss, grief, acceptance and the surreal

photography the landscape surrounding Arteles and the nearby

experience of being in a place like Finland in January, with its

country roads and woods. The final video piece will merge moving

beautiful icy and cold short days. Piano music from Schumannâ&#x20AC;&#x2122;s

images from these excursions with a voice over narration that

Fantasiestucke Op 12 will be played throughout to reflect the

weaves together text taken from Frankenstein about gaining

struggle in the mind between learning and forgetting.

knowledge and text written during my time there that touches


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

â&#x20AC;&#x153;In search of the unseenâ&#x20AC;?

ALEX CROW

USA

crowsta930@gmail.com // www.alexcrowflies.com My body is my temple, and an amazing vehicle with which to roam

energetic body is an internal/external landscape of information

around this beautiful, crazy, bizarre, ridiculous, inspiring world.

just waiting to be discovered. As an active dance artist and yoga

Inside the history that I have with my body, I can feel that the more

teacher in the San Francisco Bay Area, It is my wish to continue

I have access to my own form, the more that I feel connected to

to dance through my life, unveiling her mysteries through the

all other forms. What are these invisible ties that we have to each

landscape of bodies, and along the way work to encourage other

other and the Earth? Of what is the body made? The ways in which

human spirits to come into contact with their own unique form of

we can connect are endless; the methods many. And for me, the

expression, truth, and sense of inter-connectivity.


FROM HEART TO HANDS Over the span of time spent in and around Arteles, I made a

mask the “personality” of my face in order to draw the audience’s

habit of softening into presence.

By offering my self space

eye to the hands (extensions of the heart), and hopefully offer a

to “do” nothing, I was brought into an authentic creative heart

focused space where communication between performer and

space from which these “hand dances” were brought forth. What

audience could happen organically. Outside of this particular

began as play, transformed into an experiment with non-verbal

project, I found myself offering heart communications through my

communication that stemmed from the heart. I asked myself,

hands in the form of Reiki and Tarot, which only added to my own

what can be understood through movement alone? I chose to

personal understanding of what it means to speak from the heart.


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

ANNIKA HARDING

Australia

annikaharding@hotmail.com // www.annikaharding.com Annika Harding is an emerging artist and curator from Canberra,

with photographs and video taken in the landscape, Annika uses

Australia. Annikaâ&#x20AC;&#x2122;s art practice investigates peopleâ&#x20AC;&#x2122;s interactions

the practice of painting to extend her own engagement with a

with environments, drawing on the tradition of landscape painting

particular moment and environment, and create a new experience

and exploring the sublime within a contemporary context. Starting

of landscape that is grounded in the materiality of painting.


STOPPED IN THEIR TRACKS In addition to a collaborative video project with Robert Fuller,

their tracks at these sites. Our interactions with these sites were a

while at Arteles I became fascinated by the nearby land art sites

lot of fun, but when people found stillness in them I knew that they

Tree Mountain by Agnes Denes and Yltä ja Alta (Up and Under)

were having a sublime experience- I could feel it too, in stillness

by Nancy Holt. Interacting with these environments, which were

myself and observing both them and the landscape. The freedom

created by artists, and observing other artists interacting with

to experiment and create at Arteles has opened up questions for

these landscapes, was really inspiring and is something I will

me to address in my art practice around the relationships between

continue to explore in 2016. While at Arteles, I made watercolour/

stillness and movement, figuration and performance, silence and

gouache paintings featuring fellow Arteles residents stopped in

sound, and artists and their interactions with landscapes.


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

ROBERT FULLER

Australia

robertbrucefuller@gmail.com // soundcloud.com/robert-fuller-21 Writing after the text is deleted tends to be shorter and more concise.


I DID EVERYTHING, I DID NOTHING I came with no expectations.

I made vibrations in the air and shook some electrons in a

Arteles was space and time. To develop skills and ignore

computer, now that organisation of bits can be interpreted by the

strengths. Taking on objects and inspiration from nature and the

hearing organs of animals around the world.

recycle centre.


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

ANNIKA HARDING + ROBERT FULLER

Australia

annikaharding@hotmail.com // www.annikaharding.com + robertbrucefuller@gmail.com // soundcloud.com/robert-fuller-21 Annika Harding and Robert Fuller applied for an Arteles

and the sublime within a contemporary context, and Robert is a

residency to make collaborative video work. Annika is an artist

professional science communicator who experiments with sound

whose practice concerns the traditions of landscape painting

and makes music in his spare time.


DISRUPTING SYMMETRY: 30-SECOND RUCKENFIGUR VIDEO PROJECT Together we planned to create a series of videos with sound,

is still being resolved. The limited light, extreme cold, snow and

testing Michael Friedâ&#x20AC;&#x2122;s theory on the sublime in Caspar David

landscape around Arteles made for an unusual experience of the

Friedrichâ&#x20AC;&#x2122;s work as contingent on a subtle disruption of symmetry,

beauty and terror of the sublime. The snowy landscape challenged

particularly noticeable in his figurative compositions. Each video

our notions of stillness and silence; literal white noise, breath

features one of us as a ruckenfigur in a landscape, in stillness

seen and heard, sounds heard from far away on the lake and the

but then disrupting the symmetry of the moving image through

road, and the persistent sounds of life, even below -20 degrees,

a particular movement, and returning to stillness. This project

all feature in these videos.


IN THE RESIDENCY Silence.Awareness.Existance program, January 2016

SAM BACHY

Ireland

sambachy@live.ie // www.cargocollective.com/sambachy My work has generally resided within an ongoing exploration

places particular to us and act as narrative devices that recall

of the connection of memory and place, and the creation of

past place and events. This is also true of more subtle elements

immersive environments. Often regarding a specific site or

of places such as the shape of a room, the materials and colours

structure, my work aims to create a suggestive space that can

that make up a space, textures, lighting, sounds, etc. In my work

engage the viewer and allow for the evocation of memory of place

I aim to explore, through various media, how these elements can

which is individually personal and familiar. Certain objects or

suggest a space to the viewer and how they can act as points of

actions that are common place in our lives become signifiers for

reference for the viewer to situate themselves.


KOTA During my stay at Arteles, I wanted to explore and contrast the

arrangement within the structure and our familiarity with them.

physical need for safety provided by shelter with our mental need

The lack of use of both the structure and the objects within it

to situate ourselves in places of familiarity through routine and

meant that the installation became an illusion, a set, that only

activity. I began this project by documenting man-made structures

alluded to safety, familiarity and domestic space.

in the surrounding area, while simultaneously researching

The sense of isolation in the surrounding area also became

traditional Sami shelters. I wanted to try and find where basic

important to the work as isolation is often something we crave

shelter as protection from the elements and the domestic, and

in our search for personal refuge. With this in mind the structure

its associated everyday rituals, could connect. This resulted in

was made to fit a single person, creating a personal space.

a structure that only suggested a shelter through itâ&#x20AC;&#x2122;s form, and objects that only suggested domestic life through their symbolic


IN THE RESIDENCY Silence.Awareness.Existance program, December 2015

â&#x20AC;&#x153;Keep it simpleâ&#x20AC;?

CARLOS OROZCO

Colombia

info@carlos-orozco.net // www.carlos-orozco.net The media of photography is the main resource of my creative

My aim goes beyond geographical location and suggests

work. My starting point is the concept of landscape, I understand

symbolism and the recognition of shapes and forms (mountains,

landscape not only as natural environment and its representation,

sea, stones, etc.) that are collective.

but as a collective imaginary. Therefore, landscape could be

Finally, my creative practice meets analog photography, digital

subject to the codes of those who have configured it, among

manipulation, video, installation and collage.

others: a physical experience, images that engage memories, ideas and emotions.


THE SURFACE OF THINGS â&#x20AC;?THE SURFACE OF THINGS IT IS DEEP BEYOND MEASURE THE PROFOUND IT IS THE UNKNOWN WHAT WE KNOW LIMIT USâ&#x20AC;? During my stay in Arteles I was drawn to the darkness. I came

Understanding darkness in any level, physical and spiritual,

across with the thought of darkness as an immeasurable way

as a powerful gift that has been given to us to makes us

to discover silence in images among some other questions that

wonder about what is beyond we can see, makes us doubt our

arise at the time.

perception, thoughts and ideas of the world and this lead us to

I began to leave behind old ideas like fear and insecure about

new discovers and a more profound understanding of ourselves.

darkness to walk into the idea that darkness it is pure light so dense that it is imposible to see unless it hit any surface, still this for me was a limited way of thinking.


IN THE RESIDENCY Silence.Awareness.Existance program, December 2015

MARY INCE

USA

maryince00@gmail.com // www.maryince.com Recently, I had a residency in the supposed perfect place to

Silence is always elusive and undefined. There appears to be

explore what I thought silence looked like: the sand dunes of

no boundaries; even in so called political and social repressive

Provincetown, Massachusetts, USA. I had to redefine silence at

silence. Only imagined boundaries. Silence is a state of non-

some point.

being. A state of omission, absence of input, non-communication.

I had expected to find the absence of sound. It was very noisy out

However,

there. Isolated, but noisy. Good noises. After much wandering

communicative. This is based on a sound/silence communication.

among the dunes and along the seashore, I discovered that the

The island or the border. To speak out or remain silent. There is

silence I was seeking had nothing to do with the absence of sound.

also metaphorical silence: the place between back and forth; up

I started to wonder where silence came from. Was silence the

and down. The whole idea of silence touches all life. When viewers

island inside of sound; or, was sound the island? Was silence the

participate in my drawings, photographs, and videos, I would like

spaces between the notes of music ; the spaces between letters

them to go away wondering how silence fits into their lifes; affects

that made literature and speech? Or, was it the crest of a wave;

their interactions with others; where they might discover it.

the retreating blades of grass?

sometimes

this

non-communication

becomes


DECONSTRUCTION OF THE SILENT ORDERLINESS OF THE FINNISH LANDSCAPE I came to Arteles to investigate the silence of snow fields. The

the orderly plowed fields. The birch groves. And, the very polite,

time period I was in attendance had virtually no snow. I was forced

gentle Finns themselves. I was deconstructing this orderliness.

to reimagine my project. After wandering the surrounding fields,

My time at Arteles, and the form of Silence I found there, will

the lake side, and country roads, I soon came to realize that what

add another dimension to the larger â&#x20AC;&#x153;what does Silence look

I was drawing in my sketchbooks each day was a sort of hash

likeâ&#x20AC;? project that I have been working through at several other

mark representation of what I perceived as a very orderly Finnish

residencies.

landscape. The neatly arranged outcropping of rock formations in


IN THE RESIDENCY Silence.Awareness.Existance program, December 2016

â&#x20AC;&#x153;Nothing stays the same; everything changes, and evolves under given conditions.â&#x20AC;?

JOHEE KIM

USA

joheekim@gmail.com

// www.joheekim.com

Everything is connected and interacts with its surroundings. This

The human mind and emotions follow the same laws of the

is necessary. All being becomes, influences and is influenced.

universe. I observe relationships between different states of being,

Everything is transitory and temporary, interconnected with all

and experiment with the shifting perspectives and hidden layers

others.

of meaning found there. I seek to understand the processes, and with such understanding I am inspired to reinterpret them in my visual language. I often get inspirations in nature, philosophy, literature and science theories.


WINTER SOLSTICE “I open my eyes and seek to see. There is only void out there,

study the lines. I see it. I see it but I don’t know the meaning of it.

nothing to be seen. But there must be something. In anxiety I

It’s the winter solstice. Time shifts.

continue trying. Time and space floats around me, dreams and

I merely gaze now. I no longer want to seek. I am without effort,

reality dance together. I must see.

without care. I feel calm. Slowly, light fills in my space. I see

Frozen darkness embraces me and becomes a shield. I brave

it. Full of colors. Full of warmth. I see every shape and every

myself and abandon hope. Soon, I can see there is something.

line. It is there. It has always been there. I just didn’t see it.

Faint shapes appear before my eyes. I trace the silhouettes and

*** a triptych with mix of photography and a video projection.


IN THE RESIDENCY Silence.Awareness.Existance program, December 2016

IDA MARIE SETTERGREN

Denmank

idasettergren@gmail.com // www.idasettergren.com MFA From The Royal Danish Academy of Fine Arts, 2013.

With different materials such as diluted acrylics, water, ink and

I have a raw approach to my materials. The process is playful,

spray paint I consciously control the workflow in an organic

simple and experimental with few, but strong and powerful effects

process where chemistry and natural elements balances between

and the decisions leading to my final methods are uncomplicated,

my will and their own.

but efficient.


FROZEN PALMS When I was at Arteles Creative Center I worked outside in the frost.

organic, technical or picturesque and I often let the proceedings

It really just started with me hearing about watercolors influence

of coincidences play an equal role in the making of my works.

during frozen weather. It all started with experiments and

I therefore constantly am working with new methods to expand my

developing simple effects. Not before long, I had learned to control

knowledge with the mediums I work with. I always try to maintain

the discoveries to my benefit. The process let me to mix the new

an examining approach to the materials, for instance combining

ideas coming from the frost with my former mode of expression.

tools, learning new crafts or simply letting natureâ&#x20AC;&#x2122;s own elements

Iâ&#x20AC;&#x2122;m deeply fascinated with the work of processes, whether itâ&#x20AC;&#x2122;s natural,

take part in the process.


IN THE RESIDENCY Silence.Awareness.Existance program, December 2016

MARTIN KURT HAGLUND

Denmank

martinkurthaglund@gmail.som // www.martinkurt.dk I graduated with a BA in photojournalism in 2010 and has

me to go to countries like China, Ukraine, the Philippines.

since then worked as a freelance photographer for various

During the past year my focus has turned towards an attempt at a

clients, mainly in the fields of reportage and portraits. I

more conceptual and personal form of photography, using dogmas

have a deep interest in the way we humans interact with

or avoiding rules of technical regulations and incorporating

each other and our surroundings, how we live our lives and

experiences Iâ&#x20AC;&#x2122;ve had and skills Iâ&#x20AC;&#x2122;ve acquired during the years.

survive in different conditions, and this interest has allowed


ANALOGUE NATURE STILLS, CAFFENOL PROCESSING AND PERCEPTION RE-NEWED. I’m from a world of photography, that mostly want focused, pretty

it, expose, decide on flash or not, move the camera slightly on

images. There’s no room for film winding errors, accidental

a slow shutter exposure and so on. The loss of control comes

double exposures and weird scanner decisions. I was trying to

from me being forgetful, the state of my equipment, processing

loose a bit of control when I was out in the woods, shooting more

the film, scanning the images - embracing the errors instead of

from the hip which was hard for me to do and I don’t think I really

discarding them - and the subsequent reflection on what makes

believe in it. It’s much more interesting to consider it a controlled

the image ‘great’, eventually going for the ‘ugly ducklings’ instead

loss of control, since I still consciously choose my subject, frame

of the more ‘perfect swans’.


IN THE RESIDENCY Silence.Awareness.Existance program, December 2016

LORETTA MAE HIRSCH loretta@lorettamae.com

USA

// www.lorettamae.com

My mission in life and art is to embrace adventure, be passionate, create from the heart and do it all with grace and style.


THE SHADOW SELF The Finnish winter being famous for its darkness, S.A.E offers

by the snow white landscape and in an environment where

an extreme retreat into existence through art, silence and nature.

when the sun is out, the shadows are long and prominent,

The program brings together creative minds that are interested

and to make art alongside other creative people working

and working around the theme on various fields.

with the similar theme of silence, awareness, existence.

I went to Arteles for inspiration, and to work on a series of

The self discoveries, experiences and friendships I made during

paintings and drawings expressing the shadow self. Purposefully

my time at Arteles continue to inspire me.

being in Finland during the darkest time of the year surrounded


IN THE RESIDENCY Silence.Awareness.Existance program, December 2015

ROBERT FALCONE

USA

refalconemd@gmail.com // www.robertfalcone.com Robert Falcone has been making music and visual art since the

has been producing music and visual art continuously since with

mid 1960â&#x20AC;&#x2122;s. He drew cartoons for the Cleveland State newspaper,

over a dozen solo exhibitions and two dozen group shows.. He is

the Cauldron from 1969 - 1970, and worked in the production and

currently completing an MFA at the Columbus College of Art and

design space at Kent State University 1970 - 1971. Robert took an

Design in Sound Installation. The Lindsay Gallery represents him

art break to pursue his medical career from 1973 - 1987. Falcone

in Columbus Ohio.


SILENT MEDITATIONS ONE THROUGH TEN Site specific installation (and performance) on the theme of silence. The videos (10) can be viewed on Vimeo @ https://vimeo.com/user32649071/videos


IN THE RESIDENCY ENTER TEXT - Theme residency program, November 2015

SCOTT NORTHRUP

USA

scottcnorthrup@gmail.com // www. scottnorthrup.com I am most interested in big abstract questions of romance, loss,

inclusion of religious and popular iconography in my work takes

and longing, especially the feelings that we secretly harbor

into account these parallel forms of worship while aiming at a

for one another. My work explores this through personal and

larger sense of function and design in our daily lives. Through

collective memories, actual and constructed experiences, and

the construction of self-portraits, personal landmarks, and mash

the tangling and untangling of the very loose threads that connect

notes to the American Dream, I am self-mythologizing, exploring

us â&#x20AC;&#x201D; the real and the unreal. I often employ found objects and

objects and actions that might seem remarkably unremarkable

appropriated imagery and text, which are preloaded with history

on their own. I see this as a form of transubstantiation, in that

and meaning, as a form of cultural shorthand toward my personal

through my intervention with these common objects, I might

visual vocabulary. This is both an attempt to communicate with

bring something to light that was secreted there all along.

others and to fill in the blanks of memory and persona. The


ALONE. // I THINK WE’RE ALONE NOW // POP TART LOVE AFFAIR // HÄMEENKYRÖ, MON AMOUR I arrived without supplies or plans and within days began

videos POP TART LOVE AFFAIR, a short loop based on an old text

impulsively making work. By the end of my residency, I had

message, and Hämeenkyrö, Mon Amour, a confused but romantic

assembled the zines Alone., a collection of cut-up poems I made

textual film of new and appropriated subtitles that is intended to

from a vintage American war novel found at a recycling center

be projected onto the landscape at sunset. I also left with several

in Tampere, and I THINK WE’RE ALONE NOW, comprised of six

projects in various stages of completion — photographs, collages,

autobiographical stories that I wrote at Arteles, as well as the

a screenplay — which I will continue in Detroit.


