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THANK YOU. Arteles would like to thank all the residents, collaborators funders and supporters for their work, participation and activity. This catalogue would be much emptier 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 2016

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

All rights reserved. Arteles 2016









_ FRAME [11]

COLLABORATIONS [in alphabetical order] // //


_ PIIPOO RY [12]







_ ESKARO [8]




















_ KIASMA [1]










[1] Arteles Citywalks - URB - Urban Art Festival 2011

[12] Artisokka -project

[2] Arteles Studios

[13] Art projects

[3] Artist Talks [4] Backlight Sympsium [5] CARE - Contemporary Art Residency and 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

RESIDENTS Arteles Creative Residency Program, January - November 2014


ANA FANELLI // Photography, video


ALEKS SLOTA // Performance, video, sound

NICOLÁS MARTELLA // Photography, video Portugal

MARIANA PORTELA ECHEVERRI // Installation, Photography

MICHAEL HENDERSON // Writer, painter, installation art


ALISA TANAKA-KING // Print-/bookmaking, Performance RYAN LAUTENBACHER // Sound art & design, music, media

XI JIE NG // Performance, installation, film


JACQUELYN SOO // Installation, performance, drawing

APRIL PHILLIPS // Design, sculpture, illustration GRACE KINGSTON // Installation, photography, mixed-media TOM HOGAN // Poetry, music

South Africa

PIERRE LE RICHE // Installation, Sculpture, Multimedia

EMILY STEWART // Conceptual art, photography NAOMI BISHOP // Painting, drawing CLINTON CAWARD // Writing

ANJA MARAIS // Photography, fiction writing PAUL SENYOL // Painting, installation

South Korea

JIHYUN YOUN // Dance, theater, performing art

BEN JULIEN // Writing Spain

MARTA JIMÉNEZ // Photography ALICIA RÍOS // Edible Art, Food Art

ARNAUD DE WOLF // Photography, Video, Installation

Belgium Brazil

DIOGO BLANCO // Painting, Drawing, Calligraphy


SONJA LOTTA // Photography, Mixed Media

ALESSANDRA FALBO // Photography, video, installation Taiwan Bulgaria

JEAN MAILLOUX // Drawing, lithography, photography SAM CORBIN // Performance, writing, installation



NICOLA WILLIAMS // Painting MEGAN TAYLOR // Illustration, installation, moving image

TROY HOURIE // Scenographer, installation, performance CARA COLE // Photography, fiction writing

MAGGIE KELLY // Photography, installation, sculpture ANNE BEAN // Art

CARISSA BAKTAY // Interdisciplinary, Sculpture, Glass PAT NAVARRO // Video, Installation, Photography

EMILY BECKMANN // Textiles, collage, installation BETH GIBBONS // Drawing, portraiture RORY MCINTYRE // Music, Sound

RUITONG ZHAO // Photography, Video, Conceptual



MARIE-LOUISE ANDERSSON // Multidisciplinary


ALEXANDRA PETRACCHI // Illustration, installation


BARTHÉLEMY ANTOINE-LOEFF // New media art, installation JEAN-PHILIPPE LAMBERT // Sound, music Germany

IRMI WAHL // Drawing SOPHIA GUTTENHÖFER // Dance, performance


TANO // Painting, Drawing, Tattoo OSCAR CHAN YIK LONG // Mixed media

Hong Kong

CLAIRE FOX // Photography, Installation, Visual Art


MEYTAR MORAN // Photography, Installation, Poetry

Israel Italy

TSAI CHIH-FEN // Installation, Photography, Video REXY TSENG // Video, multimedia installation, performance

NATALIYA PETKOVA // New media, sound art, performance

MAURO ARRIGHI // Sound design, new media art & aesthetics


Luxembourg Mexico

New Zealand

AKI ITO // Music RAOUL RIES // Photography JULIO ORTA // Installation, Video, Performance MATT SIWERSKI // Textiles, mixed media REBECCA STEEDMAN // Installation, painting

KEHA MCILWAINE // Installation &bright and brief experience LEIGH DIFULVIO // Installation, printmaking, fibers ELISABETH HORAN // Collage, sculpture, street art LISA RYBOVICH CRALLÉ // Sculpture, installation LORI HEPNER // Photography, social media art, installation JULIE ZHU // Painting, composition, performance DAVID ORNETTE CHERRY // Composer, artist, writer NATHALIE COLLINS // Painting, Drawing, Sculpture AARON J. KIRSCHNER // Music theory, composition CHIN CHIH YANG // Performance, new media, environmental art BRETT SROKA // Music, Sound ELLYCE MOSELLE // Photography, drawing, sculpture KEVIN KANE // Dance, ensemble theatre, arts education ADAM SETALA // Illustration, design ALEXANDRIA CARRION // Sculptural Metalwork JACOB RIDDLE // Metamedium ANDREA MCGINTY // Video, text, drawing SUSAN KLEIN // Painting CHRISSY LUSH // Photography DAVID BLOOM // Dance, choreography, video ALEXIS COURTNEY // Photography, video, installation DUSTY RABJOHN // Drawing, Painting HOLLY KNOX RHAME // Mixed media CARL GOMBERT // Drawing, Painting, Printmaking LEA DEVON SORRENTINO // Multimedia, installation ROBERT COLLIER BEAM // Photography, Installation LESLIE LANXINGER // Charcoal, Mixed Media BEN HERNSTROM // Digital Video, Photography

RESIDENTS SILENCE . AWARENESS . EXISTENCE - Theme residency program, December 2014