IN THE RESIDENCY ENTER TEXT - Theme residency program, November 2015

“I often look, from the outside, as if I am standing absolutely still.“

JULIA MARTIN

Canada

goodbye.julia@gmail.com // www.theabsentgoodbye.com I make work about serious things as unseriously as I can.

My practice is quiet.

I take pictures, I write words. Sometimes I combine the two.

I don’t require a studio, just a room, any room,

I’m an interdisciplinary artist, I embrace the slippages between

I am rarely marked by the materials I use.

mediums and processes in my practice, while acknowledging that

Except for the time I smashed 15 bowls with a hammer.

I am uncomfortable with the mastery of anything. In not knowing,

In my bare feet.

there is surprise.

That day there were so many surprises. Otherwise, I often look, from the outside, as if I am standing absolutely still.


CUT ME DOWN / SPLIT ME OPEN / BURN ME UP I FIND MYSELF

I spent much of my time at the Arteles residency wondering if

AT AN IMPASSE

Finland was haunted. I left understanding that it’s me who’s

I FIND MYSELF

haunted. I might have known this already and should try not to

LOOKING UP

project onto an entire country.

“IMPASSE” TO SEE IF I USED IT CORRECTLY I HAVE


IN THE RESIDENCY ENTER TEXT - Theme residency program, November 2015

“I create generative methods for building multichannel video and sound environments that flow from the web to the room.”

KATHY MCTAVISH

USA

kathy@mctavish.io // www.cellodreams.com I am a cellist, composer and digital media artist. I create cross-

torrents, encodedness, electrical transmissions, stuttering before

sensory, immersive landscapes. My work blends data, text, code,

god / stuttering before nothingness / holy glitches. I am interested

sound and abstract, layered moving images. My recent work has

in the physical dimension of “reading” in immersive spaces - the

focused on creating generative methods for building multichannel

revelation of meaning / search for foothold / articulated map.

video and sound environments that flow from the web to the room.

I have a background in cello performance, mathematics, ecology,

Much of my work integrates online, collaborative story-making

music theory and software development. The confluence of these

and resource galleries with interactive media installation. I work

disciplines informs my work as a composer and multimedia

in traditional gallery spaces but also in spaces with historic

artist. As both a musician and a mathematician, I am fascinated

significance or with resonant qualities that become a part of the

by multi-threaded, dynamical systems and chance-infused,

work itself.

emergent patterns. As a queer artist I am interested in the ways

My recent work has focused on mapping web standards, patterns

we construct personal stories / myths and the infinite, bendable

and metaphors to expressive creative outcomes. I am drawn to

between.

generative forms for what they can express: relentlessness,


::: B R 1 N K ::: A GENERATIVE, TEXT-BASED WORK Arteles provided reflective time for me to research new approaches to coded work. This work in progress can be viewed at : https://vimeo.com/155922645 and https://vimeo.com/155486850


IN THE RESIDENCY ENTER TEXT - Theme residency program, November 2015

“I tell myself to look deeper.”

SHEILA PACKA

USA

sheilapacka@gmail.com // www.sheilapacka.com As a writer, I have a fascination about migration, maybe because

Right now, I’m at work on a project called “2Three Rivers.” This

my grandparents emigrated from Finland to northern Minnesota,

title is from a geographic area in northern Minnesota, a three way

near Lake Superior. Forests and lakes are often my sources.

continental divide, where the rivers flow in opposing directions (to

Lately, I’ve been finding my material underground. I’m interested

Hudson Bay, Lake Superior and the Mississippi River). Aspects

in stories and images that include the covert, hidden, unrevealed,

in the environment or in nature often can be applied to human

layered, spectral or subconscious. I often collaborate with my

experience. I am contemplating the opposing forces in Minnesota,

partner Kathy McTavish (composer and media artist). I like the

and the world, between resource development (mining, fracking,

synergy between music, visual art, language, and performance.

etc) and environmental protection.


A RIVER BETWEEN TWO LANGUAGES As a grandchild of Finnish immigrants, I often found myself

fiction, and both the essay and fiction into poems. This creation,

between two languages in a dizzying, mysterious space that, for

re-creation, de-creation, and trans-creation must be driven by the

me, often had no words. The gaps between landscapes, language,

question of who might I have been if my family hadn’t migrated?

and cultures were great. At the residency, I found myself in a

How can I best preserve the gaps, the fertile “between” spaces?

generative mode. I wrote short stories, poems and an essay. Then

The composition and decomposition continues and this process

as an experiment, I converted the poems to prose, the essay to

will likely become a book and media project.


IN THE RESIDENCY ENTER TEXT - Theme residency program, November 2015

“In the business of wonder production.”

TINA WILLGREN

Sweden

tinawillgren@yahoo.com // www.tinawillgren.com I am a visual artist working primarily with video. I like to distort

altering and animating texts and images I have a sense of mocking

standardized symbols, letters and preset images by manipulating

a system I am governed by, as well as creating a floating world

file data in chance-like ways. The weather symbols, font libraries,

where the meaning of forms continuously shifts to let imagination

stock photos, traffic signs and preset animations of my works are

run it´s course.

shared vocabularies both shaped by and shaping reality. When


HALLUCINATION During my time at Arteles I dived into an old idea that had been

therapeutic experiment, took a hallucinogenic drug that misfired.

lying about on my hard drive.

When the emergency services were called to the hotel where

With a font created from distorted letters as a base I animated

the meeting took place, they found the 29 alternative healers

the word hallucination, to form and dissolve to the sound of an

hallucinating, staggering around, groaning and rolling on the

indeterminate ambience. The word itself interests me since it is

grass. A crew of around 150 people were involved in the rescue

connected to the mysterious capacities of the mind, to art making

of the group, of which none, luckily, was in mortal danger in the

and to the digital world. It gives associations to the dangers of

end. The exact whereabouts of this conference are still shrouded

losing touch with reality, to psychosis or bad trips as well as to

in mystery, but I have enjoyed thinking about it when working

visionary states of mind. It also shows up in many compelling

on the video. My aim has been to create a space for the senses,

contexts. Newspaper articles from last year tells the tragicomic

where sounds, movements and signs interplay, and an oscillation

story of a homeopathy conference south of Hamburg, Germany,

between confusion and clarity takes place.

that ended in chaos. The delegates, probably conducting a


IN THE RESIDENCY ENTER TEXT - Theme residency program, November 2015

“Style is knowing who you are, what you have to say, and going for it.”

GARRY MCDOUGALL

Australia

utravel@optusnet.com.au Concentrated writing of novels, poetry and short story, with the

story and poetry. Two published guidebooks. Initiator of long

aim of bold and imaginative storytelling. Parallel interests and

distance walking trails. Now completing his third novel, ‘Knowing

practice in photography and painting. Numerous exhibitions.

Simone’, and extending poetic material based on Travel in

Artist-in-Residence, uni of Western Sydney. Prize winning short

Portugal, France and Spain.


Behind Finlayson's

Your ghostdyehouseandspinnery’s ropebucketandbarrel left behind clocks laughing at lane sign 'Nothing Here' door to Finlayson’s themed baa rr s aa ndd cC aa

ff es,

Tampere’s T a m m e r k o s k i r a p i d s

T a m m e r k o s k i r a p i d s

T a m m e r k o s k i r a p i d s

T a m m e r k o s k i r a p

T a m m e r ko

T a m m e rapids building immensities.

TAMPERE THEMED POETICA Main activity- editing and completing my third novel, Knowing

Tampere themed poetica based on walking around the city,

Simone,

foreshore and locale on October 29 and 30, 2015. It is one

Tampere poetica a surprise secondary task.

of several works completed during the Arteles residency.

Other tasks- reviewing my travel journals, notes, reflections and poetica of recent walking journeys in France, Spain and Portugal.

‘Behind Finlayson’s’ is one of seven impressionistic pieces written

Development of a major narrative poem, The Bucaneers Return

at the time, responding the geographic and linguistic qualities

Reflection on a possible fourth novel, a late medieval tale of a

of Finland and Tampere, Finland’s third largest city where the

Catholic canon and a mass murderer at the time of the early

Tammerkoski raids join an upper and lower lakes. These rapids

Reformation, Renaissance, ‘discovery of America’ and invention

have provided power for centuries to millers and factories in the

of the printing press.

nineteenth and twentieth centuries. Today, “Finlaysons” factory is home to museums, cafes and restaurants as local and tourist attractions.


IN THE RESIDENCY ENTER TEXT - Theme residency program, October 2015

“From A to Å”

IMI MAUFE

UK

bluedogtours@hotmail.com // www.imimaufe.com Imi Maufe completed a Master degree in Multi-disciplinary

books, prints and interactions Maufe is forever exploring on long

Printmaking at the University of the West of England, Bristol in

and short adventures. Maufe’s use of minimal text, now bilingual,

2004 and moved to Bergen, Norway in 2009, where she works

is integral to her work and she also likes to curate, collaborate

from a studio in the city’s container harbour. Interested in the

and collect.

notion of travel and how one can depict journeys using artist’s


THE UNKNOWN, UNRESEACHED LANDSCAPE OF RURAL FINLAND October 2015 was mostly sunshine. Coming from a place of rain,

playing with images of these buildings, ghost buildings, buildings

the outside beckoned, the bicycle with red rims took me along

that i really knew nothing about. No history, no news about the

kilometres of rough track roads. Alone, with map, working out

inhabitants. No knowledge of the Finnish interior or the Finnish

the lay of the land, I travelled daily for the first 10 days. Thinking,

personalities that lay within.

thinking and looking, taking in my surroundings and taking photos

A-Ă&#x2013; : finnish countryside alphabet is a text piece written during

of the buildings i passed. No contact with the locals apart from

the residency and letterpress printed as a book and boxed edition

stealing photgraphic images of their property, I thought some

(complete with woodcut buildings) at the Letterpress Collective in

more when returning to Arteles, the sauna and my sun drenched

Bristol, UK directly after the residency at Arteles.

room. With no plan or purpose I set about making notes and


IN THE RESIDENCY ENTER TEXT - Theme residency program, October 2015

â&#x20AC;&#x153;Not all those that wander are lost.â&#x20AC;?

GINNA WILKERSON

USA

info@ginnawilkerson.com // ginnawilkerson.weebly.com I conceptualize all of my work, whether text or visual art, by

inanimate objects in an architectural landscape. Part of my

searching for the surreal and unexpected in ordinary places

inspiration is the work of the surrealist writers and artists the

and objects. I want to capture the essence of a view or an object

early 20th century, who portrayed the imagined as if it existed in

while also leaving the image open to interpretation. I very seldom

the shifting world of reality.

photograph people; rather, I like to find odd views or angles of


AND THIS IS HOW IT WAS I have always been curious about the myriad ways in which a

You said:

person’s life experiences and memories mesh with the inner

Let’s go to the city on the train.

self. During my stay at Arteles, I captured images reflecting

I want to see the movie Tommy –

various aspects of my life memories, and then wrote dialogue/

you’re not afraid are you?

poems incorporating those memories into words. During the next few months, this work will be compiled into a book.

Afraid, yes: of the city, the New Yorkers,

The images here are examples of the visual part of this

the subway, and Tina Turner’s Acid Queen.

project. Here is one example of the text I call dialogue poems:

Why had I thought I would like New York?

The Big Apple at Nineteen

I sat through part of the movie in the restroom; all of it was just too much.

They told me to: try to look like you know where you’re going; don’t look around at everything like a tourist. Keep your hand on your purse. My first trip to New York City, invited by a college friend for Spring Break. Her house in the suburbs looked too much like home.

And that is how it was in 1975.


IN THE RESIDENCY ENTER TEXT - Theme residency program, October 2015

“Writing has to do with darkness and a desire… to bring something back out to the light” - Margaret Atwood

MYFANWY S. MCDONALD

Australia

myfanwymcdonald@yahoo.com.au I’m not much of a talker, so I guess I was drawn to writing. People

There is certainly something mystical about writing. The story that

are quiet for different reasons. Some people are quiet because

seems to write itself. The character who refuses to be boxed in, no

they don’t have much to say. Others are quiet because they have

matter how hard you try to control her. But writing is also a craft

a lot to say, but don’t know when or how to say it. I’d put myself in

like any other. You have to strike a balance between the chaos

the latter category. I like writing because it gives you ample time

and giddiness of the creative urge, and the order and discipline

to shape and mould the words before you send them out into the

required to communicate your vision to the reader.

world.

I like stories about outsiders. The type of people that might be

Many respected authors have noted that a writer who thinks

overlooked in a crowd. The people who dwell in corners and tell

they’ve mastered the art usually hasn’t. Perhaps then the

lies. Those who say one thing and mean another. People who

greatest struggle for any fiction writer is not putting pen to paper,

appear to be heroes, but are in fact villains. Everybody’s life has

but continuing to write in spite of the uncertainty and the doubt.

a dark corner. Those are the places where I find my inspiration.


CLEAVE Chopped wood Found peace with an axe. Paid homage to holes Watched a lazy sun. Found a friendly rock Pondered distance Then chopped more wood. Lit the fire Looked closer Laughed harder. Swam in ice Got lost in the dark Drowned in the steam Disappeared in the mist. Rewrote a fairy tale. Chopped some more wood. Then went home.


IN THE RESIDENCY September 2015

“Look for the cracks, enter there and continue”

SAMUEL JAMES

Australia

samueljames0@gmail.com // www.shimmerpixel.blogspot.com.au Samuel James works as a video artist with performance makers,

phenomena and therefore must be complimented by some other

dancers and theatre makers, making either dance films or

kind of expression. In his other work, performance is the articulate

projections for live performance. Working in the live arena aligns

component but by himself he works with video light drawing to

him closely with how phenomena are generated in the moment

articulate video artifacts and environments. He sees drawing as

of live action and time, the confluence of expectation and a

the affect of seeing and re-seeing the phenomenological moment

continuous moment. He is interested in the phenomenology of

and focusses on mark-making as untrained like a child etching

media yet focusses more on its limitation. He thinks of the camera

something into the void without seeing or reading it.

as a kind of reference tool which doesn’t capture all the present


â&#x20AC;?MOMENâ&#x20AC;? - VIDEO LIGHT TRACINGS The self is comprised of many thoughts, each layered over the

As a way of addressing phenomenology I use drawing with light as

other like veils of hidden knowledge. People know their own

a kind of blind, non-pictorial effort of transforming visual sense

thoughts deeply but do not always expose them because they are

back into the other senses. These traces indicate some affect

the serious, dark ghosts in an intricate web of their being.

of seeing and re-seeing but are mainly in themselves another

Participating in conversation, physical activity pushes out those

phenomena delayed in time. This blindness, or drawing in the

things to the surface like saunas push toxins to the surface. This

darkness allows for non-visual phenomenology to influence mark

is the way to see what lies beneath, and to see it often through

making like a child etching something into the void without seeing

daily doings. Seek the ghosts, call up the ghosts through daily

or knowing it.

doings and also at night when they come out, those feelings of

Projecting on multiple surfaces around Arteles takes this

the dark.

transformation of the mark to another associative level, like a person suddenly appearing in a foreign place. They quickly make relationships with it.


IN THE RESIDENCY September 2015

“Hello?”

MARY ELIZABETH YARBROUGH

Canada

maryelizabeth.maryelizabeth@gmail.com // www.cargocollective.com/MEYARBROUGH I have long been oblivious to the lyrics in popular music frequently

While in residence at Arteles, I will be creating original tracks

droning in public spaces. A few years ago, for no particular reason,

and album art for a 12”” vinyl album that explores tropes and

I suddenly keyed into the ubiquitous love song playing over the

clichés in popular love songs, using samples from existing songs

speakers and was struck by the words; I wondered how many

for the compositions and existing album art and music videos as

times and in how many ways had that single phrase been sung

inspiration for the visual art.

before? I began paying close attention to the language of love

I am a multi-disciplinary artist, furniture maker and musician. I

in songs of every ilk, captivated by their eeriness, earnestness,

received an MFA in furniture design from the California College

repetition and violent imagery. This spurred an interest in the

of the Arts in San Francisco, California, where I currently live and

limitations of language for expressing love and desire and how the

work.

bank of clichés constantly filling the background of public space through popular music impacts our capacity for articulation.


NEVER GONNA LET YOU GO Coming to Arteles, I set myself two main objectives: to experiment

The mammoth task of trawling through pop’s vast repository of

with new drawing techniques that were both technically unfamiliar

love songs, riddled with language that has moved to meaningless

and a progression of my practice and to generate an audio library

truism, posed an enormous but exciting challenge. Gradually, I am

that would provide the basis for a full-length album exploring love

developing a taxonomy of musical love, defining songs, bringing

and cliché.

together samples and establishing the album’s underlying

Previously, my visual art practice has focused on a labor-

concept.

intensive technique using cutting and collage and with adhesive

Over the weeks, dedicated time to play, destroy, replicate and

papers to generate drawings that blur the distinctions between

create new work from both the principles of my own drawing

conventional 2D drawing and sculpture. During my residency, I

practice and the seemingly ubiquitous quality of love has helped

experimented with digital drawing. finding new possibilities in the

distill the project’s central question: how do we understand one of

qualities of replication and reproduction in ways that echo textiles

the most primary forms of human connection, sifting through the

(one of the amazing elements of Finnish design) and printmaking.

garbage and the greatness of love?


IN THE RESIDENCY September 2015

ELEANOR JACKSON

Australia

eleanorjjackson@gmail.com // www.eleanorjjackson.com Eleanor Jackson is a Filipino Australian poet, performer, arts producer, cyclist, writer, gal about town, feminist, freewheeler, and friend.


THIS DISTORTED MAP The residency at Arteles gave me an opportunity to reflect upon

I also worked on a series of poems inspired or influenced by

the core questions of my practice as a poet and performer - the

my time at Arteles, its physical surrounds and the people I

relationship between poetic and vernacular forms of language;

encountered while here. Rather than create a physical map that

the interactions between text, performer and audience; and the

is accurate, navigable and representative, the poems are a sloppy,

quality of sense-making and place.

confusing and misrendered guide to a specific time and place. A

All of which are just ways to say that, while at Arteles, I thought

stick gives rise to a joke, then a careless sound which generates a

and wrote about what we say, how we say it, who we say it to

line, the stick is redecorated and repurposed, the line changes, is

and how it will be interpreted, particularly given the context and

erased and what remains is a temporary tattoo that secretly you

environment in which those things were said.

hope won’t wash off.

At Arteles, I worked to revise a play set in Brisbane, Australia, which was a delightful exercise in writing “out of place”, especially for a piece about the quality of nostalgia and the displacement of home. We are always remembering things wrongly.


IN THE RESIDENCY September 2015

“So you say that we shouldn’t be more abstract?”

TINA CAKE LINE

Belgium / Netherlands

katinkadejonge@gmail.com // www.tinacakeline.org Tina Cake Line is a collaboration between Katinka de Jonge and

infiltrate in the world of security-business, using the terminology/

Céline Talens. They work within the field of theatre, scenography

jargon of the field, and in this way trying to explain what potential

and fine arts, creating performances in the (semi) public domain.

threats the world should be saved from. Performances are site

Tina Cake Line is interested in that which we call normal behavior,

specific, and always use the language and style of the site. Within

and that which we call security. Thus they created their own

this field/site TCL plays with conventions, borders of realness and

security company, that is specialized in promoting and explaining

absurdism.

normal behavior. This ‘company’ enables them to research and


THREE TREES ON CLIMATE CHANGE AND OTHER OFFICE-SOLUTIONS As you can see, This is our temporary office. It is green, sustainable

stay at a distance, observing, without having to feel scrutinized.

and epiphytically on this forest. In our company authenticity is very

An then, if they so desire, find ways to get closer, and perhaps

important, we like the purity of the forest. We found a location

even enter and participate. That is why we thought a forest has it

that can be seen from different distances and vantage points. Our

all. Please feel welcome to visit us.

company believes it is important that people should be able to


IN THE RESIDENCY September 2015

CATHÉRINE CLAEYÉ

Belgium

catherine.claeye@gmail.com // www.catherine-claeye.be The imaginary language of Cathérine Claeyé’s work is based

as a phenomenon. That it is there with an obvious presence,

on nature. Seeing nature as an infinite principle, she uses it not

makes it special. According to her, nature is complete, whatever

because of the naturalness but because she experiences nature

its manifestation or developmental stage may be.


ZONE (09’15), 13 X 18 CM, OIL ON CANVAS Firs, birches and pines

There is always space between

repeat themselves

them, us and everything.

like a refrain I can’t explain not willing

and won’t complain

to confine I’ll walk until I see: me in what I see because they aren’t all the same as they reveal unforeseen relationships.

in joy is everything.


IN THE RESIDENCY September 2015

KAREN PERRY RIOJA

Mexico

â&#x20AC;&#x153;I have explored different construction possibilities in two and three dimensions with puzzle pieces. Nowadays I preserve the original colors so that I can play and explore into de creation of sculptures and installations.â&#x20AC;?

karenperryrioja@gmail.com // www.karen-perry.blogspot.mx Puzzle pieces are fragments of information. Although they are

mind (units that brought together can cause a shape to exist) I

meaningless by themselves, they generate an image or a shape

use the idea of the puzzle in order to create my work. My entire

when built as a whole. Separately, each piece is an information

artwork is made out of puzzle pieces that have been used and

unit, which builds an image. With this construction premise in

disposed.


CONSTRUCTION UNIT In the work that I have been producing since 2011, I have explored

different lecture of the work of art. In this new lecture, the two-

different construction possibilities in two and three dimensions.

dimensional support invades the tridimensional space to point

With so many and so tiny pieces, the shape combination that I

out another interpretation that goes beyond the contemplative act

can obtain is very broad. Nowadays I preserve the original colors

of figuration, thus suggesting its possibility to be understood as a

so that I can play and explore into de creation of sculptures

tridimensional shape that relocates.

and installations. The chromatic scale I have found within the thousands of pieces of the hundreds of puzzles that have worked with, is very wide. I like to think of them as carton pixels that allow me to create new shapes. Every piece is still part of a whole, but its configuration is no longer submitted to the printed information on it nor to the precision of its shape, it now acknowledges a new kind of rearrangement and its scale admits a new and


IN THE RESIDENCY September 2015

“Professional daydreamer”

KIRSTY LOGAN

UK

hello@kirstylogan.com // www.kirstylogan.com I’m a professional daydreamer, and author of two story collections

I’m interested in folklore and fairytales, ideas of loss and grief,

(The Rental Heart and A Portable Shelter) and a novel (The

stories as facets of identity, and Northern (particularly Scottish

Gracekeepers).

and Scandinavian) history, geology and psychology. I live in

My short fiction and poetry has been published in over 100

Glasgow with my fiancee and our rescue dog, and I am coming to

anthologies and magazines, recorded for podcasts, broadcast

Arteles to begin work on a new novel.

on BBC Radio 4, and exhibited in galleries. I regularly perform at events and festivals around the world; recent performances include London, Copenhagen, and Brussels.


RUST & STARDUST In my month at Arteles I began the first draft of a novel, Rust &

artists, inspired me to rework the novelâ&#x20AC;&#x2122;s structure and tone,

Stardust, which explores folklore and fairytales, loss and grief,

taking it in a direction I didnâ&#x20AC;&#x2122;t expect. Before I came here I was in

stories as facets of identity, and Northern (particularly Scottish

a bit of a creative rut, and I am so grateful to the other artists here

and Scandinavian) history, geology and psychology. The retreat,

for inspiring me and helping me to see my work anew.

and particularly my conversations with the other writers and


IN THE RESIDENCY September 2015

“Now I’ve got a hundred words and thousands of charms, I have brought the words out of hiding unburied the spells.” Inside the Giant The Kalevala HELEN THURLOE

Australia

hthurloe@gmail.com I’m a writer and poet from Australia, with Hungarian and British

Current long-form projects include a comparison of language,

undertones.

textiles and fairy stories from the Finno-Ugric peoples (Hungary,

My work is diverse in content and form, with sprinklings of folk

Finland and Estonia), exploring congruent sensibilities that may

art, furniture design and scientific discovery. While most of my

have persisted or reconnected over the past millennium. I’m also

output is text-based, I’ve also produced web-sites, postcards, and

working on a new novel that explores a fictional future where

hand-made books, in both solo and collaborative endeavours.

medical resources are rationed by the state. The poems are about

Persistent themes include the transmission of culture in family

everything else.

and communities, the influence of class and politics on domestic

My first novel, about forced marriage in contemporary Australia,

space and objects, and how gender shapes destiny.

is to be published by Allen & Unwin in 2016.


WORDS, LINES, TEXTS I did a lot of scribbling at Arteles, like the lines on the bark of the

Hungarian words) took way too many photos of lakes, hugged shy

silver birch. I also tossed a lot of draft pages onto the floor, like

trees that whispered their names to me, and restructured my YA

the yellow leaves that fell from the branches during September.

novel (Promising Azra).

Then I burnt those tangled texts in the sauna fires, leaving a few

By the time I left, I had also opened my heart to some wonderful

precious words of smelted gold.

people, and to an enduring, taciturn landscape.

During my time at Arteles I read the Finnish epic poem The Kalevala, wrote my own poems (a few with shared Finnish/


IN THE RESIDENCY August - September 2015

MARY WALTERS

UK

mary.walters7@gmail.com // ww.mary-walters.com I am an art teacher and artist living in Edinburgh, Scotland. I am

desire to create a permanent artwork at one particular moment

fascinated by wild wilderness places of the North, both in terms

which presents me with my dilemma as an artist. I enjoy working

of their landscapes, and of their physical formation and social

in whatever medium is suggested to me by the place itself, but

histories. For me, any physical or social landscape is in a constant

within the constraints of baggage limitations and travel, for this

state of flux, and therefore defies any attempt to pin down a

residency I intend to explore fully the possibilities of the world of

moment of its time in whatever art medium. Thus it is that tension

drawing in it fullest sense.

between the continuing fluidity of the story of any place, and the


EXPLORING DRAWING I went into the forest and drew what I could see, looking in all

to distil my drawing into a calmer style of mark-making. I enjoyed

directions. My initial drawings were a direct response to the new

the differences between my first hand responses, and my more

Arteles forest environment, hardly knowing what direction is North.

considered works from the memory of those responses. I take

I continued my drawing journey into explorations of direction,

back with me a rich resource of discovery and experiment, which

boundaries, and unknown territories, while simultaneously trying

will inform work for some time to come. Thanks you Arteles.


IN THE RESIDENCY August 2015

“My work is never finished, it’s an ongoing process of creating, destroying, reviving and growing.”

MARIJKE AERTS

Belgium

morisaerts@hotmail.com // www.marijkeaerts.be My paintings consist of several conflicting interacting layers.

of ‘classical painting’? Can painting be reduced to merely the

Underlying layers are either being covered or uncovered in an

execution of applying a brushstroke? Questions such as these

ongoing process of concealment and discovery. This sparks a

inspired me to create several installations, in which the same

tension, a confrontation of things that happen coincidentally and

action was repeated over and over again. Each time with a different

subconsciously with compulsive, focused actions. Brushstrokes

medium: a mannerist repetition of identical actions, compulsively

and the act of painting take the upper and during the creation of

executed. Contradictory short strokes, combining to suggest

the painting. The paint applied by means of the brush stroke is the

several different images, result in extremely enlarged pixel-

image; this is in fact an attempt to isolate the act of painting from

like black-and-white images. The range of choice of supports

painterly norms.

for these drawings is unlimited; the space presents itself as an

If brush strokes are the essence of a painting, how can they

endless foundation, a breeding ground from which these drawings

function autonomously, independent from the presumed norms

sprout, continuously assuming different proportions.


LEAVING TRACES This month I made a series of little drawings, and several bigger

As a side project, I found a tiny space in my room, that Iâ&#x20AC;&#x2122;d use as

works on panel. Based on these drawings, I made a bigger piece

the exhibition space for the drawings. I also made a piece in that

in situ. When drawing in space you donâ&#x20AC;&#x2122;t have to deal with the

room with black paint.

limitations paper or canvas gives you.

I also did a work on a door where I enlargened 3 of the small drawings.


IN THE RESIDENCY August 2015

NAOMI BISHOP

Australia

naomibishop75@aol.com.au The Unexplained and Unexplored are recurring themes in the

Naomi Bishop has been exhibiting internationally since graduating

work of Naomi Bishop. In her paintings and works on paper she

with a Masters of Fine Art from Chelsea College of Art in London

explores darkness, silence, mysterious events and peripheral,

in 2003. Her work has been exhibited at The Whitechapel Gallery

other worldly places.

in London, The Irish Museum of Modern Art in Dublin, Fondation

She is interested the way the natural environment shapes people,

Hippocrène and has had solo exhibitions at Galerie Nicolas

and the ways in which natural and celestial phenomena are

Silin in Paris. In Melbourne her work has been shown Strange

interpreted and developed into rituals and belief systems. She

Neighbour, Neon Parc and Rubicon ARI. She has recently been

has a shared interest in both science and metaphysics, and the

selected as a finalist in The Blake Prize, The Rick Amor Prize for

point at which they might converge and reveal secret knowledge

Drawing, The Gold Coast Art Prize and The Arthur Guy Memorial

from unseen worlds.

Painting Prize and has had touring exhibitions supported by The

Naomi was part of the residency program at Arteles in January

Australia Council and Arts Victoria.

2014, and is returning to this August to observe the forests and lakes in the summer season.


THE VIEW FROM NOWHERE This Summer I have continued working with mysterious symbols

Chance plays a part in the creation of the images, from initially

and imagined ritual objects and substances. I have made images

finding a shape with which to work, through to the movement of

of memorial stones, forest burial grounds and illusory thresholds,

the paint and the fall of light and shadows across the painting on

that might be used for conjuring supernatural forces, contacting

the studio table. I have worked with the colours I see here in the

or remembering departed souls. Elements of rock, bone, wood,

infinite summer sky, misty pink mornings shift through mauves

earth, and salt are interpreted and developed into imaginary

and then to brilliant, endless blue.

sacred objects.


IN THE RESIDENCY August 2015

â&#x20AC;&#x153;History and soul...in this world.â&#x20AC;?

SHINOBU TERADA

Japan

terry@dream.ocn.ne.jp // www.shinobuterada.net I think everything in this world has each history and soul, and I

the feeling we should treasure the past. I have been influenced by

would like to preserve and cure them by bandages. I hope to share

medical surroundings, because my father is a doctor.


HISTORY OF THIS WORLD Walking around, looking around, and breathing deeply in the forest.

And I researched the garden of residency, wrapped big stone

I felt the history of this world, and hoped to treasure that.

and some commodities as site specific works.

I picked up small decayed woods, wrapped them by bandages,

Everyday, little by little, I was working here, happily.

and created photography works.


IN THE RESIDENCY August 2015

“Colour - Print - Pattern - Process”

LAURA SPRING

UK

hello@lauraspring.co.uk // www.lauraspring.co.uk Laura Spring, originally from Staffordshire, is a textile designer/

finishes and supplies are sourced within the UK where possible

maker living and working in Glasgow creating bold graphic print

and when materials are required to be sourced from abroad, Laura

designs that are transformed through screen and digital print into

ensures these items are fair-trade.

fashion accessories, kitchenware and stationary. She is a graduate

As well as working on her own collections, Laura enjoys collaborating

of Glasgow School of Art where she was awarded a BA in graphic

with other artists/designers and companies across various fields.

design in 2002.

She has worked with artists Laura Aldridge and Ciara Phillips to

With an enormous love for colour, print, pattern and process,

produce limited edition ranges of bags for House of Voltaire 2012 and

Laura aims to create products and designs based around these

2014 respectively. She has also produced limited editions for Lush

ideals. Bold patterns mixed with bright colours transformed into

Cosmetics, Belle & Sebastian, The National Trust for Scotland, Not

beautifully crafted products underpin Laura’s work. Inspiration

Another Bill and is currently working on an exciting project called

changes from collection to collection but recent work has centred

India Street, curated by Katy West. This took Laura and three other

around the relationship between motif and function.

designers on a two-week research trip to India in February 2015 to

Laura is committed to supporting local manufacturing and ethical

develop designs and prototypes for the next phase of the project.

methods of production in the creation of her work. All trims,

This is due to launch in Glasgow in June 2016.


AUGUST Taking photos / collecting things that caught my eye / looking for

incredible landscape / meeting new people / asking questions

patterns / colours / textures / trying new things / drawing / writing

/ planning a new collection / absorbing as much as I could /

lists / planting new ideas / visiting places Iâ&#x20AC;&#x2122;ve always wanted to

rummaging in second hand stores...

go / taking a step back / enjoying a different pace / enjoying the


IN THE RESIDENCY August 2015

KAYA BARRY

Australia

kayathiea@gmail.com // www.kaya.com.au Kaya Barry is an artist, researcher and tourist, based in Brisbane

the changing sunlight, the seasons, and the geographical position

and Melbourne, Australia. Her creative practice usually takes the

will be used as aesthetic resonances that combine into immersive

forms of interactive installations or net-artworks that examine

experience. Her intention is to play with ways that photographic

a range of spatial, material and environmental encounters. As a

processes (time-lapse, long exposures, panoramas, etc.) frame

practice-led researcher, Kayaâ&#x20AC;&#x2122;s creative processes are informed

and alter our perception of the environment we are with/in.

by a range of theoretical perspectives such as new materialism,

Kaya has recently completed a practice-led PhD on creative

mobilities, and geography.

practices in tourism at Deakin University, and completed a B.

During the residency Kaya will be exploring how we re-orient,

Creative Arts (Honours) in 2007 at Griffith University. She currently

align and move with environmental experiences that confront and

teaches in new media theory and practice, and has exhibited within

surround us. Influences found in the surrounding area, such as

Australia, Iceland, Denmark and online.


BETWEEN TWO BARNS A series of site-specific explorations of sensing movement.

then intertwine the surveying flagging tape through where I felt

In the forest things are moving together, growing together, in and

a movement trigger the next. This might be the pressure of my

around each other. Each step pushes one movement into another.

shoe against a rock, a stick breaking, or leaves settling as the wind

Like a trigger for movement, or perhaps a proposition set in

eases. I photograph, sketch, and diagram the process. The result

motion.

is a series of experiments across an array of media: diagrams of

I walk around to attune to the sensing of movements of the sticks,

surveying tape, interactive installation, and photographic time-

grass, moss, rocks, trees, wind, light, pressure, and balance. I

lapse documentation.


IN THE RESIDENCY August 2015

TALI SERRUYA

France / Argentina

tali.serruya@gmail.com // www.taliserruya.com Tali Serruya is an Argentinean artist based in France. She studied

form, of traces, of time, of space. Elasticity of the codes codes,

theater at the National Academy of Dramatics Arts of Paris and

the structures, the grammars. Plasticity of gestures, movements,

performance art at the Geneva University of Art and Design.

impressions.

Her research is based on the concept of “theatrical plasticity”,

She created a “laboratory for artistic research and experimentation”,

creating aesthetic experiences at the edge of theater and

where she regularly collaborates with other artists and theorists.

performance that alter the notion of perception. She studies the

Her performative practice, enriched by these meetings, has deeply

porous border that links - and therefore differentiates - theatricality

evolved and became more material, through installations and

from performativity and the way we constantly navigate from one

publications.

to the other.

Her work has been showed internationally (Switzerland, South

The concept of plasticity is reflected in her work in two different

Korea, Spain, England, Morocco, Finland...)

ways: plasticity as volume but also as malleability. Volume of the


BETWEEN TWO BARNS Stemming from an interest in the relationship that links and

The change of temporality in the performing bodies confronts the

separates the performing arts to the visual arts, my work is

audience with their own physical temporality, positioning them

situated at the border between performance and sculpture.

both inside and outside of the work, bringing the performative time

Through what I call theater plasticity, I create different space-time

into the sculptural one.

contexts of representation. This plasticity exists in my work in the

â&#x20AC;&#x153;Time as body as timeâ&#x20AC;? is a piece that can be considered as

performing bodies and in the passage of time, both as volume and

a durational performance and, at the same time, as a living

as elasticity. They become parameters that, fully extended, turn

sculpture. Itâ&#x20AC;&#x2122;s a piece where time fades, where a minimalistic

imperceptible, eternal.

slow flow of movement exists in space. It is another space of time. Another space of life. It is a suspended form of existence.