YIORGOS ZAFIRIOU // Performance Art, asceticism


LUIZA LACAVA // Photography, video, installation


ANNIE FRANCE NOËL // Photography, video/film


MALGORZATA ZURADA // Photography/video, metaphysics

South Korea

HEEJIN JANG // Video/film, sound, performance YOONJUNG KIM // Sculpture, installation, performance

Spain UK USA

MIRIAM VARELA-QUINTERO // Dance EMILIE LINDSTEN // painting, photography, installation GABRIEL FORESTIERI // Dance, Environmental art GIB EDLEMAN // Video/film, literature, research

RESIDENTS Arteles Creative Residency Program, January - November 2013


MARÍA EMILIA SILVETTI // Painting & poetry





NIZHA BUSTOS SALIM // Music Australia

SIMON GARDAM // Media art PILAR MATA DUPONT // Visual art JODY QUACKENBUSH // Visual art

New Zealand


ANNIE NGUYEN // Visual art ADAM GIBSON // Visual art & music HENRY ANDERSEN // Sound & music JACQUI MILLS // Visual art Belgium



Poland Spain

KRISTIN NANGO // Dance & performance SENA WOLF // Visual art GLÒRIA ESCALA VIDAL // Performance & installation JOSE BAHAMONDE // Video, 3D, motion graphics


MYRIAM GUILLAMÓN // Video, 3D, motion graphics

BEATRIZ MOGADOURO CALIL // Visual art VICTOR LEGUY // Visual art CARLA CHAIM // Visual art


JIMMY ALM // Visual art MAURITZ TISTELÖ // Poetry & visual art


JORMA KUJALA // Visual art NATASHA ALPHONSE // Visual art DEVON MICHIGAN // Performance, occult, music DANA BUZZEE // Installation & photography PAOLO GRIFFIN // Music composition DANIELLE BLEACKLEY // Sound, Ink,Textile VANESSA VAUGHAN // Visual art CHRISTIANA MYERS // Visual art


Turkey UK





Hong Kong Iran Ireland


OLLI HORTANA // Film VIRPI VELIN // Photography KIA KUJALA // Mixed RAILA KNUUTTILA // Visual art EMILIE MCDERMOTT // Video, installation, performance VERA HOFMANN // Visual art SABINE SCHRÜNDER // Visual art JACQUELINE HEN // Visual art VIOLET SHUM // Visual art SHOHREH GOLAZAD // Multimedia IAN NOLAN // Painting, installation, intervention PIERCE HEALY // Visual incongruities, storytelling, sound MIRKO KANESI ARABELLA PIO BENEDETTA ALFIERI ALBERTO VENTURINI EMANUELE LOMBARDINI

// // // // //

Visual art Visual art Visual art Visual art Visual art

ELIZABETH ARMOUR // Jewellery, craft, digital design SOPHIE LEE // Photography, installation, artist books MARTHA JURKSAITIS // Visual art KADIE SALMON // Visual art JAMES GOW // Visual art

JEAN PAUL GOMEZ // Photography, video, installation LARRY MUÑOZ // Visual art IDA-ELISABETH LARSEN // Dance & performance MARIE-LOUISE STENTEBJERG // Dance & performance

SEZA BALI // Photography


SYDNEY SOUTHAM // Visual art JULIE PASILA // Visual art Colombia

LILIAN BEIDLER // Visual art CAROLINE VON GUNTEN // Drawing, Installation


CHAD MOUNT // Painting, video NICOLE GRECO-LUCCHINA // Visual Arts, typography AMBERA WELLMANN // Painting STEPH ZIMMERMAN // Sculpture, photography, graphic AMY JONHSON // installation, photography, performance LYNDON BARROIS, JR // Painting & drawing ADDOLEY DZEGEDE // Visual art MATTHEW SCOTT GUALCO // Writing, texting, drawing RYAN SOMERVILLE // Music CATHERINE J. HOWARD // Visual art SUSAN E. EVANS // Hybrid media & photography BRENNA NOONAN // Music AMBER DOE // Visual art MAEGAN STRACY // Visual art DUSTY RABJOHN // Visual art KRISTY HEILENDAY // Visual art AGNES FIELD // Visual art ALISON CHEN // Visual art SHELBY SEU // Visual art JESSICA MILAZZO // Visual art SHARON LACEY // Visual art SALMA BRATT // Literature COALFATHER INDUSTRIES // Visual art HEATHER SINCAVAGE // Visual art

RESIDENTS SILENCE . AWARENESS . EXISTENCE - Theme residency program, December 2013

Ellis Hutch // Installation, sound, drawing


Sasha Margolis // Sound art, installation, music


Sam Fagan // Visual art


Alexis Williams // Sound, installation, biology David Boyce // Conceptual art, photography

Canada Hong Kong / New Zealand

Teresa Miró // Visual art Simon Gerrard // Photography, installation, light

Spain UK

Shawné Holloway // New media, sound


Jessica Anderson // Sculpture, photography, installation


Matthew Clark // Visual art


Birgit Larson // Performance, drawing







RYAN McGENNISKEN // Visual art HOLLIE KELLEY // Visual art


GRACE KINGSTON // Visual art

NATASA KOSMERL // Photography GREGA LOŽ // Illustration

LAURA BATCH // Visual art TOM HOGAN // Sound & Music


South Africa

LAUREN VON GOGH // Visual art

ADAM GIBSON // Sound & Music

ROBYN COOK // Visual art

JACQUI MILLS // Visual art

JENNA BURCHELL // Visual art


South Korea

SAEBON KIM // Visual art JI HYE YEOM // Visual art




ANA GALAN // Visual art







ROMAIN LEGROS // Visual art

ELLA COLLIER // Visual art

SIBYLLE IRMA // Visual art

JULIE PASILA // Visual art UK Chile

LAURA CARLOTTA WRIGHT // Lense based arts DAN COOPER // Sound & Music


PATRICK LOAN // Visual art


ANNABELLE CRAVEN-JONES // Visual art Finland

EMMA REEVES // Visual art

ANU TURUNEN // Visual art

CAMILLA EMSON // Visual arT France



TAMAS SZVET // Visual art



OFRI LAPID // Visual art




MARLENA MORRIS // Photography

ROBERTO PUGLIESE // Sound & Media art

PAUL ZMOLEK // Dance & Performance JOSEPHINE A. GARIBALDI // Dance & Performance


MIKA MIZUNO // Photography

SUSAN EVANS // Visual art

AQUICO ONISHI // Visual art

JAMIE URETSKY // Visual art

TOSHIHIKO SUZUKI // Architecture

DELILAH JONES // Visual art




VALERIE NG // Painting






RESIDENTS 2011 Argentina

CAROLINA TRIGO // Media-art, Performance





PILAR MATA DUPONT // Video, performance




South Korea

HWAYOUN LEE // Drawing HYOJUNG JUNG // Film, video


HYEKYONG YUN // Photography Belgium

JAN VERBRUGGEN // Sculpture, Painting KAREL VERBUGGEN // Engineering





PIETER GYSELINCK // Sound Switzerland

CETUSSS // Design, art, sound



JULIET FANG // Fine arts



RICHARD IBGHY // Conceptual art MARILOU LEMMENS // Conceptual art CHRISTIAN CHAPMAN // Painting ANNE MARIE DUMOUCHEL // Performance


LUCY DRISCOLL // Illustration LUCY BAKER // Fine art


ANA GEZI // Painting


JOLENE MOK // Transdisciplinary


SAMANTHA EPPS // Fine art China

LAURA DONKERS // Conceptual art Finland



MATT SHERIDAN // Media arts SUSAN BERKOWITZ // Photography


HÉLÈNE BARIL // House painter

LUCAS COOK // Photography


SHARI PIERCE // Fine art

SORAYA RHOFIR // Video art

KARIN HODGIN JONES // Installation

BERENICE SCHRAMM // International Law


MARIE MONS // Design

DAN SPANGLER // Media Design KATIE ZAZENSKI // Installation



TREVOR AMERY // Installation

VERA HOFMANN // Photography





GEORGIA KOTRETSOS // Conceptual art


ALEXIS AVLAMIS // Painting, Drawing





ALMA LEIVA // Transdisciplinary

MIKE KOFTINOW // Painting EILIYAS // Sound art GWYNETH ANDERSON // Animation MARISSA GEORGIOU // Conceptual art







CAROL MÛLLER // Photography

HANNA TAI // Installation Art

MAXIME BONDU // Installation


NICOLAS CILINS // Installation

LEANDRO LEITE // Choreographer EMMA HOOPER // Research and music



MAYA ARUSCH // Fine Arts EMESE HRUSKA // Research, music

ELIA ELIEV // Visual arts, research JOHN LUI // Photography, design

The Netherlands


RICHARD IBGHY // Conceptual art MARILOU LEMMENS // Conceptual art


TAKESHI MORO // Photography, media art CHARLIE WILLIAMS // Composer


ANNA JAANISOO // Theater director


EERO YLI-VAKKURI // Multidisciplinary art

ALICIA VIANI // Research, Music DEREK LARSON // Artist, Curator


Vatican City

STEPHANO SUH // Graphic design


IN THE RESIDENCY December 2014


South Korea

mail@yoonjungkim.com // www.yoonjungkim.com Much of my practice involves making objects through repetitive

I mainly use manufactured materials that have clear and intended

and labor intensive process applied to ubiquitous materials. This

functions and purpose - essentially their existence has meaning.

has principally involved using manufactured materials and focuses

Through a time-consuming process of manipulation I physically

on the processes of making and unmaking. My work is a kind of

dissect or dismantle both the material and its function. What at

investigation into the materials (and the actions linked to them)

first might seem a mis-use ultimately generates its own rationale.

distilled into something resembling a pastiche of both manufacture

The only thing that remains as an archive is a residue of physical

and use as well as artistic endeavour and research.

labour and the passage of time.

FOUR 30 GRAMS SINKERS 30 GRAMS AND 60 GRAMS SINKERS My main work turned out to be researching, creating and recording

My second work was an investigation into the nature of an

of the ”Invocation of Sol”, a short performance in celebration of

automated banishing. From twigs and rope I constructed an object

the winter solstice. I set the date for the darkest day of the year,

with a set purpose: to keep me from having nightmares and banish

December 21st, Sunday at noon (day and hour corresponding to

all unwanted entities from my residency room and its vicinity.

the Sun) and performed a piece loosely based on the ‘Lesser ritual

The object was supposed to work as a reversed dreamcatcher,

of the hexagram’. One of this ritual’s uses is to invoke planetary

dispersing nightmares rather than catching them. It acted as a

and zodiacal forces (solar force in this case). My main aim was to

filter for dreams as well as a ghost repellent, and after hanging

take it out of the magical circle and into the studio space to study

above my bed for the duration of residency I burned it the last day,

how the energy, voice and body movement change when given

upon my departure home.

another context. I ended up skipping some parts and adding new ones, thus creating a coded, visual storyline told by gestures but devoid of a vocal component of the original ritual.