IN THE RESIDENCY August 2015

VISAKH MENON

India

visakhm@gmail.com // www.visakhmenon.com Visakh Menon is an artist from India, currently living in New York.

another form or abstract representation.The thematic continuum

His interdisciplinary practice spans video, installations, media art

spanning the various bodies of Visakhâ&#x20AC;&#x2122;s work is based on a

& works on paper. His recent body of work focuses on the visual

fascination with human machine interaction.

language of digital artifacts & the aesthetics of glitches. This series

Visakh has exhibited nationally and internationally including recent

of works on paper are conceptually based on various digital process

shows at the Paul Kolker Gallery (NY) Fountain Art Fair, NY Film

analyzing image compression algorithms and interpolation which

Fest, Lincoln Center, DUMBO arts festival, Governorâ&#x20AC;&#x2122;s Island Art

is then translated to paper using a unique process combining the

Fair, Spattered Columns (NY), Gallery Aferro (NJ), Digital Media

frottage (rubbings) and collage and paying homage to geometric

City Gallery (Seoul) and included in the Rhizome Art Base. He was

abstraction and color field paintings.

selected for the Mentoring Fellowship for Immigrant Artists at New

The algorithmic aesthetics of these works brings up the notion of

York Foundation for the Arts in 2010 (NYFA). In 2007 Visakh received

code as a rule for converting a certain piece of information into

an Master of Fine Arts from the Maryland Institute College of Art.


GLITCHES (FROM THE TAPE DRAWING COLLAGE SERIES) & COMPRESSIONS (WORKS ON PAPER) Over the last month here in the beautiful countryside away from

interpolation algorithms and then translated into works on paper

the buzz of New York, I have taken the time to unwind & reflect

using an unique mixed media technique.

on the last few years of my studio practice and contemplate on

During my time here at the Arteles residency I have had a chance

a new series of works. Besides which I have been working on

to further study the nature of interpolation algorithms specifically

two projects, following up on my previous works from my studio

bicubic and bilinear and how the mathematical nature of these

practice. Both these series of works start off in the digital medium,

process effect image compression and how these processes work

exploring the visual language of glitches and compression /

with reference to the subjective nature of color.


IN THE RESIDENCY July 2015

“A little contrast goes a long way.”

BRADY SIMPSON

Canada

info@bradysimpson.com // www.bradysimpson.com Brady Simpson is a visual artist and musician residing in Edmonton,

contrast. This contrast is also evident in the abstract and heavily

Alberta, Canada. His work in photography garnered him one

textured paintings that round out his portfolio. Brady offers visual

of Alberta’s Top Ten Emerging Artists in 2014. With numerous

images with the aim of creating a story, much in the same way his

exhibitions under his belt, both locally and nationally, Brady’s

music does. With over 25 years of being a musician, he is able to

photography attracts attention to the minute within the everyday.

craft songs that are lyrically rich with pleasing melodies that he

His series “The World at Large” has been a creative outlet allowing

has performed in numerous Alberta venues. Brady continues to

viewers to experience a dynamic play on scale. With a focus on

draw inspiration and enjoys creating art in an ever expanding set

natural lighting, his fine art and travel photography creates a warm

of mediums.


DEFRAGMENTATION Defragmentation is the process of reducing fragmentation,

permeates the Finnish summer I worked on my songwriting and

organizing into smaller numbers of contiguous regions. This is

completed two new songs while in my residency. The solitude and

the process that I took into the Arteles residency, a simplifying of

plethora of instruments was a definite inspiration to write music.

scattered ideas and developing narratives that fit my style more

My photography series “”The World at Large”” was continued during

succinctly. The painting ,””Defragmentation””, is a representation

my residency. I was able to find new applications for a conversation

of that process, piecing together experiences to gain an insight

on scale and the objects that we interact with everyday. My travel and

into direction while the painting “”Fragmentation”” is a visual

fine art photography was bolstered by new cities, objects, and views

representation of what was left behind, the cause, the urban

upon which I have captured. New projects were fortified during my

landscape. At the Arteles residency I was able to solely devote time

residency, “”Project Ghost”” which utilizes multiple exposures has

into creativity which was a new experience for me. This resulted

begun which I hope to view to completion in the coming months.

in a simplified landscape of ideas and proof of concepts in my

The time I spent at Arteles was a catalyst for new ideas and an

visual art, photography, and music. With the persistent light that

important time to build in a peaceful, creative environment.


IN THE RESIDENCY July 2015

JEANETTE JOHNS

Canada

jeanette_johns@hotmail.com // www.jeanettejohns.com Jeanette Johns is an artist who grew up in Winnipeg, Manitoba. Her

how we become familiar with it through the visuals of cartography

practice consists primarily of works on paper that deal with her

and geometry and through our experience of great lengths of time

particular interest in two-dimensional representations of space.

and distance. My research takes me into the cross-sections of

Johns has taken part in exhibitions and residencies across Canada

mathematics, geography and print media as my inquiries seek to

and internationally and is the recipient of many awards and grants,

better appreciate the visual documents and graphic manifestations

including a SSHRC Graduate Scholarship She holds a BFA honours

that shape our understanding of the space around us. My

from the University of Manitoba and has recently completed her

attachment to landscape is connected to an attempt to understand

MFA at Concordia University in Montreal.

the infinite, whether being a viewer relative to the vastness that

â&#x20AC;&#x153;The experience of looking for the sake of knowing is where I start.

surrounds or contemplating the presence of the horizon line as a

Particularly the act of observation as a tool to teach us about what

symbolic reference. There exists a distance between the rational

we are looking at. This interest draws me to representations of

intentions of the scientific and the empirical knowledge of the

physical places, and the flat rendering of the three-dimensional

individual that I want to explore â&#x20AC;&#x201C; between taught knowledge and

space we occupy. I am fascinated with landscape and consider

sense experience.


TIME TESTS AND TRAJECTORIES I came to Finland interested in the trajectory of the sun and set on

To log my observations I used the cyanotype process to record

observing the long path that it draws during the summer hours. It

the intensity of the sun at different points in the day and track its

is very hard to ignore the sun, as it is the only star you encounter

position in the sky. This light sensitive paper allowed me to make

during the month of July at this latitude. The twilight, called civilian

step test intervals of various periods in the day, showing the drawn-

twilight and which lasts the whole night, lets you carry on with

out setting of the sun and even capturing some of the twilight. My

most outdoor activities without the aid of an artificial source of

process became one of measurement and experimentation as I set

light. It is a tempting situation to have more hours in the day- but

up guides, shadows and stencils. I developed an awareness of the

eventually one must sleep. There does not seem to be a special

day in terms of light and angles instead of numbers on a clock face.

source of stamina that comes with this nocturnal light.


IN THE RESIDENCY July 2015

ELIZABETH WITHSTANDLEY

USA

withstandley@yahoo.com // www.withstandley.com Elizabeth Withstandley is an American artist and filmmaker from

often part of a documented or constructed narrative in which they

Cape Cod, Massachusetts who lives and works in Los Angles,

become part of a collection, or examination. The visual simplicity of

California. She is also one of the co-founders of Locust Projects, a

her work at times looks like figures in a scientific study, cataloged

not-for-profit art space in Miami, Florida.

and archived as part of and anthropological dig.

Her work explores current and popular culture through real and

Her work has been shown at the Torrance Art Museum, Torrance,

fictitious situations using photography, film and installation. Many

CA; Winslow Garage, Los Angeles, CA; Museum of Contemporary

of her series touch upon exaggerations of the common person

Art, North Miami, FL; The Moore Space, Miami, FL; Fredric

in a day in age where the entertainment industry is the center of

Snitzer Gallery, Miami, FL; Wooster Projects, NY, NY; The Ringling

many people’s lives. The work explores self worth, ones’ position

Museum of Art, Sarasota, FL; The Tel Aviv Artists’ Studios, Israel;

in society, and how we are defined as people with an emphasis on

The Bass Museum, Miami, FL; Cultural Center, Sao Paolo, Brazil

social norms and outcasts. Using portraiture as a starting point,

and Galerie Valerie Cueto Paris, France.

much of her work examines American culture. The subjects are


YOU CAN NOT BE REPLACED “You Have Not Been Replaced” is a two channel video installation

a large grid. Over time the rectangles will fill in with portraits

that documents all 82 current and former members of the Dallas

of band members and their instruments. The series recognizes

choral symphonic rock band, “The Polyphonic Spree”. The project

and questions the notion of one’s individual importance as it

began at the end of 2012 by shooting individual still portraits of

cycles through a song leaving one questioning whether they are

all twenty-two of the current band members in Los Angeles when

replaceable. Over the years people have come in and out of the

they were on tour. The past 24 months have been spent contacting,

band, some have called it a right of passage in the Dallas music

arranging and traveling to photograph the rest of the sixty plus

scene. In the images the band members are represented in the

former band members.

band’s signature stage-ware, a white robe, which adds to the

The band started 15 years ago as a twenty-two-member group

cult-like appearance. The musicians/singers have each brought

with a unique sound and donning matching cult-like robes for their

something unique to this band, who are they? Are they memorable?

performances. The installation will display colored rectangles in

Unique? Individuals?


IN THE RESIDENCY July 2015

“They say that you can’t take it with you. But you need to figure that out for yourself.” GEORGIA DE BIASI

Australia

georgiadb@gmail.com Georgia’s work mostly addresses the unknown, death, and

Occasionally Georgia works with elements of sport and motor

communion, and in the broadest sense the ‘interface’ between

racing, related to perceptions of competition and the limits of

states. She works with textiles, video and performance.

precision and control.

For pathfinding in a state of uncertainty, Georgia considers

Collaborative, site-specific, and spontaneous processes are all

parallels between traversing physical and imaginary landscapes

equally important to her practice.

and how we might measure the immeasurable. Her process-

Georgia recently completed a Bachelor of Fine Arts at University of

oriented work references “the outdoors”, scientific field research

New South Wales Art & Design. She has exhibited work in Sydney

practices and methodologies of measurement and data recording.

group shows and later this year will undertake a studio residency

At the same time she contemplates the things that provide

at the Green House, UNSW Fowlers Gap Research Station, in

solace, comfort or hope in an intensely personal space of loss and

western NSW (Australia).

transformation.


500 KILOMETRES TO A NEW YOU The process of piecing oneself together, after a death that is not

can be interpreted at a human scale, and apprehended by a fallible

your own, largely remains uneven, idiosyncratic, and open-ended.

body.

The newly bereft find themselves in this suddenly-visible domain

Ropes and rigging, drawing, maps and GPS tracking apps, and

and seeing with new eyes. But while it is familiar to billions,

knot theory in mathematics are some of the ways that I have

navigation is not clear for any one individual who finds herself

chosen to document and consider this state. The working title is a

there. Yet we proceed because we are compelled, through some

way for me to frame our anxiety-inducing modern social attempts

capacity to remain alive and breathing in spite of everything.

to compete and add metrics to just about anything, and the futility

Using landscape as both analogy and reality I decided to walk large

of such an approach to address experiences of change that may be

loops through the region to involve myself in the residual experience

impossible to fathom.

of being human. Moving at a human pace, through a landscape that

*Results not guaranteed


IN THE RESIDENCY July 2015

â&#x20AC;&#x153;My painting is seeing.â&#x20AC;?

SOJIN LIM

South Korea

paris_0@naver.com // www.sojinlim.com Sojin Lim is an artist based in Seoul. She moved a lot, while she was

circumstances. This exception gives her full of inspiration to her

growing up. She realized that her identity has changed whenever

artwork. She finds aspect in physical irregular phenomenon, as

she tried to get used to the different culture and environment of

of its unpredictable character. These unpredictable and unstable

the each town. She considers herself as a hybrid individual from

states are main concern in her work. She compounds these

these perplexed societies. With this identity, she believes that

psychological and physical phenomena into work, which becomes

the exception is from emotional conflicts and its surrounded

her own regulation.


TREES, BIRDS, LAKES, AND WHIMSICAL WEATHER Basically, I got inspired by the surrounding atmosphere, here

My eyes naturally followed the surroundings, while I took walks

in Arteles. It filled me with inspiration for my work during the

along the bumpy roads. The boundary lines between trees and

residency. Trees, birds, lakes, and whimsical weather were my

skies were beautifully harmonized. Birds and insects were chirping,

main resources.

seasoning the landscape. Then, they melted down together into my work. They turned into a wooden wall sculpture with ropes, and nets like a folding screen as a part of nature.


IN THE RESIDENCY July 2015

ALEJANDRA URRESTI

Argentina

aleurresti@hotmail.com // www.alejandraurresti.com.ar I like my house.

Not enough for me.

I find tidying up relaxing.

I lowered my head and took a pencil.

I can wait.

I started to draw.

I get bored.

I draw as far as my arms could reach.

I quit Medicine at University.

I use my hands.

I studied Architecture and Photography.

I like the sound made by the pencil over paper.

I quit Architechture.

I´d like drawing nicely, but I can´t.

Since I won some scholarships, I travelled to Cuba (Batiscafo) and

I keep drawing.

to Finland (Nifca).

Stones.

In Cuba I read over and over.

Words.

In Finland I played paddle ball game.

I have just published a poetry book called “¿Alguna vez viste un

I work with photos and videos. But it´s been a while, photos are

pino balanceándose así?”

not enough.


STONE I picked up four stones in Haukijärvi, drew their shapes and threw

One and more stones

them away.

The perfect stone More and more stones

Be the drawing a stone Be the stone the stone

Stone is reality Stone is a thing

Mountain It is what it is


IN THE RESIDENCY July 2015

ADAM NEESE

USA

adam.b.neese@gmail.com // www.adambneese.com Adam Neese (b. 1985, Longmont, Colorado) was raised in

Rourke Art Museum, Louisiana Tech University, and De Fotohal in

Grapevine, TX, halfway between Dallas and Fort Worth. His work

Amsterdam. He holds a Bachelor of Fine Arts from the School of

explores the personal and cultural mythology of place and its

the Art Institute of Chicago in photography and film, and a Master of

relationship to the landscape. Adamâ&#x20AC;&#x2122;s work has been exhibited

Fine Arts from The University of North Texas where he is currently

throughout the US and internationally, at venues including The

a Visiting Assistant Professor teaching photography.


KAUNIS SUOMI Printed images were once found in books, books that were

This project addresses the way we interpret space through the

disseminated

helped

printed image. The source materials are images from a set of

developed the imaginations of people leafing through them. There

books I found second-hand in Finland titled Kaunis Suomi or

is something particular about a landscape image- an allusion to a

â&#x20AC;&#x153;Beautiful Finland.â&#x20AC;? I find landscape images in these books and

specific place in which the experience of a sunset, or a river, or a

backlight them through a window in the Finnish countryside,

forest has occurred. The point of view of one camera then becomes,

allowing the image on the backside of the print to be revealed and

through reproduction, an archetypal image that can provide a basis

recorded. This gesture reveals something unseen before; an image

of our experience of a beautiful place.

that reflects the complex way that place is understood through the

throughout

households,

books

that

imagery of it.


IN THE RESIDENCY July 2015

â&#x20AC;&#x153;The digital is the sublimeâ&#x20AC;?

HANA-MAI HAWKINS

UK

hanamai.hawkins@gmail.com // www.hanamaihawkins.com As an artist I concern myself with the idea and processes of digital

an even more immersive, sensorially-dimensional experience.

media, producing short films, cinematic idents and digital images.

My films are visions of otherwordly landscapes - journeys across

The use of CGI features heavily in my work, referencing the hyper-

undulating hills made of alien surfaces. Despite this disorientation,

real surface of gameplay and representing the dichotomy of the

an interest in structure and order also influences my work, often

utopian/dystopian promise that the digital age brings.

leading to the depiction of architectural forms, sometimes cross-

A fascination with the processes of digital tools and software is

pollinating into the practice of sculpture. The aim of my work -

in part what fuels my work. An avid interest in sound and music

through the very fabric of the filmic landscapes, accompanied by

production has led to the creation of intense musical soundscapes

the structured soundscapes, is to situate you within the vision of a

as part of my practice. Incorporating these into digital films creates

digital sublime.


THE UNTHINKABLE FOSSIL’ / INTERACTIVE VIRTUAL WALKTHROUGH The work I have completed at Arteles takes as it’s source Benjamin

and the new wave of descendency to come.

Bratton’s writing on the Post-Anthropocene. The interactive piece

Arteles has given me the time and freedom to learn new software,

encourages you to walk around a gallery-like room, offering space

and I have made the first tentative steps into incorporating game

to contemplate particular passages in ‘Some Trace Effects of the

design into my work. My interest in structure and landscape

Post-Anthropocene: On Accelerationist Geopolitical Aesthetics’ in

has been maintained during my stay, largely influenced by the

it’s reference to ‘us’ as the unthinkable fossil. Images of objects

expansive space and light of the surrounding environment. The

on blank colour canvasses occupy the room. Although appearing

resulting series of images are of generated digital terrain rendered

natural, they are each in fact images of 3D models sourced from

visually into object format, concurrently contesting the concept

digital asset stores. The work references our fragility in the place

of landscape as an expansive entity and opening up an infinite

of an ever-accelerating world of economic and digital power, and

possibility of compositions.

offers up a vision displaying at once notions of fossilised ancestry


IN THE RESIDENCY June - July 2015

â&#x20AC;&#x153;Sun Storiesâ&#x20AC;?

EMILY MCMEHEN

Canada

emily@mazibel.com // www.mazibel.com I am an interdisciplinary artist, currently working on a series of

I have been honoured to work with Vodou communities in Haiti

collaborative storytelling projects, across cultures and borders,

to create a film that invites the viewer as a welcome stranger

that follow the Sun. I believe in finding new ways to tell our old

into a sensory experience of the history and reality of Vodou. I

stories, and in democratic means of collaboration where everyone

have likewise had the pleasure of working with contortionists in

who participates has the opportunity to find their voice, or to

Mongolia to reveal the parallel pathways of truth and lies, and to

discover a new way of speaking with it, and to have an equal part

explore the potential for the human body to serve as a lightning rod

in bringing a story to life. I work with artists and non-artists,

for spontaneous artistic expression. I hope now to work with Arctic

and practice skill sharing and hands on learning as a part of the

peoples in seven countries to tell the old stories of the Sun with

collaborative experience.

new voices in our rapidly changing world. During my residency at Arteles, I will be embarking on a storytelling project with collaborators from Mexico, Canada and Finland, to tell a traditional story from the far North under the Midnight Sun.