IN THE RESIDENCY December 2014



Miriam_mlg@hotmail.com I was born in Málaga Spain, I studied in the conservatory in

Runde, Pedro Verdaÿes, and others in Madrid. I am a Pilates

Málaga and later in Barcelona and also Madrid where I finished

teacher and I practice aerial dance as well as hip hop and other

my professional training. I worked with Sharon Friedman, Mónica


“Worlding, fully inhabitating body and space while continuously refreshing all relationshiops without naming any aspect of experience as a means to share identity.”



projectlimb@gmail.com // www.projectlimb.net I have always been drawn to my body and the earth. There were

such as Gyrokinesis, Aikido, Qi Gong, Breathing Coordination, and

the places I found refuge from the madness of my emotions and

Kinesiology/Functional Anatomy. I worked as a professional dancer

the ever changing nature of my life. As a child it was in wilderness,

for many years in NYC, dancing with different choreographers and

physical activity, or discipline that I found silent spaces free

creating my own work. As my work moved from the theater and

from the judgment I felt from myself and others. This pull

studio into the world I became fascinated with awareness and

moved me from martial arts and theater into dance, and work

experience. I began to develop a technique to include more, to

in environmental restoration and gardening. During this time I

partner with the world, to participate instead of control. All of this

received a BFA in Drama from Carnegie Mellon and a MFA in Dance

drew me into focusing on my own work and I know travel the world

from NYU and studied various physical and meditative practices

creating site-specific dance in various cities with local dancers.

ENTRE LOS DOS We filmed the second half of a dance film and then edited it

ibiza with the snow and darkness of finland in December made

together during our residency. The first half was in Ibiza and was

from some strong images. It is a very personal work that was

all underwater footage. The contrast with the water and sun in

nurtured by the creative space that is Arteles.

IN THE RESIDENCY December 2014



mzurada@gmail.com // www.mzurada.com My area of interest revolves around the notion of meaning and

understood metaphysics, myths and occultism and are heavily

sense-making. I work across disciplines and my practice currently

informed by beliefs and rituals of past and present, from cultures

includes photography, video, painting, performance and sound. I

of the world as well as from Western esoteric tradition. I am

am drawn to objects and situations whose meaning transcends

especially interested in visual languages connected with various

the physical reality - remnants, ruins, rubbish, experiences on

belief systems and means of coding esoteric knowledge.

the verge of existence and oblivion. My works refer to broadly

SILENT INVOCATION, BANISHING BY MEANS OF PYRAMID-LIKE STRUCTURES My main work turned out to be researching, creating and recording

devoid of a vocal component of the original ritual.

of the “”Invocation of Sol””, a short performance in celebration of

My second work was an investigation into the nature of an

the winter solstice. I set the date for the darkest day of the year,

automated banishing. From twigs and rope I constructed an object

December 21st, Sunday at noon (day and hour corresponding to

with a set purpose: to keep me from having nightmares and banish

the Sun) and performed a piece loosely based on the ‘Lesser ritual

all unwanted entities from my residency room and its vicinity.

of the hexagram’. One of this ritual’s uses is to invoke planetary

The object was supposed to work as a reversed dreamcatcher,

and zodiacal forces (solar force in this case). My main aim was to

dispersing nightmares rather than catching them. It acted as a

take it out of the magical circle and into the studio space to study

filter for dreams as well as a ghost repellent, and after hanging

how the energy, voice and body movement change when given

above my bed for the duration of residency I burned it the last day,

another context. I ended up skipping some parts and adding new

upon my departure home.

ones, thus creating a coded, visual storyline told by gestures but

IN THE RESIDENCY December 2014



anniefrancenoel@gmail.com // www.anniefrancenoel.com Annie France Noël is an Acadian artist specializing in analog

Annie France is actively involved in the cultural scene in


Moncton where she lives, as a member and volunteer of various

She dedicates much of her practice questioning the physicality

organizations, and now as co-director of the Galerie Sans Nom.”

of the medium and society’s relationship with the photographic image. Her works reveal discord and resolution between the dark and immaculate. She is perpetually seeking to create a moment of silence, a pause in one’s inner chaos or an exploration within.

VISCERA ETCETERA I came to Arteles to find silence and solace.

embraces the deconstruction of the image and of self in order

Without any preconceived ideas, I let myself be nurtured and inspired

to dive into unknown, ghostly landscapes found within. Stirring

by the gentle environment and people that graced the grounds.

stillness and silence take an important place in the essence of

During my residency I dove into the abstraction, ephemeral quality

my work while the photographs present a dualism between the

and palpable potentials of the Polaroid film. The work birthed

lightness and darkness of the intent and the content.

IN THE RESIDENCY December 2014

“Performance through subtle characteristics of existence�



yzafiriou@gmail.com // www.vimeo.com/76239893 Yiorgos Zafiriou is a cross disciplinary contemporary visual artist.

and is undertaking a PhD at the University of Sydney, Sydney

He maintains ongoing participation in exhibitions and regularly

College of the Arts.

undertakes performance. Using the disembodied experience

He is known as a conscientious maker and has established a

Yiorgos reframes the relationship his body has to ideas of what

firm connection between the creation of art objects and his

constitutes an audience.

performances. Yiorgos has participated in performance art

He periodically lectures at the University of New South Wales

festivals in Australia and Thailand and undertaken further research

(UNSW Art|Design), where he authored an online post graduate

in sites across Europe and Asia. He is currently researching the

course in performance art. He holds a Bachelor of Fine Arts

possibilities of undertaking performance without undertaking

(UNSW), Bachelor of Design (UNSW), Master of Visual Art (USYD)


Photo: Annie France NoĂŤl

IN THE APPROACH TO SILENCE A series of seemingly disconnected works and curious objects

in a pop up exhibition at Arteles to conclude a month of wearing

arranged around the space. A live performance work where death

robes, communing with wood spirits and serious contemplative

and nature collide. These aspects came together over four hours

discussions on silence, human existence and visibility.

IN THE RESIDENCY December 2014

“a quiet noise monster!”


South Korea / USA

hjang0307@gmail.com // www.heejinjang.com Heejin Jang’s practice manifests itself in the forms of sound

of daily routine into something unusual. The layered moments

performances, and site-specific video installations. In the

demonstrate the way she interacts with the culture and place

performances, the interaction between machines and the

she has been involved in. Jang currently lives and works in San

artist transforms ordinary portrait, landscape, and the noise


HEIKKI LAAKSONEN’S SILENT SYLLABLES. HD VIDEO 4:15” Mister Heikki Laaksonen unfolds his travel diary that he wrote in last December: a story of sweat, snow, steam, and silence.

IN THE RESIDENCY December 2014



emilielindsten@hotmail.it // www.emilielindsten.com Emilie Lindsten was born in Sweden in 1985 and currently lives in

in Social Anthropology. She has a international background and


has traveled extensively throughout her life. With her work she

In 2006 she graduated from the European Institute of Design in

is interested in exploring narratives of the self and the subtle

Fashion Design. After 4 years of working in London, she enrolled

definition of boundaries in space, across cultures as well as

at Goldsmith’s University where she studied a Masters degree

personal relationships.

A DAILY PRACTICE During my residency at Arteles I have been doing a daily practice

also started exploring ways in which to act in the landscape by

of drawing with watercolour and soft pastels as a means of self

usign soft clay on trees and stones to explore a more sensual and

inquiry and self reflection, this practice of introspection was also

tactile connection with the land and its forms.

inspired by the landscapes and scenarios of our surroundings. I

IN THE RESIDENCY November 2014



kldifulvio@gmail.com // www.kldifulvio.com My work explores the relationship between conscious actions and

I use this underlying language to create visual environments of

subconscious emotions as a way to deepen my understanding of

emotion for the viewer to experience what I am feeling; inviting

the spectrum of human emotions. Behind each conscious artistic

them to discuss and reflect upon their own emotional awareness

action, an underlying language of subconscious emotion emerges

and acceptance. Ultimately functioning as self-portraits, my art

through my use of color, line, shape, and space. Each piece

practice has become a necessary step in transforming my untamed

becomes an honest visual description of my current state-of-being,

emotion into self-acceptance, knowledge, and understanding.

often before I am even aware of my thoughts, desires, or worries.

ZONES Much of my time at Arteles was spent reflecting on the self-imposed

relationship between how far and quickly these boundaries can be

limitations that define my “comfort zone.� I began to explore the

stretched to maximize the ability to learn, adapt, and adjust.

IN THE RESIDENCY November 2014


South Africa / USA

art@anjamarais.com // www.anjamarais.com My art projects are a hybrid of disciplines in moving images,

The Latin derived word, frangible, describes my interest in the

sculpture, photography and installation that creates environments

brittle and disintegrated nature of the substances in our world. My

with a reference to nature and simultaneity. An assimilation of

sculptures are stitched together by hand, my videos are thousands

visuals where all boundaries washes away: yesterday, today and

of still images stringed together, the textiles in my mixed media

tomorrow becomes indistinguishable; dream and reality cannot be

molder – to emphasize the fractured and the fragile. I prefer to

told apart; the horizontal and the vertical merges in a perpetual

work with natural materials with a transient spirit; paper, cotton,

fugue. In an effort in my art practices to enter this motley world,

sisal, jute, bamboo and rock. It sustains my interest in ritual, the

I myself cascaded into multiple reflections like the stars in the

female form and of ancestors moving across the uncharted sea,

galaxy that from high above looks down upon the solitary planet

steppe, ice, desert and forest.

that is me. For a very brief moment the see-er has become the seen.

ONE THOUSAND FACES I came to “ The Land of a Thousand Lakes” to study via Pixelation

in the form of black ink imprints of her face. Each one of these

Animation the journey of the self-proclaimed outcast. In this 5

black facial mono prints resembles a fragment of herself and

minute visual animation poem we follow a self-exiled girl through

collectively become a thousand faces. As a thousand lakes make

capricious snowy landscapes, unawares still carrying Spring with

one country so a thousand faces become the girl.

her. As she moves through the landscape she leaves ‘breadcrumbs’

IN THE RESIDENCY November 2014



elisabethahoran@gmail.com // www.elisabethhoran.com Elisabeth Horan received her Bachelors of Fine Art from the

Horan is also drawn to markers found in daily transit and

University of South Florida in 2010. Since then she has been living

construction sites. Her sculptures investigate direction, time and

and working in Portland, Oregon.

purpose through the appropriation of these signs and symbols.

Fear of the unknown is a common theme in life and in Horan’s

The pieces are recreated using mixed media and the scale and text

work. This existential dilemma is explored and expressed through

are altered to create an unreal reality.

repetitive motions seen in the Circles series. The artist draws

Horan plans to build upon these concepts while in the cold, remote

influence from sand mandalas and illuminated manuscripts.

and unknown location offered by Arteles Residency.

Each piece is composed with puerile mediums that add a layer of

The artist is supported by a Career Opportunity Grant from the

playfulness while obscuring concepts of high and low art.

Oregon Arts Commission.

CIRCLE SERIES My current work explores the inner world of human existence in

A spectrum of emotions is explored during the meditative process

Circle Series.

of each drawing. I come to appreciate subtle shifts by focusing on

A circle represents a core, like the cross-section of a tree telling of

the nuances of line and color. During my residency at Arteles I was

centuries past. A circle is also representative of a more fluid and

able to commit myself to the progression of this visual concept and

cyclical idea of time in which bad implies good and good implies bad.

investigate new materials.