SUN STORIES Exploring the relationship between the sun and the earth, and

someone to come along with answers, and the road bends into

creating the framework for a broader narrative about the sun

the wilds and the black and green lines, just trying to blend in. We

as experienced by man and a multitude of creatures: Reindeer

are interlopers in a shared dream, and we write in shadows on an

shamble along the side of the road as if they are waiting for

endless painted morning.


IN THE RESIDENCY June 2015

“All day long wearing a hat that wasn’t on my head”

MARIA OLBRYCHTOWICZ

Poland

mariaolbrychtowicz@op.pl // www.marysiao.tumblr.com Maria Olbrychtowicz born in 1992. Currently studying at the

matter. She is developing the idea of acoustic utopian architecture

Academy of Fine Arts in Krakow at intermedia department . She’s

- designing a building dedicated only for playing Steve Reich ‘s

interested in relation between sound and objects and looking for the

piece ( from the album Music for 18 Musicians ) Architecture is the

solution- how to overpower the apparent dichotomy of sound and

burin for sound matter.


ARCHITECTURE EXERCISES Every touching experience of architecture is multi-sensory;

architecture. I’m interested in gravitation, weight, contrast,

qualities of space, matter and scale are measured equally by

tension, rhythm and scale of different objects that surround me.

eye, ear, nose, skin, tongue, skeleton and muscle. Architecture

I spent many hours in the woods , so every day after the ‘exercises’

strengthens the existential experience, one’s sense of being in the

I felt every muscle. I think this is the experience which I need as

world, and this is essentially a strengthened experience of self’

an architect. I will need it in the other part of my project where

(Juhani Pallasmaa; ‘ The eyes of the skin- Architecture and senses’)

I’m focusing on designing a building – a special kind of acoustic

The title of my work refers to academic research - exercises,

sculpture. I use the term ‘Acoustic Utopian Architecture’ to

lessons, lectures and also to the empirical learniNg through

describe the idea of system of mobile shapes and solids that

physical exercises. I created the laboratory of sensual studying

would modulate the sound waves. I’m thinking about it as a living organism which responds to the sound.


IN THE RESIDENCY June 2015

“I write novels and short stories that explore connections between people.”

ANNA SOLDING

Australia

anna@annasolding.com // www.annasolding.com Anna Solding’s first ‘novel constellation’ The Hum of Concrete,

in 2015 spend one month at Arteles Writers’ Retreat in Finland and

which centres around the themes of friendship, love, loneliness,

one month at the Katharine Susannah Prichard centre in Western

intersex conditions, mental health, immigration and sex, was

Australia furthering her writing. Popular speaker and workshop

published in 2012. It was nominated for People’s Choice Award, the

co-ordinator, Anna is regularly engaged to speak at Writers’

Most Underrated Book Award and the Commonwealth Book Prize.

Festivals and she has conducted workshops at the SA Writers’

She has co-edited a collection of stories, Cracker! A Christmas

Centre, Burnside Library and Salisbury Writers’ Festival. Anna

Collection, and has worked as fiction co-editor for literary

currently works as editor and publisher at MidnightSun Publishing

magazine Wet Ink. Anna has had many short stories and reviews

in Adelaide. She is passionate about punctuation and chocolate.

published; she has been awarded two Arts SA grants and she will


THE SONG OF GLASS - A NOVEL CONSTELLATION Although it took we quite a long time to settle in and leave all my

my days have been so long and I’ve been extremely productive.

stresses and commitments behind, once I started writing I was on

Long walks, intense new friendships and beautiful saunas have

fire. I have been working on a novel of connected short stories,

helped the creative process in unexpected ways. I didn’t come here

a ‘novel constellation’ set in Sweden where I grew up. It’s about

intending to finish my project but now I’m quite optimistic that I

five different men who all become fathers during the course of the

will - and I will be inspired for years to come.

novel. Because it’s light all the time in Finland in June, I feel like


IN THE RESIDENCY June 2015

“Reductive Scientific Surrealism”

CECILIA CHARLTON

USA

charltoncecilia@gmail.com // www.ceciliacharlton.com Through a neat application of acrylic paint and the implementation

eerily begin to speak the same language, in an attempt to answer

of deceptive abstraction, I create a platform from which we can

this question. Within the digitized appearance of the paintings

experience and discuss issues of human perception, history,

there is a sense of spontaneity – suggesting the presence of a

and social convention. Working in a new genre which I am

person. Paramount is the implication of disarray, buoyed by the

terming reductive scientific surrealism, I create forms that are

neurotic meticulousness with which the elements are constructed.

potentially anthropomorphic yet unrecognizable, well-ordered

I am interested in innovating and crafting new visual languages

yet extemporaneous. Contradictions enable subjectivity and

to discuss issues pertinent to today. Through my paintings, I

personal inquest, while encouraging dialogue about the languages

transform the real world, suspending time and sound, and offer a

and symbols that I am initiating. Susan Sontag asks in her 1965

meditation on dualities: individuality/ homogeneity of the person,

journal, “What are the sensory mixes of the future?” Present in

contemporary/ archaic thought processes, and real/ digital space.

my artworks is the space where science and humanity overlap and


GESTALT / SPACE STUDY (WALL PAINTING I) While at the residency, I explored the relationship between the

but also a simultaneous and obvious disruption. I am interested

actual and the imagined through the creation of a large-scale wall

in the concept of gestalt as a way to understand more deeply the

painting. To begin exercising these ideas, I completed two separate

world around us – in the words of psychologist Kurt Koffka, “The

series of technical drawings. The first series (seen in the image),

whole is other than the sum of its parts”. While each element in

shows the development and ultimate construction of an imagined

the painting has a meaning unto itself, the relationships between

object. The second series explored the architecture of the room

elements holds equal gravity. My goal with the work is to create a

where the wall painting exists today. When both the imagined

sense of wholeness in a variety of scales, begging us to consider

object and the architectural representation of the room were

the interpretations of our own perception.

forced into the same space, the result is the suggestion of truth


IN THE RESIDENCY June 2015

“My painting is an organic concrete style of painting - and an ongoing attempt to think through seeing.”

NATALIE BÖHRER

Germany

natalie.boehrer@t-online.de It is what it is, is not, is actual.

My starting point can be a look at the scenery. How do I perceive

I am intrigued by the possibilities of something simply ‘being’

something, what is the angle of view, what is the ratio between near

itself. How anything can become or exist in a state of being and

and far, how does something stand out and how does structure

find itself in its material state.

play into all of this?

My small drawings fixed on canvas, as well as my large canvases,

Through this entire process my goal is to single out a picture by

move between picture and relief. The ripples and wrinkles caused

itself. It is not part of a series but a method with the same material

by glueing the drawing onto canvas, as well as the watercolors,

output. This process always explores the question of possibility

are a controlled process that penetrates the drawing through the

from reality, of being and how something can become.

structure and forms the materiality of the painting. On the large

The material, its fragility, patience and materiality, and the

canvases, this structure is achieved through the many layers of

question of how the picture becomes a suchness, when it finds

paint which resemble a sculpting effect.

itself as a subject in its materiality, is one of the questions that become a possibility of through the work process.


DAZZLED WITH LIGHT During my residency here at Arteles I have the sense that light

The light can be very bright, so it dazzles me, and I often canâ&#x20AC;&#x2122;t see

here is like a transparent, colored filter, moving through the

the things clearly.

landscape, creating many different tones, especially neon, giving

I was thinking here about these behaviors and developed the idea

the environment many different appearances within a short period

of creating images using light as a fluorescent colored moving

of time.

filter to describe the moment of distinguishing itself.


IN THE RESIDENCY June 2015

DELFINA MOORE

Argentina

delfimoore@hotmail.com // www.delfinamoore.com Delfina Moore is an Argentinian artist based in Buenos Aires. She

I investigate the role of affection in one’s work, related to all that

has a degree in visual arts from the Instituto Universitario Nacional

has influenced us through life, and that has become a part of the

de Arte (IUNA) in Buenos Aires. She also studied photography at

ways in which we feel and see the world around us.

the Escuela Argentina de Fotografía.

I’m interested in the concepts of loss and absence, in how a crack

She has made individual shows and participated in various group

or gap can become the motor that generates the work.

shows in Buenos Aires.

I’m concerned in the subject of copy, as a way of being able to approach something, and create a dialogue with it, in order to make it one’s own. I sometimes see my work as an intent of grasping the absent or the impossible.


TEXTILES During my time at Arteles I worked on a series of water colors

proximity or intimacy an object can present. In these projects I

and textiles. Iâ&#x20AC;&#x2122;m interested in crafts and in the simple gestures

explored the ideas of permeability and permanence.

within handmade work. In making something palpable and in the


IN THE RESIDENCY June 2015

JASON PEARSON

USA

jwaynephoto@yahoo.com // www.dickandwayne.com Jason Pearson earned a BFA from Minneapolis College of Art and

York, NY; Leslie- Lohan Museum, New York, NY. In 2013 Pearson

Design and MFA from Syracuse University, both in photography.

published his first limited edition monograph, No Kissing through

Jason often collaborates with his twin brother Jesse, they have

Location Books, Minneapolis, MN. From 2010 - 2015 Pearson was

exhibited their photography and drawing both nationally and

Curator of Education at Rochester Art Center in Rochester, MN

internationally. Pearson is the recipient of a number of grants

and responsible for designing and implementing all educational

and residencies including; Arteles Creative Residency Program,

programs for kids, teens, adults, and curated all exhibitions of

Haukijarvi, Finland, (2015); McKnight Photography Fellowship

regional artists. Currently Pearson maintains a rigorous studio

(2012-13); Jerome Foundation Travel and Research Grant (2011);

practice in Minneapolis, MN and teaches in areas concerning

Djerassi Resident Artist Program (2008); The Cooper Union School

contemporary art, photography, painting/drawing, museum

of Art Summer Residency (2007); and Anderson Ranch Arts

practice, and graphic design in collaboration with the University

Center Residency (2007-08). His work is in a number of private

of Minnesota, Rochester Community and Technical College, and

and public collections including the Museum of Contemporary

Winona State University.

Photography, Chicago, Illinois; Museum of Modern Art, New


TRAVELS WITH MY TWIN Jason Pearson, in collaboration with his twin brother, Jesse,

five percent of the original print remains intact. The Pearsons

began their research for the Arteles project at the National Library

embarked on this residency project to determine how best to

in Stockholm, Sweden, before coming to Finland. Since 2012,

rework this important piece of film history, while maintaining its

they have been studying the film works of their distant relative,

conceptual dignity, and to consider its potential to be realized in

and reknowned Finnish/Swedish filmmaker, Mauritz Stiller. Their

other formats.

current project focuses specifically on one of Stillerâ&#x20AC;&#x2122;s films, entitled

Working in parallel with the film project, the twins produced a

The Wings (Vingarne), 1916. The Wings was the first of its kind in

series of psychologically challenging artworks constructed from

history to depict a homosexual relationship onscreen, and to tell

found materials, and drawing from the aesthetic traditions of

a story using retro-narrative flashbacks. The only known copy is

Finnish design and textiles. The isolated and creative environment

archived at the National Library of Stockholm, and only twenty-

at Arteles.


IN THE RESIDENCY June 2015

BART RAWLINSON

USA

bartrawlinson@comcast.net // www.bartrawlinson.com My work explores the intersections of personal identity and

limitations of self-creation. Writing poetry and fiction allows me to

group dynamics. I’m curious about the processes of individual

evaluate / inhabit / reenact multiple personalities, life approaches,

separation and integration (consciously, unconsciously) from the

and points of view. Memory and invention are closely allied; my

ever-widening circles of influence -- family-of-origin, primary

objective is to work with the tensions they create on the page.

relationships, community, geography, social/political expectations.

Bart Rawlinson received the 2013 William Matthews Poetry Prize.

My writing practice examines the forces that individuals and

He is also the recipient of the Joseph Henry Jackson Award, the

groups struggle with and against to form identities that break free

Eugene Ruggles Poetry Prize, and the Robert Browning Prize in

or conform to self (group) definitions and imposed boundaries.

Dramatic Monologue, among other awards. His poetry and short

What are the spaces / gaps between an individual’s awareness of

fiction appear in Asheville Poetry Review, Assaracus, The Rumpus,

self versus others’ perceptions of that self? To what degree does a

New Millennium Writings, Cutbank, Santa Clara Review and other

person-as-individual differ from the person-in-a-group and what

literary journals. He earned an MFA, Creative Writing from San

s/he represents to the group?

Francisco State University and is an Associate Professor, English

Growing up in small-town rural Texas in a strict fundamentalist

at Mendocino College in Northern California.

religion has influenced how I interpret the possibilities and


WRITING: NOVEL / POETRY / SHORT FICTION Before arriving in Finland I outlined three writing projects:

The novel is the story of poor rural farmers — the Hartless family

completing a poetry manuscript, writing a collection of short

— and how their lives are shaped and ultimately destroyed by the

fiction, and a novel. Though I’ve written five poems (only two of the

discovery of oil on their property.

rough drafts were strong enough to continue the revision process)

Creating this image of my rough draft pages seemed odd. These

and a complete draft of a short story, my time at Arteles has been

are the building blocks, not the final work. I’ve included the

focused on the novel.

handwritten notebook where I keep my notes for scenes that

I grew up in a rural area of Texas that is dotted with oil derricks.

still need to be written and where I ask myself questions about

The first salt-dome well — and the one that ushered in the Texas

the characters, plot possibilities, and historical details. I will have

oil boom — was drilled at Spindletop in 1901, approximately 40

a full rough draft by the end of the year. I’m taking a paid leave

miles from the town where I was born. It wasn’t until I moved to

of absence from my professorship from January, 2016 through

California that I began to develop an understanding of the culture

August to complete the rewrites and edits.

of oil and its influence.


IN THE RESIDENCY May 2015

“I’m a full-time dreamer”

NATALIE WILLOW BOTERMAN

Canada

nboterman@gmail.com // www.natalieboterman.com Within my intermedia-based practice, I embrace chance experience

Over the past 3 years my work has been largely focused on nature,

and intuitive response using the objects and situations I encounter

the environment, cosmos, and personal history. Oral history plays a

on a daily basis as the subject matter and impetus for my practice.

key role in the development of my ideas and process as I reconnect

Film, video, photography and installation-based work stems from

with my early childhood memories spent outdoors exploring the

a ritual of finding, recording, and amassing source materials, and

natural world up close. It is these fundamental moments that

daily routine is subsequently transformed into process. During

have shaped the artist I have become, and the trajectory of work

production, at the forefront of my mind is an inherent need to

I am currently invested in making. My time in the studio is an

access and interpret a metaphysical space, and themes of time,

extension of this discovery, one that transports me to the childlike

memory, and ephemerality permeate each work.

wonderment where everything was new, exciting and fulfilling; where boundaries are tested.


I wrote a list of things I wanted to do this month while I was on

able to see and feel the ground breathe, the day I rode a tree as it

the bus ride here. Looking at it now, I was able to accomplish a lot

swayed in the wind, and a daily running route off the beaten path

of them, but they arenâ&#x20AC;&#x2122;t the moments that stand out in my mind.

that revealed something new in me with every loop.

What I will remember most is the time I got lost, the moment I was

I guess, in short, nature invites the natural Natalie


IN THE RESIDENCY May 2015

â&#x20AC;&#x153;Lorem ipsum dolor sit ametâ&#x20AC;?

MATTHEW P. CARSWELL

Canada

matthew.carswell@gmail.com // www.rswell.ca Oh hi.

as by-products or artifacts of ephemeral actions. I exploit myself

Did you know that the identification and collection of material and

as material, figuratively as time elapsed during a performance and

its exploration through action form the basis of my interdisciplinary

literally in the projects that feature the harvest of my hair.

practice? Well, my works seek to build a continuous narrative

I identify a period of time that is dedicated to the research and

throughout a life lived, employing the production of artworks as

collection of information or material which is subsequently filtered

a method for documenting experience. My use of long duration

through a variety of mediums and actions.

performance, often in unscheduled intervals, produces objects and installations


26 MAY 2015 HAUKIJÄRVI, FINLAND “A month is a long time,” I thought, as the bus was taking me from

divided equally between projects I brought with me, and those that

the airport in Helsinki to 26 Hahmajärventie.

were inspired by and from my surroundings. The extended daylight

Arteles presents a natural landscape, removed from the city and

hours beg to be filled, and as the days pass, ideas flow so naturally

its distractions, where I was able to reset my practice – to begin

that they risk being observed without manifest.

making work that engages enough to be made. My time was

Where did the long time go? To Arteles.


IN THE RESIDENCY May 2015

EMMA FINEMAN

USA

emmafineman@yahoo.com // www.emmafineman.com Emma Fineman is a visual artist from San Francisco, USA. In 2013

work, the use of painterly, romantic, and figurative techniques

she received her BFA with Magna Cum Laude Honors as a Painting

represent the “authentic,” and the use of fabricated collage evokes

Major from the Maryland Institute College of Art. Upon receiving

“the virtual” -- calling attention to this mashup of tradition and

her BFA Fineman has already been included in various exhibitions

modernity. Subject, object, and architecture are arranged to reveal

including solo shows in Baltimore and Miami, and group shows

the non-linear timeline and history that my subjects carry for me.

both nationally and abroad. Currently Fineman lives in the Bay

Growing up in the San Francisco Bay Area, in a climate dense

Area where she works in her studio in Oakland.

with fog, has influenced me to represent landscape in a blurred

“My current body of work addresses the tension between an old world

and dreamlike way. The use of natural settings, organic shapes,

rooted in lived experience and our modern world that exists in virtual

and colors specific to this landscape are repeated elements in my

space. The impact of virtual experience, derived from technology,

work. San Francisco is an area of technological innovation and

removes me from the physical realm. This phenomenon causes

is filled with “early-adopters.” Technology being integrated into

me to experience moments differently, creating a consideration

every day life is something that I have observed, participated in,

for how an experience should be represented virtually, as opposed

and critiqued within my life and work”

to how it actually is, thus pulling me out of that moment. In my


BETWEEN TWO BARNS During my stay at Arteles I expanded upon the concept of the

home to me over the course of my stay in Haukijärvi. These

displaced landscape that is central to my work, by creating a body

commonalities are represented both figuratively and abstractly in

of narrative paintings that address the presence of the figure

this new body of paintings in which the non linear arrangement

form within the context of a natural setting. I was intrigued by the

of subject, object, architecture, and landscape reveal the narrative

familiarities of this new and distant environment, which became

history that my subjects carry for me.