IN THE RESIDENCY November 2014



jeancommejohnny@hotmail.com // www.flickr.com/photos/jeancommejohnny I live and work in Montreal (Canada). I hold a bachelor’s degree

represented in my work, a touch of mystery and ambiguity is

in Fine Arts from Concordia University. After participating in solo

maintained. This mystery draws the viewer to the heart of an open

and group exhibitions and receiving several prizes, I dedicated my

scenario, one in which aesthetic aspects play an important role

time to disseminating the work of other artists through artist-

My works often focus on one or a few characters who are grouped

run centres in Montreal and Quebec City. During those 15 years,

in a way that excludes the viewer, who may be attracted by the

my activities included curating a number of video programs and

action and can follow it, but is unable to participate. This exclusion

exhibitions in Montreal, Paris, Toulouse and Santiago. I returned to

is reinforced by the fact that the figures often appear introverted

my own artistic practice in 2007 concentrating on photo, drawing

and inward-looking, even when interacting with one another.

and lithography.

As a result, rather than bearing witness to daily life, my figures act

Since then, my work has focused on the male body. I scrutinize people

as signs, emblems and metaphors; they are a representation of

and relationships between them with curiosity and sensitivity,

life. As in our own relationships, the moments depicted oscillate

alternately revealing moments of intimacy, vulnerability, support,

between the banal and the sacred.

tenderness and loneliness. Despite the familiarity of the situations


vulnerability, loneliness, and even relationships. The human

Twenty years ago, my practice alternated between figuration and

presence remains omnipresent. Even when human figures are not

abstraction. Having focussed on a rather “clean” and “sparse”

present, the environment evoked is clearly the result of the human

figurative art these last years, I felt the need to flirt again with

hand. This series of paintings will be accompanied by some of my

abstraction. In the first of my two main projects at Arteles, I

airport photos.

explore a theme that has been present for a while in my photo

Photo noire (working title)

work: airports. Inspired by some of these photographs, I draw

My second project is a series of photos taken during the residency.

geometric and organic forms with acrylic paint on paper (about 1.5

I focussed on darkness, a characteristic of the Northern climate in

x 1.5 m). Some paintings are geometric, others are more organic,

November, which is central to works by authors such as Mankell

sometimes very abstract, but almost always with a figurative

or Oksanen. In those photos, the situations might be familiar, but

connotation. Whether close-ups or larger views, generally of

they soak in an atmosphere of mystery and ambiguity. They create

tarmacs (aprons), the aesthetic aspects are very present too.

a realistic, emotionally charged fiction that impels the viewers to

Despite the theme of airports, the treatment is consistent with my

develop their own scenarios.

recent drawings, lithographs, and photos: emptiness, ambiguity,

IN THE RESIDENCY November 2014



trappedinthebox@gmail.com // www.fortysevenperiodical.wordpress.com My name is Michael Henderson. I live with my beautiful wife and

the viewer to see more than just a physical representation of our

family in a gorgeous part of the world on the Northern Beaches of

world, but to give them a glimpse of the divine qualities embedded

Sydney, Australia.

in and through nature (Christian Bible, Romans 1.20).

I am a painter, a writer and an installation artist. My creative

I am a huge fan of many creative people, but in particular artists

pursuits give me space to be a seeker, a learner, a dissident. I

Anselm Kiefer, Lloyd Rees, Mark Rothko, and writers Victor Hugo,

think I am by nature someone discontent with the status quo. I

Harper Lee and Markus Zusak.

love to study our world and reveal something about it: things that

My favourite thing outside of art is to gaze at overgrown lawns.

inspire, trouble and challenge me.

They make me smile. For me, they symbolise freedom in the

My work emphasises my meditation on the relationship between

middle of a world that would love to keep everything bound, beaten

heaven and earth. I hope, without sounding to grand, to enable

and under control.

WRITING AND SKETCHING My work here focused on the first draft of a new novel, currently

To break up the writing, I also worked on a series of sketches

with the working title, �Fake Plastic Hearts�. Part of the reason for

inspired by the local environment. It helped me to spend time

working on it here, at Arteles in November, was for the dark and

focused on observation out on location. I especially concentrated

cold environment and the impact of this on my writing. My novel is

on the play of light between the land and lakes.

partly set in a cold environment. Arteles and Finland proved truly

I came here to find my voice again, and I did. I have really loved my

inspirational. Especially for gathering the detail that helps to avoid

time here, and I am very thankful to Arteles for this opportunity,

poor cliches.

and for the other artists, and for the spaces provided for me to work in.

IN THE RESIDENCY November 2014

“Light and more light”



info@anafanelli.com // www.anafanelli.com, analaurasofia.tumblr.com I was born in Buenos Aires. I studied Sound & Image design

Recuenco, Richard Ramos, Ouka Leele and Eduardo Momeñe.

at UBA. When I got my degree I was caught by photography.

Nowadays I run my photo studio in Buenos Aires where I want to

Life took me to Madrid, city which gave me the chance

enjoy my profession, working hard and sharing time with people


who one can always learn.







AMNESIA These pictures reflect the amnesia through overexposure and underexposure images.

IN THE RESIDENCY November 2014

“I am who am I”

ALEKS SLOTA Poland / USA / Germany aleks@aleksslota.com // www.aleksslota.com Aleks Slota is an interdisciplinary artist working in performance,

the meaning of public/private space. Slota’s recent work focuses

photography, sound, video, and installation. His work reflects an

on performance primarily in public spaces.

interest in the absurd, the interaction of fantasy and reality, and

UNTITLED My current work, at least what I have explored at Arteles, has taken

Performance: edited, distilled, and naked.

three distinct yet linked research paths.