IN THE RESIDENCY May 2015

EMILIA WHARFE

UK

emiliawharfe@gmail.com // www.emiliawharfe.com My formal title is that I am a Writer and Illustrator, but I feel like

When I write I play with an annoying sibling, Dyslexia. I am bilingual

it is a lot hazier than that. My work is most alive for me when it

too. I use the linguistic chaos and humour that results, along with

takes and tweaks everyday experiences and blurs the traditionally

theories of nonsense, to convey multiple meanings - or sometimes

imposed boundaries between author-illustrator and reader. I try

none at all - and play with readers’ expectations. My writing and

to act as an intermediary between things that we think we know

images play off and complement each other, continually teasing

(whether scientific or historical) and those that are less tangible

and re-embroidering the elements of reality held therein with

(emotions, myths and fictitious creatures).

imagination and a playful surrealism, to create new metaphors

My artistic process means I spend my allotted times, alternately,

and expose the liminal spaces within the tale fragments I excavate

outside finding flowers, and indoors hiding within the dark, to

and try to retell.

create ghostly spaces and shapes that combine certainties and

My guide in all my work, Paul Grice’s Quantity Maxim: ‘to be as

the unknown. I then blend the organic shapes left behind with

informative as required and no more so.’

illustration to invent new worlds and characters.


GHOST MAN Between the beautiful lakes, sparse countryside and the many

song lyric) I used this as a tool for creating misunderstandings. I

Daim bars (which apparently is a Swedish invention, sorry Finns!),

soon fell upon a much-loved song, ‘Don’t stand so close to me’ by

what I really love about Finland is the people’s dry and slightly dark

The Police and thus ‘Ghost man’ was born. It is a short, nonsensical

sense of humour. So at Arteles I began illustrating little jokes – in

book that hopefully embodies Finnish humour, and an experiment

particular I became interested in Lady Mondegreen (a misheard

into my own illustrative style.


IN THE RESIDENCY May 2015

â&#x20AC;&#x153;SOFT & RAWâ&#x20AC;?

EVIE CAHIR

Australia

eviecahir@hotmail.com // www.eviecahir.com Evie Cahir was born in Ballarat, Australia. In 2012, she obtained an

of collaborations and projects, focusing on Comic Anthologies and

Associate Degree in Illustration from NMIT in Melbourne. She has

Editorial Work.

had two solo and five group exhibitions so far, as well as a number


SENSE OF PLACE, A VISUAL SELF - SURVEY. Moving (travelling across the world, running around the block,

space. Muscles have memory drives, neurons are empathetic

going for a smoke etc.) creates a map that translates and

and everyone has their own relative perception of space and

documents the present in a disorientating and de-centred

time etched and self-programmed into their own physicality.

landscape and scene. Throughout the residency I have realised

The work created here is documentation of this realisation.

that my body is an intelligent device for measuring and recording


IN THE RESIDENCY May 2015

â&#x20AC;&#x153;Art, science and politics, technoscientific criticism.â&#x20AC;?

ATIF AKIN

USA

a@paganstudio.com // www.paganstudio.com Atif Akin is an artist and designer. He exhibited in many online

an extensive media art exhibition, Uncharted: User Frames in

and offline shows and took part in international projects in the

Media Arts, in 2009 and edited a book by the same name. He has

field of art, science and politics. He taught various courses in the

worked with cultural institutions such as the Goethe Institute,

context of contemporary art and design in Europe and Istanbul.

KHM, University of Liege, ZKM and Ars Electronica. Currently he is

He joined the Visual Arts Department faculty at Rutgers University

working on Mutant Space, a research-driven art and design project

in September 2011. Currently he teaches at Mason Gross School

on radioactivity and nuclear mobility.

of the Arts and runs his studio in New York City. He co-curated


MUTANT SPACE, ONKALO Mutant Space is a large scope visual art project about nuclear

doing a literary survey about Onkalo. One of my major research

power and radioactivity. Research consists of visual surveys

question is a semantic one about conveying the information about

around power plants and physics research and development on

this material to the distant future generations.

radioactivity. It aims at contemplating on politics of nuclear energy

At a theoretical level, Mutant Space is directly related to theories

through artistic practice. Project works at all different scales, from

of Timothy Morton on ecology and hyperobjects

atomic to landscape, installing radioactive material which drives

argues that the very idea of “nature” which so many hold dear

generative digital animations together with landscape images.

will have to wither away in an “ecological” state of human

Since 2010 for this project I travelled to Chernobyl in Ukraine,

society and approaches this paradox by considering art above all

Metsamor in Armenia, Hanford site in WA. Onkalo spent nuclear

culture, politics, science, etc. In The Ecological Thought, Morton

fuel repository, located 132 km from Arteles on the shore of Gulf

introduces the concept of hyper objects to describe objects that

of Bothnia, is a deep geological repository for the final disposal

are so massively distributed in time and space as to transcend

of spent nuclear fuel, the first such repository in the world.

spatiotemporal specificity, such as global warming, styrofoam,

Throughout the residency I’ve been researching on site and also

and radioactive plutonium.

He radically


IN THE RESIDENCY May 2015

LAURA SKOCEK

Austria

laura@viablethings.net // www.viablethings.net The kinetic objects of Laura Skocek are subtle and technologically

Born in 1984, then studying Digital Arts at University of Applied Arts

refined, they deal with biological rhythms, the physiology of sleep and

Vienna, she has been living and working in Vienna and completed

dreams. She uses digital scanning techniques in her video works,

artist residencies in Salzburg (subnet AIR, 2013), Lithuania (Nida

and her focus lies on the ephemeral and more recently the pursuit of

Art Colony, 2014) and Iceland (SIM Residency in Reykjavik, 2015).

developing new ways of interaction with people as well as machines.


ELECTRONICS // ANIMATION The residency gave me the opportunity to tinker with new ideas

Part of my time was spent on the post production of a 2-minute

for interactive objects and to develop previous versions of textile

stop motion film, shot in my Viennese studio last summer,

sensors further.

involving editing, keying, compositing, the production and adding

Image 1 (bottom): Noise Piece 1 + 2, Photocredit: Stephanie Paine

of foley sound as well as effects.

Image 2 (top right): Sketch for soft room installation, Photocredit:

Image 3 (top left): Video-still from the animation film â&#x20AC;&#x153;Saboteurâ&#x20AC;?

Stephanie Paine

(working title) by Laura Skocek, story by Christoph Gruber and Laura Skocek


IN THE RESIDENCY May 2015

“Kantele evangelist and sound searcher”

PHILIPPE BEER-GABEL

France

byebyemusic@gmail.com // www.beer-gabel.com 33 years old / kantele player / yin yoga teacher

to share an experience between groups of people who would not

Music is a medium and a vocation in which I connect and share with

otherwise come together. I am passionate about exploring the

the world around me. My music is an intimate expression of myself.

possibilities of the Kantele’s unique sound and to revive its ancient

It is my intention to offer an accessible sound, color and story which

history in today’s popular music.

reaches to our divinity and humanity. Music is a language without

I believe music can transform and bring clarity to who we are,

borders. I aspire to play music, which serves to build a community

what we desire individually and collectively. The healing sounds

orientated spirit and supports a peaceful evolution. Music is a part

of the Kantele assumes the necessary role which peace plays in

of our collective memory; our universal story yet speaks to each

the development of the individual and our society. Historically,

of us personally. Music has a social function of bringing people

the Kantele was used as a shamanic instrument to calm the soul

together and embracing differences. The combination of Kantele

and bring emotional, spiritual and survival abundance. Audience

and pop music brings together people of different generations,

members today continue to make a similar remark that when I

cultures and music tastes. My music facilitates a rare opportunity

play, reflection, relaxation, a sense of peace is very present.


THE ROOM OF LETTING GO The nature of my work is about our ability to let go, our vulnerability

feel free and to get away from the conventional gap between “the

and the relation to the present moment. During my time in Arteles

performer” and “the audience”.

I have been refining my live performance “The room of letting

In Arteles, I have been working on different sound effect and the

go”, a 55 minutes piece made of 10 songs which aims to create a

inclusion of some field recording as well as reflecting on how to

space in which people can sink safely into themselves. People are

improve the relation between sound and image in the specific

invited to relax and release emotions, past, present, future thanks

space offered by Arteles. With in mind : to give back to music

to the unique and soothing sound of the Concert Kantele. Some

the social and ritual function it has had in the past. To get people

videos of travels and archetypal objects take also the relay from

together, share some stories and knowledge or like in shamanism

time to time. In this space it is ok to sit, to stand, to lay down, to

to accomplish certain ceremony.


IN THE RESIDENCY May 2015

STEPHANIE PAINE

USA / Turkey

stephanielpaine@gmail.com // www.stephaniepaine.com I love working with the essence of photography, the camera

Iâ&#x20AC;&#x2122;m influenced by land, nature and all things animalistic. I like to

obscura, and aim to explore its meaning through lenless

observe, to discuss, and contemplate the meaning of anything.

techniques. My process begins with the creation of a pinhole lens

Originally from Michigan, I moved to live and work in Istanbul

for digital photographs or a box camera for film, which further

in 2010. I have an MFA in photography and video from Purdue

lends to an exploration and invention of new methods for myself.

University and teach in the art program at Sabanci University.


UNTITLED These two series are processes in the broader theme of my

and composition, and texture and volume; to make aware a place

interests in the natural environment. They also represent an

that is both real and entirely fiction. Secondly, to maintain memory

exploration of my reactions to such a setting as Arteles, completely

through collection and preservation: to preserve time, to preserve

unlike my current home yet reminiscent of my former. In my

form, to preserve this one thing before wilting only hours after

approach I considered: firstly, to rely on the photographic medium

being plucked from its little habitat; a memento mori easy to carry,

as is, with its most basic principles of light and shadow, framing

easy to keep.


IN THE RESIDENCY May 2015

“Lets do it, but let’s do it with excitement and freshness!”

MEGAN SOLIS

USA

megsolis7@gmail.com // www.megansolis.net Much of my work presents attitude. I enjoy illustrating characters

I take delight in seeing the viewer react to a piece I have made.

from my imagination and giving them ambiguous narratives for

Usually it is met with giggling and laughter while pointing out

the viewer to interpret. I allow myself to intuitively create marks

elements that they relate to or find ridiculous. For now, I would

with an almost childlike freedom. I am attracted to loose lines,

like to continue to convey this sense of playfulness and flippancy

bold pattern and vivid colors. These personalities are distorted

and keep my work lighthearted yet intriguing.

creatures that although slightly grotesque have the ability to sit in such a confidence that it can almost become intimidating - but humorous nonetheless.


EASY ON THE EYES COMFORTS In the beginning weeks at Arteles I felt stifled by my drawings. I

drawings. They were incredibly more revealing and raw then I

had always thought drawings as precursors of development to

could have re imagined with the sculpture. They were unconscious

‘real’ pieces. ‘Real’ meaning the distinguished sculpture, or the

desires for comfort, for home, and for myself.

sophisticated painting; of course.

As I cut up these studies they soon transformed into a puzzled

So as I progressed through with no real work to show, I simply

assemblage of collages filled with broken thoughts, fabric and

let these quirky ink pen drawings emerge. With help from fellow

pattern. The theme being comfort I thought about the comfort in

residents I began developing ideas to transfer these illustrations

material, food, iconography, in touch, in memories, and connections.

into soft fabric sculptures held by wire and other materials.

During my time I was instinctively making associations between

Although I was excited about the idea and even found bags full of

the country of Finland and my home. My need was to create pieces

fabric in the city I couldn’t find the telling urge to actually make

that had universal themes different audiences hopefully could

them. I realized then my wish was to keep the integrity of these

relate to.


IN THE RESIDENCY April 2015

EMILIA MARYNIAK

Poland

emilia.maryniak@gmail.com // www.emiliamaryniak.com Art for me is an incessant process of asking questions

we cannot see what is real, and what is not.

Whether it’s based on a visible world of nature, or the imaginary

It is about the human need of understanding the state of one self,

world of physics and its underlying philosophical concepts – it’s

through the physical body, a self-memory, and the construction of

always about the mystery of existence.

ego. It is a constant question: What are we the most, and what is

It is about a tangible world and the way it takes us to its secrecy, so

the essence of our being?


DADDY, DADDY, SLEEP, SLEEP, SLEEP - CAUSE WHAT IS THERE IT’S OUR FEAR

- Installation

(including 2:25min video with sound - on loop; acrylic painting on paper; mix media collage; nest made of natural branches; glockenspiel )

This project is about weaving and plaiting through a memory. Its

The Old Bear is sleep, sleep, sleep

core is a braided nest made of a natural branches, with a colorful

The Old Bear is sleep in deep

glockenspiel in the middle of it.

We afraid of him so we tiptoe on the grass

Past comes back with a sound of the old children’s play. It’s

Cause when he’s up – he will eat us

combining the real with the real-like dream. It’s made of something

[old Polish nursery rhyme]

that you never said. It was gone before you were there.


IN THE RESIDENCY April 2015

VERÓNICA GÓMEZ

Argentina

veruschka1@yahoo.com.ar // www.veronica-gomez.com.ar I see each piece I produce as chapters of a large imaginary book

are intertwined on stage in each of my installations, suggesting

that is spread out in space. The information that goes into my

a narrative around a latent protagonist. Of all the literary forms,

work is often complex and with a rather artisanal character; I

Fable—in which animals are always the main characters—is a

imagine a baroque mise en scène is the best environment for

frequent tool for fiction. I work in diverse media: painting, drawing,

it to be expressed in order to appeal to the recipients’ cathartic

installation and video.

emotions: humor, drama, empathy and recognition. Several clues


LETHARGY / WOMEN-FOREST. For a month, I looked for that instance where the color is

forest. Lichens. Cornamenas. Birch skin. Roots. They are

screened by a mild stupor a limbic time. Hammershøi. Morandi.

ghosts. Sometimes scary, but only because they are afraid.

Hugo Simberg. Helene Schjerfbeck. I thought of them. And on

In mid-April, on an almost completely thawed lake, the birds

the edge of the forest as only border almost always dim sky.

screamed like crazy.

In my portraits, women are adorned with vestiges of the


IN THE RESIDENCY March-April 2015

“Living artistry. Love, dolls, zoology. Science, science, science.“

PATRICIA BARBARA

Brazil

barbarakimberly@gmail.com // www.facebook.com/abonecaconceitual Hello, would you like to play doll?

I love science and animals, and I took to myself a responsability to

I’m Patricia Bárbara, A boneca conceitual - the conceptual doll. I

address my art both as an animal and a scientist. Crazy, I know.

started performing professionally at the age of 37, but actually I’ve

Either arrogant ou naive, or both, you may say. I could not deny. But

been performing my whole life. For me, it is the way I live, how I

I promise you I’m interested in learning, not in being right.

conduct myself, how I interfere in the world. Graduated in Cinema,

Also, as a doll shoud be, I’m ready to interact and give what you

I’ve been working in the industry for over 20 years. I started flirting

need as much as it may be possible.

with contemporary dance and visual arts in 2007 and all of a

I almost never give up, but I’m not afraid to give in.

sudden performing became The Way.

Ready? Let’s play.


THE LAND IN THE END Combining a scientific approach to an artistic execution seems

and our senses? Would we be able to look at animals as another

to be more and more the path Iâ&#x20AC;&#x2122;m running towards. Civilization

being, maybe friendly, but never as pet or as opponent?

could be defined as an overcoming of nature - just to be nice and

How naive can this manner of thinking be? Would a regular farmer

donâ&#x20AC;&#x2122;t say overruning. It is so imperative we reconsider civilization

or hunter or fisherman laugh at me in compliant way? What are the

models that for almost 60 years this thought has been addressed

secrets, that are not really secrets, but just subjects we dismissed

by a certain amount of humanity, although it is still small in

long time ago?

numbers, fairly.

This investigation process has just began. Well, in fact, it started

How far we are from a supposedly inherent relationship with

around four years ago, but it is still very novice. So much to learn.

nature? If a catastrophe hit us and all electronic knowledge

So much to figure out. It is a jump off the cliff, a dive in the abyss.

breaks down, would we be able to manage nature and life? More

Iâ&#x20AC;&#x2122;m wiiling to take it.

specifically, if older people and their wisdom also die along the

Resilient are the children, the nature and the dearly beloved ones.

electronic knowledge, how much could we do with our bare hands

I want to fit in with those.


IN THE RESIDENCY March-April 2015

AHMET CIVELEK

USA

ahmet@ahmetcivelek.com // www.ahmetcivelek.com I was conceived in London, born in New York and raised in Istanbul.

related to my work at the time and continues to relate to themes

I moved to New York when I was seventeen to study Pratt Institute

in my work and process. This Destruction Company closed in late

and consequently moved to London for a year to study fine arts

2011 and I immediately got back into making art, which I have been

Central St. Martinâ&#x20AC;&#x2122;s. In 2010 I moved back to New York and set

doing ever since. I live and work in New York and continue to visit

up a company, The Destruction Company, that was immediately

London and Istanbul intermittently.


I have been working on videos and also parts of paintings that are

been experimenting in my own studio, then actually producing a lot

going be finalized after Arteles. Although I had ideas of the videos

of work. I am looking back at 6-8 months of work I have done and

I wanted to take, it is not the direction I am taking. I think I see

digesting them and bring some newer elements from here as well.

Arteles as more of a place to think about the things that I have


IN THE RESIDENCY March-April 2015

“Just painting and stuff”

SWAIN HOOGERVORST

South Africa

swainross@gmail.com // www.swainhoogervorst.com Swain Hoogervorst is a visual artist from Cape Town, South

photograph functions as a springboard for intuitive and technical

Africa. He works predominantly in the medium of oil paint

explorations. The photograph is a trigger, necessary to – but in no

and has been painting full time since 2012. He has exhibited

way identical to – the painting. How to keep searching, never to

on various group shows, locally and abroad, and held his first

settle, to keep asking: What is painting?”

solo exhibition at the AVA gallery in Cape Town in May 2014.

Hoogervorst lives in Cape Town, South Africa where he works from

“My paintings have grown out of an interest in colour, where the

Eastside Studios.


REPRESENTATION OR ABSTRACTION OR BOTH I came to Arteles with an open mind and the hope of rediscovering

based on close up photographs I had taken of the birch trees. The

painting for myself. The only thought I had in mind was that I

composition of the trees, the texture and colour of their bark as

would be making paintings of the snow to explore the colour

well as the space in between them related to themes that I am

white. However the snow melted rather quickly and the Birch trees

trying to unpack in my work back home; my fascination between

surrounding Arteles grabbed and held my attention, as did the

representation and abstraction, whilst focusing on colour, mark

ever-changing landscape. I took to making small paintings of the

making and form.

view from the studio window as well as quick small-scale paintings


IN THE RESIDENCY March 2015

“Somebody to whom things made matter very little - somebody who is obsessed by Making.” - E.E.Cummings

HANNAH MONSON

Australia

monson.hannah@gmail.com For me, art is about sharing and connecting. A way to bind maker

a story can be told and how it can access it’s audience. How can a

and viewer in a common place of humanness to reveal the spectacle

story be told without telling? How can a strangers art make us feel

of our unspectacular selves. To do this I tell stories. Through each

not so alone? My work is messy, imperfect, transdisciplinary and

discipline I explore I am constantly re-imagining the ways in which

never separates the real from the absurd.


007

ARS EST GRAVISâ&#x20AC;&#x2122; In this duration based, multimedia installation I will be exploring the

of the container I encourage the participant to actually consume

entire collection of James Bond 007 films with a very large bucket

some of the popcorn present and remain inside it for as long as

of popcorn that is the approximate size of a communal kitchen bin.

they deem necessary before continuing on with the film. This

This piece encourages the audience to physically participate in the

experience allows an immediate, physical demonstration of the

installation with the choice of positioning themselves on to the

visceral and tangible capacity that art offers by not just covering

furniture in front of the screen or immersing themselves entirely

their entire body in the art but placing it deep inside of them.

in the vat of popcorn that is present. Once managing to get inside


IN THE RESIDENCY March 2015

“Morgan Pettersson is a writer and performance artist aiming to inspire environmental protection through her work.” MORGAN HANNAH PETTERSSON

Australia

morganhannah.pettersson@gmail.com // www.morganhpettersson.com Morgan Hannah Pettersson is an Australian writer and

a book to inspire more young people to follow their dreams and

performance artist aiming to inspire others to protect the

get involved in conservation projects. Her latest literary project

environment through her work. As a travel and environmental

is an adventure mystery book aimed at the young adult market

writer her work has appeared in publications around the world in

featuring strong environmental themes. As a performance artist

both print and audio visual formats. Chosen as one of thirty young

she has performed in shows in three Fringe World Festivals under

people from around the world to travel to the end of the earth in

her stage name Bella Bowtie. Her performance style is cabaret/

2013 as an ‘Antarctic Youth Ambassador’ she spent two weeks

circus with her mime act exploring the deeper human emotions

on expedition in the last untouched wilderness on earth. Her

behind relationships from the 2013 Fringe World Festival receiving

experience in Antarctica lead to her writing her first book ‘Antarctic

critical acclaim.

Youth Ambassador: protecting the last great wilderness on earth’


REFLECTION My time at the residency has been spent consolidating and

attempting to identify and better understand how to make a small

exploring the journey that I have made over the past two years

change in how we perceive, interconnect with and appreciate our

and how much this has impacted on my writing. The natural world

natural world, has become the core focus of my work. During the

plays a huge role in my work and I have been exploring themes

residency I have been working on the formulation of a major piece

of conservation as well as trying to understand how the different

of fiction set in Antarctica whilst also taking the time to free write

facets of my life fit together and relate to my work. In essence,

and explore small bursts of text without labelling their form.


IN THE RESIDENCY March 2015

“Taboo is in the eye of the beholder.”

JESSICA S. FRANK

USA

jsfrank79@gmail.com // www.jessicasfrank.com As a poet, I like to explore the more taboo topics in hopes of

When I’m not exploring the profane parts of existence, I am

understanding what makes certain ideas so bad. Anything can be

somewhat of a confessionalist poet, but with an active imagination.

taboo, it all depends on the circumstances and the interpretation.

I take experiences and conversations and turn them into something

Sex is taboo topic for some, which is why it is a common theme

to be shared. There’s a value to just about everything people

in my poetry. What people think about sex comes from what they

experience, and discovering a truth about others that one may

are brought up with and what they have discovered on their own.

have only previously known in him or herself can be life-changing.

I find that fascinating because the ideas fluctuate from beautiful

Poetry is in every part of the clichéd human experience; it’s just a

to utilitarian to shameful. What makes something so basic and

matter of fleshing it out.

biological so widely interpreted?


SUNRISES, SUNSET, AND THE NIGHT SKY Leaving behind three kids and a husband was not done easily,

While watching the sunrise one morning, it occurred to me that the

so I knew whatever I accomplished at Arteles would have to be

sun that rises over Finland is the same one I see in Wisconsin. A

something I could not do at home. I came to this program not

basic science fact I already knew, but traveling all this way made

knowing what I would be working on exactly, but having some

it more concrete. Couple that with two natural phenomenon we

rough ideas of themes I’d like to explore.

witnessed here – the best Aurora Borealis display in a decade and

What shocked me most was hearing the stories from the other

a partial solar eclipse—and suddenly, I was creating new work

artists--who hail from around the world--that didn’t differ too

about nature.

much from my own stories. We all had loved, lost, created, laughed,

Whether it’s a sunrise, the losing of one’s virginity, experiencing

and went back for more. Combining that with the natural side of

crushing loss, or laughing at a joke, we are all in this business

things I got to witness at Arteles—early sunsets and ice, giving way

of living together. Humanity shares commonalities that know no

to longer evenings and the reemergence of spring—made me want

continental borders.

to explore just how being on this big jiggly blue planet together gives us all something in common.


IN THE RESIDENCY March 2015

“In the end, we’ll all become stories.” Margaret Atwood

LUCIE STEVENS

Australia

luciejstevens@gmail.com // www.luciestevens.com I’m an emerging Australian novelist currently based in Berlin.

weave on an eight-shaft hand-loom, investigating circus in the

My creative interests lie primarily in historical fiction and magic

early 1900s and studying German architecture. Research for my

realism.

first novel, ‘The Grace Stroke’, involved everything from identifying

Stories are my favourite thing, so it was inevitable that I would

names commonly used in the Frankish kingdom, to discovering

become a writer. As a child, my stories were often about animals

when nail polish was commercially available in France.

encountering the supernatural. While my protagonists now tend

Writing about times and places unfamiliar to me creates

to be human, I’m still fascinated by the intersection of what is

opportunities to travel, learn and meet people I couldn’t otherwise

considered ‘real’ and ‘unreal’, and the cultural influences that

access. The statement ‘I’m a writer’ is my skeleton key to the world.

define aspects of life under these terms.

Portrait by Amy Alexander: www.welldonenobody.com

I’m drawn to historical fiction and love the research process it demands. My current work-in-progress has seen me learning to


TISSUE During my time at Arteles, I worked on a novel for young adults, set

Her investigations lead her first to Paris and then back to Berlin,

in Germany during the final days of the Weimar Republic.

where she must confront her father about a shameful secret that

The narrative follows circus performer and weaver Augustine

has influenced the course of her life.

Clavette, who is offered a scholarship to the Bauhaus Design

This work explores the influence of story-telling, both ancestral

School. Away from the sequestered life of the circus, Augustine is

story and story which is propagated culturally and politically. It

exposed to a world of politics and change. It is 1932, a time when

also examines enchantment and manipulation, a theme present in

identity determines fate. But Augustineâ&#x20AC;&#x2122;s heritage is uncertain.

my first novel, â&#x20AC;&#x2DC;The Grace Strokeâ&#x20AC;&#x2122;.

Abandoned as a four-year-old, Augustine has been raised by those

The quietness and isolation of Arteles makes it the perfect place for

wishing to control and exploit her.

focused writing. Experiencing a new landscape has been inspiring,

To free herself from the past and ensure she has a future,

and I can see the setting of my next manuscript being shaped by

Augustine must discover why her mother deserted her in Berlin.

frozen lakes and birch forests.


IN THE RESIDENCY March 2015

SUSANNE LUND PANGRAZIO

UK / Sweden

smlundpangrazio@gmail.com // www.susannelundpangrazio.com Susanne Lund Pangrazio uses a combination of painting, drawing

intertwined and build an uneven weave of thoughts, opinions and

and photography to explore subject matters such as memories,

hope.

myths and solitude. She sometimes adds other elements to her

Susanne obtained an MFA in Fine Art at Duncan of Jordanstone

drawings and paintings such as wire, balloons or ribbon which

College of Art and Design in Dundee, Scotland in 2013. She also

make the work strive towards a three dimensional format.

holds a Bachelor of Science with a major in Latin American Studies

Her works often hold a liminal position where the boundaries

from the University of Gothenburg, Sweden. She has exhibited in

in between the real and the imaginary are in a constant state of

Sweden, USA and in the UK and strives to interconnect her different

flux. Within her practice personal and common experiences are

academic backgrounds within her art practice.


â&#x20AC;?IN THE MIDDLE OF THE JOURNEY OF OUR LIFE I FOUND MYSELF WITHIN A DARK WOOD WHERE THE STRAIGHT WAY WAS LOST.â&#x20AC;? DANTE ALIGHIERI, THE DIVINE COMEDY I arrived at Arteles with a vague idea of what I wanted to do but I

I started to think about the adaptability of humanity and how our

quickly found myself wandering into other territory. The freedom

quest for a rational and civilized society has led us away from

to let the mind and ideas wander freely has been the true strength

nature instead of working in its favour; how we perceive ourselves

of this programme. In conclusion I have focused this time on two

as being above nature instead of a dependent part of it.

different streams in my practice; to develop and find new pathways

During this month I have slowly started to experiment with visual

within my painting practice, and to conceptually explore the subject

ways of interpreting these thoughts with Indian ink, oil paints and

matter in my work. After endless walks in the surrounding area I

oil pastels. The sketches and thoughts made here form the starting

started to think about the forest; a place that gives life but that is

point for a larger body of work that will be exhibited in Aberdeen,

also historically a place of perils where fears need to be overcome.

Scotland, later this year.


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

ANGIE GUNNOE

USA

acgunnoe@hotmail.com // angiegunnoe.blogspot.com My work is informed by my experiences and interest in psychology,

existence. They present fragments of space that are both physical

spirituality and the human condition. The images I create are

and metaphorical, asking the viewer to loosen their view of what

intended to invoke wonder and curiosity about the nature of

is real.


LEARNING TO WALK THROUGH THE DARK â&#x20AC;&#x153;Whoever you are: some evening take a step out of your house,

I spent the residency creating photographic images, primarily at

which you know so well. Enormous space is near.â&#x20AC;?

night. This required me to confront my own fears of the dark and

Rainer Maria Rilke

the mysterious sounds that come alive when everyone else seems to be asleep. There is an added peculiarity in the night landscape that attracts me. The intersection of beauty and strangeness in the landscape holds a feeling of both tension and stillness and brings with it the experience of other-ness.


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

“The goal of life is to make your heartbeat match the beat of the universe to match your nature with Nature.” -Joseph Campbell

GRACE PETERS

USA

mojavebirdmusic@gmail.com // www.mojavebird.com Contrast and resolution have become my greatest tools of

“haunted” and “eerie,” yet the aim is to be soothing and honest.

expression in the realms of both sound and image. They both

Nature continues to inspire me, teach me, ground me, create me. It

mimic aliveness, as one extreme dictates the existence of the

is a gift to be in it, to capture its stillness, softness, and contrasting

other end of a given spectrum, the spectrum in which we choose

strength and grit. Layered images blend into the sounds, creating

to exist. Some people decide to remain in the safety of warm and

a convergence, a reverence.

cool grays, but I see the truest aliveness in the darkest moments

My gratitude to be able to create and appreciate life to this extent

before the light hits, in the dissonance before the resolution.

is unending, and I aim to create an environment where people can

Layering ambient sounds from synthesizers, pianos, and organs,

know their own worth and forever inspire, and be inspired by it.

I like to create textures that are simple, yet rich, often drenched

I play/write/record/perform music in Portland, OR, USA under the

in reverb. The addition of spacey vocals has led to the descriptors

name Mojave Bird.


HERE, NOW, LIKE ALWAYS waking with the sunrise :: contemplating, breathing, intending ::

layers of improvised melodies as well as the clear and focused

observing blues and and creams of morning skies :: retreating

:: PERFORMANCE :: single file line :: music on headphones

within, listening

:: groups walking in the woods

::

VIDEO

::

snowy walks with tripod and

::

listening, observing ::

camera :: capturing images to be layered together :: finding

doing, not doing :: meeting yourself in the darkest places ::

beauty in the blurred, close up images, as well as the clear

comfort, discomfort, comfort :: finding beauty in the clear and

and focused :: dancing between the two :: MUSIC :: allowing

the unclear, the blurry and the focused :: tranquility in the chaos,

melodies, deep and dark, to flow out

haunted, old pump

loudness in the most quiet spaces, then reverse :: be anywhere,

organ :: pulling out the stops :: resonating with the morningâ&#x20AC;&#x2122;s

::

with anything :: we are here, now, always, like always, but now we

intentions :: creation of virtual musical instruments :: balancing

know it ::

between composed and free-form :: finding beauty in blurred


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

“Good art provides people with a vocabulary about things they can’t articulate.” -Mos Def

WILL HARRIS

USA

willharrisphoto@gmail.com // www.willharrisphoto.com I am a visual artist who mainly uses photography. My work is

interested in trying new things and experimenting as it relates to

mainly inspired by memories, found objects, and every day life. I’m

my work.


UNTITLED I came to Arteles with a very loose idea of what I wanted to do and no expectations of how the final project would turn out. I left with sounds derived from photographs of the landscapes.


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

“The image is an apparent reality. The nothingness, the infinite and the uncertain are the concepts that are behind my photographs.”

CONSTANZA GAZMURI LYON

Chile

conigazmuri@gmail.com // www.cargocollective.com/constanzagazmuri I am photographer and i also work with video. My interes is focus on

component; Light and for the shadows; the absence of light.

images that embody subtle and desolate landscapes. I recurrently

I am interested in the ambiguity that acquires the image of the

work with images that contain fog, this pictures generate visual

landscape by not having enough light; camouflaging their shape

results that moves away from the photographic language and

with its background and constructing an uncertain image with

approach the pictorial language. Based on this idea the formal

multiple readings.

results of my photographs are close to the pictorial movement of

Both fog and gloom limited the vision beyond the here or the

the German Romanticism.

nearby. Seeking to focus my work around the uncertainty of

In conceptual terms, there is also a closeness; the problematics of

the invisible/ intangible, the insecurity of the indefinite. The

my visual investigation is linked to the thematic of this stream as:

idea of nothingness or infinity are very inspiring and in some

the vacuum, the sublime and the uncertain.

way their are possible places that shelter behind my images.

Another subject with which I am beginning to work is the gloom .

I´m also interested in the influence of the abscence of light in

Im interested

people.

to

work with photography from his basic


SURVIVOR PLANTS / PICTORIC PHOTOGRAPHS / ONE DAY WALKING THROUGH THE HORIZON I develop three projects during Arteles residency :

Finally, One day walking through the horizon is a video

Survivor plants emerges from the encounter with plants that grow

performance that originates in the idea of the appropriation of

in the snow covered fields and survive the extreme weather and

space. This occurs by the transit through a fictitious horizon line,

low light conditions during wintertime. The images correspond to

from sunrise to sunset. This transit is just in one direction and the

plants that where found during my explorations in nature. The final

reiterative action will be broken at one point by the action of sitting

image is a hybrid, a mixture between different parts of plants.

and contemplating the landscape during some minutes. This video

I generate Pictoric photographs, following my interest of working

is related with different concepts that include: the relation of the

with the language of photography from its displacement to the

body with the context, the resistance and weathering of the body by

pictorial language.

the repetition of the same action, as well as time and transit. With

Using long exposure and techniques such as panning and zooming,

this video I return to a concept that I have been using before in my

I create photographs that are focused mainly on the atmosphere

visual research; the horizon itself, a fictitious limit of vision that is

and the abstraction of the landscape.

infinite and unreachable. It is here but at the same time far away.


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

LOUISE BØGELUND SAUGMANN

Denmark

mail@louisesaugmann.dk // www.louisesaugmann.dk Louise Bøgelund Saugmann is a Copenhagen based artist. In her

Her work draws from both an aesthetic and a theoretical

artistic practice she works conceptually with photography as a tool

foundation.

to document and explore personal and public spaces.

Saugmann has exhibited in Sweden, Germany, Denmark, Finland,

A meditative work process is the way into her motif-world, which

Norway and England. Her stay at Arteles was kindly supported

centers on visual spaces aiming to capture mental states, moods

by the Culture Foundation for Denmark and Finland and Knud

and presence.

Højgaards Foundation.

Recently, the relation between photography and meditation has captured her. She is interested in, how the medium of photography, and it’s claimed close relationship with reality can make ‘inner’ pictures visible and show what is not immediately visible to the eye.


12 FRAMES INFINITE Approaching my work in the amazing surroundings of Arteles, it

I point the camera at the same scene, the images are different,

was important for me to spend many hours outside, alone, in order

when I shoot handheld and light changes.

to study and relate to the silence and landscape around me.

I manipulate images together in different ways, aiming to

The photographic medium has a kind of noise or speed, which is

create imaginary landscapes that visually move away from the

about capturing the moment. The moment here and now that never

photograph, approaching an abstract and painterly expression. So

comes back. For me it is interesting to work with the opposite. To

as to create mental, quiet, timeless spaces, where a meditative

make the photograph slow and silent and to dwell on the same

presence in interaction with, time, coincidence, and light plays a

subject for a long time and photograph it many times. Although

crucial role.


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

PIA ZÖLZER

Germany

p.zoelzer@gmx.de // www.piazoelzer.de Pia Zölzer is an illustrator living in Cologne. Using oil pastels on

animal-like hybrid creatures acting in shadowy landscapes within

carton, her work is a processing mixture of colour and confusion.

misrepresentive dimensions. It´s an indifferent wilderness in her

She uses expressive, often dark images to document an intense

pictures that gives ample scope to the viewers interpretation.

process of visual quest. Her pictures are busy playgrounds for


”THE SKY IS AN ENORMOUS MAN” EMANUEL SWEDENBORG My work is highly influenced by old myths and folklore. It contrasts

I spent the residency reading articles about finnish pagansim. I

everday life with legends of mystical creatures and their places.

was drawn to the intersection of a polytheistic view according to

Therefore i like to see my surroundings as sureal playgroungs for

my own personal beliefs. Thats why i started to study the unique

different encounters and interactions. My pictures are trying to

athmosphere of the nature around me. There was the strong

create a certain atmosphere of ambiguity, avoiding to sum up to a

presence of silence and being that help me easily to connect with

clear conclusion.

the idea of pagan. In combination with the most amazing dreams i had, i couldn´t resit of the feeling theres something truly mystical about finnland.