Photography: blacked out landscapes.

Sound: durational and drone based as well as short and violent.

IN THE RESIDENCY November 2014


Bulgaria / Canada

hello@nataliyapetkova.com // www.nataliyapetkova.com Nataliya Petkova leads a research on two main axes: first,

territories, subverting perceptive habits and imagining possible

the begetting and the study of micro territories, as well as

encounters between the organic and the non-organic, the material

the interrogation on the notion of cultural identity, and the

and the imaginary, thus generating modular geographies.

promotion of dynamic infracultures; and then, the process of

Born in Bulgaria, Nataliya Petkova is a graduate from École des

translation – from one language (medium) to another -, and all

Beaux-Arts de Marseille (France), and UniversitĂŠ Laval (Canada).

the anomalies revealed as a consequence. Her work addresses

Her work freely takes hold of diverse medias, such as electronics,

the heterogeneity of knowledge originating on the crossing point

sound art, software and open source, video, photography, text,

between individual perceptive experience and the genesis of

and performance. She has had the opportunity to present her

natural occurrences, seemingly begotten as an exploratory act.

work within the framework of solo and collective exhibitions, as

Established around curiosity and experimentation, her research

well as performances and interventions, throughout Europe, USA,

process underlines the necessity of tracing and inventing new

Canada, and Africa.

INVERSIONS / PERVERSIONS & FIREFLIES Articulated as an experimental technical and conceptual

where the pure and raw sonority of electricity is put forward.

laboratory, the residency offered a platform for developing the

Fireflies is an ephemeral light installation where a miniature solar

onset of two new projects: inversions/perversions and fireflies.

cell is put in contact with a bright LED (light emitting diode) into

Inversions/perversions is a series of unstable electronic circuits,

complete darkness. Both components epitomize their respective

drawing life from electric current in order to beget sequential

action potential necessary to attain their technical purposes, but

sound modulations. Using basic electronic components, the

they remain silent and inactive until an external stimuli comes into

circuits feed direct voltage in a circular manner, where each

play. At this point, as the potential is being fulfilled, a fugitive form

component loops and distorts an electric cue, thus producing an

of existence emerges merely for a few seconds, and then fades

ever changing set of signals. Those signals are, then, amplified and


manipulated in order to produce an improvised sound performance,


“I’ve been told that I take the ambiguity of the universe very personally.”



samanthalcorbin@gmail.com // www.samanthacorbin.com My interest lies in the myriad gestures of language—most notably,

commit myself to it like a patient to an asylum.

when those gestures begin to demand of their audiences a giving-

And finally, an ode in the third-person singular:

over to the territory of NONSENSE. I believe that the irreverent,

Sam Corbin is a force of whimsy. A multi-hyphenate arts pioneer

unbounded imagination can yet find its way to symbol. In order to

born in Canada and based in Brooklyn, she holds her B.F.A in

find such symbols, my work often plumbs the inherent abstractions

Acting from NYU’s Tisch School of the Arts, via the Experimental

of the metaphysical arena, playing upon reason (or lack thereof)

Theatre Wing. Sam’s creative work focuses on deepening our

until it finds itself utterly afield.

human relationship to infinity, nonsense and the dreaming brain.

Nothing lends itself to metaphor so keenly as Nature. As such, my

Her original plays, compositions and comedic ceremonies have

time in the bucolic recesses of Finland will be spent developing

been presented around New York City and Brooklyn. Sam is

site-responsive wordplay, composing expatriate parody and

currently developing a play that rests entirely on Wit and Nonsense,

translating the visual poetry of a landscape I have never known.

as a playwright with Fresh Ground Pepper’s 2014 Playground

I relish this departure from cultural cliché. I intend to make new

Playgroup. She is a member of Theater Reconstruction Ensemble

meanings out of the strange humor that reveals itself abroad, and


WHICH THEREFORE ADDS MUCH THAT CANNOT BE NAMED Over the course of my time at the Arteles residency, I composed

body of work beyond the residency, I hope to find further

a series of textual oddities inspired by Susan Stewart’s book-

incarnations for its use both on the page and the stage.

length essay, “”Nonsense””. These oddities range from short

A Stewartism to live by: “Where there is a common sense, there

stories about the origins of language to phonological nonsense

will be a common nonsense.” I say we could all use a great deal

poems, and other deviant operations which task themselves

more nonsense in our lives: we’d certainly have much more fun



than we are having now. The road makes no promises, but then

My small collection holds a dual address at the crossroads

again, our mischief has never needed a tangible guarantee in

between literature and performance. As I continue with this

order to take flight. O, that way madness lies!









nicolawilliams709@gmail.com // www.nicolawilliams.net I was brought up in Aberdeenshire, Scotland and I studied for my

‘Humbrol’ enamels normally associated with little boys painting

MA in Painting at the Royal College of Art in London from 2004-06.

‘Airfix’ models belies the darker tone of the work, just as the layers

Recent exhibitions include a solo show at New Court gallery,

wrinkle and drip from the canvas.

Derbyshire, Beep Wales 2014 International Painting Prize, and

My recent paintings are informed by the Public Information

Transition gallery, London.

Films of the 1970’s with particular focus on the film ‘Apaches’

I was brought up on a farm in the rural North East of Scotland

(1977). ‘Apaches’ was produced to warn children of the dangers of

and this has provided me with a rich source of imagery, juxtaposed

playing on farms and rural areas. It was shown in schools all over

with found images taken from storybooks and tabloid newspapers,

Britain and other countries, it had a lasting effect on the mindset

horror films and tales of playing children drowning in slurry pits.

of the children who viewed them. This terrified a generation of

The use of household gloss paint in saccharine bright colours and

schoolchildren at the time including myself.