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

SANDRA BEER

Germany

hello@sandrabeer.de // www.sandrabeer.de Sandra´s work is based on impulsive dots and vital lines, using her

Sandra Beer´s pictorial language is an untiring effort to detect and

preferred medium, indian ink on paper. These imaginative worlds

explore new levels of reflection and their figural representation.

are always powerful and far beyond any previously captured reality. Most of her characters are perceived as both abstract and figured, comparable to an unkown constellation of stars.


ROBOT TALES The drawings were made at the Arteles Center in Finland. In a

from white to blue to dark. Sometimes it feels like on other planet.

snowy landscape, far away from any city. I start to illustrated part

Nature and the peaceful atmosphere puts me in the right mindset

of the stories of Stanislaw Lem`s “Robot Tales”. I was inspired

for the first drawings. The result is a screen printed box with 5

by the Nordic environment where landscapes change every day

leporello folds of 5 stories of the “Robot Tales.”


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

“The small details of everyday life are in silent continuous transformation, but with the act of listening, these details can become very present.” KATH FRIES

Australia

kathfries@gmail.com // www.kathfries.com Kath Fries traces the impermanence of present experience in her

Quiet observation is an important aspect of Kath’s process. By

art practice, as an ongoing personal reflection on the textured

focusing on instability and materiality her work reveals poetic

passage of time and fragility of life.

links between humans and nature, locality and history, micro and

She works with natural and found materials to explore tactility

macro, existence and mortality.

and nuance in her sculptural installations, which embody

Kath would like to thank the Ian Potter Cultural Trust for

interconnections between our senses and our surroundings.

awarding her an early career travel grant, which has enabled her to participate in this residency, and Sydney College of the Arts post graduate support scheme for assisting her PhD research at Arteles.


SNOW AND ASH When I arrived at Arteles, a thick blanket of snow covering everything

Embracing the Finnish sauna tradition further enhanced my

and it instantly enthralled me. I delightedly waded through the knee-

tangible snow experiences, as oneâ&#x20AC;&#x2122;s sauna-heightened body

to-waist deep snow leaving behind deep footprints. Occasionally I

temperature dramatically contrasts the touch of frozen snow. Ash

fell over and found my self visually observing the snow close up

from the sauna, with its specific colours and textures, became a

and feeling the snowâ&#x20AC;&#x2122;s changing tactile touch as it melted against

mark making devise in my snow work. Although both materials

my skin. My art practice often reflects on how our bodily senses

are quite ephemeral and transitory, the act of scattering ash is,

engage with our surroundings, so with this in mind, I deliberately

for me, intrinsically linked to grieving, ritual, cremation, mortality

began using my hands and arms to reach around and into a mound

and the human body. In these works, the ash also symbolised a

of snow. My hands met in the middle, hugging the snow and creating

trace of contrasting temperatures and contact between the snow

interconnecting burrows. These ephemeral snow interventions

and the body. Over time my installations naturally changed with

went beyond merely looking at the snow, to understanding how it

the weather conditions and eventually disintegrated back into the

felt on my skin and how it changed after thawing and refreezing,

ground.

dissolving in the rain or resealing after a fresh snowfall.


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

“Sounding Embodied Intuition” MAURICIO RODRIGUEZ

Mexico

info@mauricio-rodriguez.com // www.mauricio-rodriguez.com I compose out of ‘Emptiness’.

Exercising my inner ear from ‘Within’ the dark-matter of my

I literally do so because that is the way the imaginary background

imagination has been a self-imposed methodological technique,

of my inner ear presents itself to me. The non-referential space of

integral to my compositional process. Thus, intuition is the primary

emptiness has been always the conceptual and vivid container of

source in my art, a source that later is carefully shaped to translate

my work. The ‘Void’ is not neutral though, it is an active landscape

my inner space to the outer world.

that gradually forces me to detach my own music from it. The

It is the “kinetic energy” displayed through the human body, the

borderline aspect of my work comes from the intention to unveil

element that allows me to render my intuition and imagination into

“A Something” or “A Sonic-Thing”, while somehow retaining the

reality. The body actions as manifested in my music performances,

source-force of the “”No-ness””, which is indeed “Wholeness” at

aim for a multi-modal artistic approach, where the listener-

the same time.

spectator experiences an “inter-subjective”, but nonetheless, tangible sounding-physicality, that vividly retraces the internal seed of pure and abstract imagination.


MEMENTO ANIMUS’ (SOUNDING EMBODIED INTUITION) In ‘Memento Animus’, sound works as reminiscent experience of

sensed relation to the triptych score, and from embodied reactions

“soundless” music created from “pure kinetic energy”. The piece

towards the musical instruments (sounding objects).

unfolds from the physical presence of the performer, his/her


IN THE RESIDENCY February 2015 - Silence.Awareness.Existance program

ANTONIA KUO

USA

antoniakuo.art@gmail.com // www.antoniakuo.com Antonia Kuo creates a fluid dialogue between drawing, painting,

forefront, referencing the intangible, transitory or degenerative.

photography, 16mm film and video, investigating the omnipresent,

Through a multilayered process, the images are in flux and undergo

unrelenting vital impulse in nature perpetuating time and

successive transformations from their original state, subverting

existence.

the construction of representational truth or fixity.

With an emphasis on experimental methods and

physical interventions, the materiality of her work is brought to the


ETERNAL RETURN The work I focused on at Arteles was a layered, mixed media

exposure, physically altering the film surface, or creating moving

attempt to visualize matter, motion and energy -- incorporating

image 16mm films compiled from strings of animated still images.

re-photographing drawings and source material with multiple


IN THE RESIDENCY January 2015 - Silence.Awareness.Existance program

“Art is what makes life more interesting than art” - Robert Filliou

AMANDA MARCHAND

Canada

amandamarchand@earthlink.net // www.amandamarchand.com Amanda Marchand’s work cross pollinates between photography

Her photographic series, “Night Garden” will be published by Datz

and writing and is guided by a deep emotional honesty, a love

Press in 2015. She is also the author of the book of fiction, “without

of poetry, critical theory, and the natural world. Lately she has

cease the earth faintly trembles.” She was raised in Montreal and

become fascinated by the mysteries of the Universe, often finding

now lives in Brooklyn, NY.

herself in bed with her children watching “documentaries” about life before the dinosaurs, experiments in physics, or the far reaches of the cosmos.


Whenever Youâ&#x20AC;&#x2122;ll Try Iâ&#x20AC;&#x2122;ll be With You

WORK IN PROGRESS - PHOTOGRAPHS My experience at Arteles was transformative, beyond expectations,

that could be contemplative in its minimalism, yet piercing like

beyond plans, beyond art even. I set out to photograph, with

the practice of meditation itself. I am excited about the work-in-

medium-format camera, the mystic Nordic winter outdoor-

progress from this residency, but even happier to have met such

scape, the blue twilights, the phases of shifting light, the white

talented artists, such kindred souls, new friends who enriched

and monotone palette, against snowfall and sky, stripped bare

my time there beyond anything I could relate in words. Hoping my

of media, color, polemics. And this I did with a big Canada Goose

gratitude for them, and for Teemu and this incredible place will be

coat and red Arteles bicycle. Given the themed program, Silence

there in its infinity in the photographs.

Awareness Existence, I was interested in making something


IN THE RESIDENCY January 2015 - Silence.Awareness.Existance program

â&#x20AC;&#x153;The Party Within : A Smart Casual Connecting Principleâ&#x20AC;?

CAROLINE ANDERSON

New Zealand

caroline.m.anderson@gmail.com // www.thepartywithin.com Caroline Anderson aka Crystal Diamond is an existential rogue

signature move. She is doing this by way of an epistolary Peace

scholar who subscribes to her own founded philosophy, The Party

Party Puzzle, distributing original handwritten writings (riddled

Within (a smart casual connecting principle). Currently writing a

with drawings) to selected parties by post, planting psychic seeds

book of the same name, Caroline perpetually unpacks snack sized

and crystallising invisible connections between disparate parties,

renditions of her explosive psychic experiences in a roundabout

an instinctive method that reveals its importance layer by layer as

oblique fashion that draws newcomers into the story as it is penned.

time rolls around on itself. Schooled at fashion school and in the

Her dedication to party artistry reflects a dedication to continued

hospitality industry Caroline happened into the art world when

improvement of the overall vibe of Earth. Resourcefully revelling in

suddenly she had a lot to say, and needed a forgiving word to

simple tasks while deeply investing in human relationships is her

shelter under. Art is her new umbrella.


ESSENTIALLY APPITIZERS At Arteles I was working on my “book” project, an ode to the

comics, played animal games, swiped left a lot, hosted a bedroom

electrical currents passing between us (humans), transmuting

disco and a game of pass the parcel with the other residents, went

into various forms of dynamic creative energy upon reception and

silent, piped up, wrote 30 postcards, crunched around outside,

acceptance into another humans socket. All the while refining my

walked on ice.

remix of some ancient mystical notions into a current celebratory

Outside of Arteles in greater Finland I befriended some local sonic

form of casual language.

artists I’d been a crazed fan of for years; visited their homes and

I wrote some words down all in a row on a computer doc and many

studios, watched them play, shared stories, got electrified. When

more in notebooks via pens. I danced; stretched and snacked with

it was time to leave I gifted some pieces of party puzzle to Finnish

my fixed term platonic wife, got hot in the sauna, cooled down in

VIPs as invitations to be part of the party process...a psychic down-

the snow (angel style), giggled in bed, cried in bed, drew oblique

payment on a future comeback special.


IN THE RESIDENCY January 2015 - Silence.Awareness.Existance program

“Music for effortless transformation”

TAHLEE ROUILLON

Australia

music@sonesence.com // www.sonesence.com Tahlee Rouillon is music composer and producer extraordinaire at

When she isn’t blissing out to music, you can find Tahlee hula-

Sonesence. She offers peace seekers an easy way to achieve inner

hooping in the park, wandering about the rainforest, eating good

peace with a sonic shortcut called meditones. Plus, Tahlee creates

food with good friends and laughing out loud. Really loud. When

bespoke meditones music for other wellness entrepreneurs. Her

you hear it, you’ll know.

blog is soaked in collaborative inspiration from her incredible clients and her own musings on life.


TRUE NORTH Inspired by vertical space, beautiful forests, slow sunrises,

Theta brainwaves for floating bliss; and one for Delta brainwaves

presence and crisp beauty - I created a new meditones album

for deep rest.

called True North.

I experimented with lots of arpeggios in the first track; reverberant

Hailing from Australia, the name of the album wasnâ&#x20AC;&#x2122;t just inspired

vocals with lots of pre-delay on the second track; and long, slow

by the direction in which I was travelling to Arteles, but also the

time stretching of some instruments I found at Arteles in the last

idea of meditation as a compass that brings you home to yourself.

track.

The idea of north has a magnetic pull, a lifting quality, a direction

I found working in Arteles gave me a new sense of time and space

of positivity. And I believe that your intuition holds true wisdom and

- one much slower and deeper than I had experienced before.

that this awareness is more easily accessed through meditation.

Translating this depth of rest into a musical journey was truly life

The album is just over 30mins long and comprised of 3 tracks. One

changing.

to stimulate Alpha brainwaves for calm focus; one to stimulate


IN THE RESIDENCY January 2015 - Silence.Awareness.Existance program

BETH SOMETIMES

New Zealand

misssometimes@gmail.com // www.honeymoongap.com Bethâ&#x20AC;&#x2122;s creative responses to existence are forever appearing

political awareness and influence actualisation. Her practice is also

in new mediums so she is usually approaching things as a

informed by a lengthy relational engagement with Pitjantjatjara

beginner. Her ideas often reference or are triggered by the denser

communities and the socio-political circumstances of Central

psychological metaphor inherent in the familiar. She is committed

Australia. Interests include vulnerability, privilege, core strength,

to developing work that is accessible to audiences from across

fear, depression, how we define ourselves, stay cool & make

varied experiences of art and often works with people. Beth has

waves in the context of consumer capitalism. Career highlights

an ongoing relationship as an artist and creative producer with

include: writing a postcard a day for a year, sailing a boat through

Australian social change/arts company Big hART. This background

a shopping mall blindfolded and carving a giant banana split out

couches her personal arts practice within an expectation to grow

of foam.


EMOTIONAL ROLLERCOASTERS WEB PRESENCE The time at Arteles turned out to be about suspending disbelief in

philosophical adventure with an aesthetic of mass appeal; a series

the possibility of a nutso venture. I went on many a diversionary

of interactive artworks that take the form of viscerally experienced,

cerebral adventure and luxuriated in a gentle physical routine and

conceptually realised rides. It will not be a didactic space of well-being

inspirational company. Designing a theme park called Emotional

instruction but a realm of clues, language and visceral experiences

Rollercoasters proved to be a perfect framework to hang some really

that seek to speak to the experience of being alive and navigation

fruitful reading, drawing, research, development and writing upon.

of the emotional realm in this present moment. We crave moments

It felt like I went on a convoluted adventure to get to exactly where

of recognition â&#x20AC;&#x201C; catalysing triggers to the truths of our being.

I thought I was going. And I was still really surprised to get there. Emotional Rollercoasters is a site of existential contemplation and

More about it at www.emotionalrollercoasters.org


IN THE RESIDENCY January 2015 - Silence.Awareness.Existance program

â&#x20AC;&#x153;The self is only a threshold, a door, a becoming between two multiplicitiesâ&#x20AC;? - Gilles Deleuze

JACOBO ALONSO

Mexico

mastacarra@gmail.com // www.jacoboalonso.com Through my work I represent the body as the temporary state that

I search the limits as a body in its phenomenal way, trying to find

we are part of, driven by the personal process of self-observation.

how I could be out of this form created by reason.

I use my body as a tool to explore the uncovered territory designed by my human form.


YO AUSENTE. My work was directly influenced by the atmosphere that surrounded

These were the main elements that triggered the learning and

me: I acted as a producing tool.

production processes. The most important part was to be alert

I wanted to keep my previous knowledge apart, to be open and aware

and documented on how the body behaves when receiving this

of both external and internal elements: silence, peace, immensity,

new information, to be able to perform work according to external

the wind, the snow and most importantly the absence of sunlight.

stimuli.


IN THE RESIDENCY January 2015 - Silence.Awareness.Existance program

“The infinity of thoughts and all fragile space between.”

SSMIDD

Germany

info@gedankenschmied.net

// www.gedankenschmied.net

With no boundaries in concept, approaches and media SSMIDD’s

BIO: artnews.org/artist.php?i=8498

GEDANKENSCHMIED-PROJECT unfolds in different branches

BIBILIO: gedankenschmied.net/html/bibliography.html

such as for example works referring to RGB-color space (www.

EXPO: gedankenschmied.net/html/expo.html

rrrgggbbb.de), the quantum aesthetics of the matter of thoughts

VIDEO: gedankenschmied.net/html/video1.html

(www.matthewclaire.de), the processed depths and surfaces of urban spaces on planet earth (www.videosurface.net).


THE ARTISTIC SCIENCE OF DISMANTLING REALITY // PHOTOGRAMMETRY AND OTHER AUDIOVISUAL FRAGMENTS AT THE DOWNFALL OF THE OCCIDENT After molecules have nowadays been split to atoms, protons,

spread throughout the world using the same matrix of similarities.

quarks and even preons theoretically there wouldnâ&#x20AC;&#x2122;t be much left

So then, where should we spot our artistic expressions today?

to discover if one assumed that the physical world would be real.

Where is the most obvious stage to mirror this all-pervading entity

Comparing to those pointlike entities at the fragile bottom of our

that pursues our perceptions until the realm of dreams? In spite of

convictions the size of a single pixel on a liquid-crystal screen

everything â&#x20AC;&#x201C; this stage was not even what we were really looking

seems as vast as a theme park assembled by monochrome football

for. We wished it to be something much more profound, specific

fields. Still, this peculiar LCD-matter or any other similar visor

and diversified. Something simple and quite general though not too

or pixel-beam serves as THE common playground for countless

commonly underestimated or misunderstood. But for a moment it

contemporary artistic expressions today. Seen that way they are all

felt like discovering an island that gave us a hand on the ostensibly

somehow coarse, rectangular expressions. Even if they had been

infinite path to artless authenticity.

driven analog by derivation, they would end up being advertised and


IN THE RESIDENCY January 2015 - Silence.Awareness.Existance program

“Turn it up a bit, I perceive something mysterious.” -Pierre Henry

MICHAEL TERREN

Australia

michaelterren@gmail.com // www.michaelterren.wix.com/home I’m a composer and sound artist working with digital sound

One of the ways I’ve been exploring this is by creating imaginary

synthesis and field recordings in live performance and studio

yet plausible field recordings using synthetic sounds, landscape

works. My works tend toward an interrogation of mediality, mimesis

morphologies situated between reality and non-reality. These

and the interface of electronic and bio/anthrophonic sound.

“recordings” reflect on my own ecological heritage, that of the

The relationship between sound media—and their constitutive

southwest Australian biodiversity hotspot, as well as the practices

practices and cultures—is a source of great fascination for me.

associated with field recording, sound transduction, and listening.


DISQUIET (STEREO PA PERFORMANCE, 23 MINUTES) Disquiet explores silence as a relational, cultural and deeply

voyeurism; silence as the delimiter between musical time and

subjective status, engaging with our contemporary experience of

normal time; the silence beyond our auditory perception or beyond

sound and listening in profoundly complex ways that cannot be

what loudspeakers are capable of reproducing. Sound becomes

simply defined as an empirical absence of sound. Silence rendered

a frame through which silence operates at a metaphysical level,

as speechlessness, empathy, suppression, anticipation; silence in

and the act of listening effectively becomes an inward, almost

reverence and remembrance, as an element of play or disturbing

meditational listening-to-your-listening.


ARTELES Hahmajärventie 26 38490 Haukijärvi Finland +358 341 023 787 info@arteles.org www.arteles.org

Arteles Catalogue  

Artist residency projects & other activity done in the creative residency program of Arteles Creative Center, Hämeenkyrö, Finland.

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