IN THE MUD ON YOUR KNEES During my time at Arteles it was the perfect opportunity to go

the use of contrasting colours to the natural landscape to create a

on phantasmagorical drifts through the Finnish landscape and

colonised version of the area while looking at the psyche which is


superimposed on to the landscape with other figures drifting in to

While on these walks I noted the landscape with photos and

these works unobserved like narrators of there own cryptic world.

drawings, building up reference material and looking at structures

The reference material I gathered while in Finland will have

within these spaces, I created a series of watercolours and pen

an indelible effect on future works especially the otherworldly

drawings as studies and finished works, the bright colours and


neon pens create a heightened sense of reality, particularly with




ryan.lautenbacher@gmail.com // www.ryanlautenbacher.com.au I am principally a sound artist, though my arts practice explores

between technology and nature, the intellectual and the spiritual,

a broad and diverse range of artistic practices which incorporate

and philosophy and science through my work.

sound as a medium for creative expression. This includes sound,

I have exhibited and performed works within Australia and abroad

multimedia and installation art, immersive environments,

at venues and events such as: The Design Research Institute

experimental music production, live performance and sound


design. My interest in sound and it’s aesthetic value stems from

Town Hall (Melbourne), 7th Annual Streaming Festival (The

sounds ability to have profound affect on an individual or collective

Netherlands), Gallery One Three (Melbourne), Rainbow Serpent

group of people, on a spiritual, emotional and neurological level.

Festival (Melbourne), Earth Frequency Festival (Brisbane)

My practice is strongly influenced by research into perception,

and The Solar Eclipse Festival (Far North Queensland).

phenomenology and embodiment and their relationship to sound,

I have also worked as sound artist/designer on inter-modal

immersive and new media art. I am also inspired by ancient and

installations, films, animations and performances and produces

indigenous cultures, modern design aesthetics, landscape and

music under variety of alias’s. I also recently completed a Bachelor

nature. I seek to explore the juxtapositions and intersections

of Fine Arts at RMIT, Melbourne where I graduated with distinction.

Federation Square (Melbourne), Melbourne

MÄYÄ Human beings are constantly distracted and misled by the chaos of

current technologies. Through projection mapping, video art and

the mundane world and the multiplicity of phenomena, mistaking

sound design Mäya evolves and transforms - moving through

the impermanent as if it were lasting, and confusing illusion with

geometric symmetry and ancient sonic entities - into hyper-real


abstraction and granular forms.

Mäyä is an inter-modal installation based on the ancient traditions

Objective thought is unaware of the subject of perception.This

of the Mandala. The work reinterprets the symbolism of the Mandala

is because it provides itself with a world ready made” (Merleau

and fuses ancient forms, symbols, sounds and mythologies with


IN THE RESIDENCY October-November 2014



tano_papas@yahoo.gr // www.tano.gr Since i was young, i wondered what was it that mad Fine Arts,

should be considered Icons. These paintings are religious icons of

especially painting, so important. Why certain paintings have the

a crosspieces, DNA coded,global religion. An uncharted, dogma

aura of the sublime. After years of pondering with the question i

dismissive, primitive religion. The artist is the Shaman of this

made some observations. It was not about the idea. It was never

religion. He is the medium through which images from other

about the concept. The aura, the actual impact that a painting has,

planes of existence come and appear in our dimension. There is

comes from the metaphysical properties of it. The detectable and

a variety of planes that human beings are connected with. The

the undetectable vibrations of the artwork. The effect that it has

collective subconscious, the collective unconscious and other more

on the viewers soul. Regardless of the subject of the painting,

elusive ones described by spiritual traditions. The better trained,

be it religious, abstract, landscape, there are artworks that have

the better the “cable� the artist is, the better the transmission,

these properties and affect people throughout history regardless

the artwork, should be. That exactly is the supreme task of the

of ones cultural background and personal preferences. I came to

artist. To train himself like a monk. Become a better receiver. Be a

realize that paintings that actually have metaphysical properties

spiritual figure in a cynical, profit driven, scientifically defined, age.

RESEARCH ON THE METAPHYSICAL PROPERTIES OF WATERCOLOR PAINTING Materials used: Egg yolk and Acacia gum as binders, color

formulate the artworks are subject to the subconscious and

pigments, Hahhnemuhle bamboo paper 265grams, Sennelier

the unconscious mind of the artist.. Those are connected to

paper 340 grams, Fabriano paper 165grams. A solution of Chios

the collective subconscious and the collective unconscious of

mastic gum on pure alcohol has been used partially.

humanity. It is intended to explore fields common to all humans

Primary importance has the actual matter of the artwork. The

that can be visited through artistic practice. Serious effort has

powder, the grains of color, the subtle changes in the reflection of

been made so that the effect of the conscious mind was kept under

light, the changes in transparency. The matter is directly relevant

a certain threshold. The conscious part of the mind is responsible

to the metaphysical properties of the image. We tend to forget that

for the orchestration of the artworks but the key to investigate the

what we perceive as the psyche, “higher” dimensions and other

psychical potentials of an artwork is a different state of mind. A

beings, are not separated from the “heavier” matter but linked and

kind of empathy to the visual stimulus. The process is dynamic and

quite often exist as one and the same (being).

very hard to put into words. It is not even a process in the common

The organizing, the harmony, the chaotic flow, the fractals that

meaning of the word. The “How” is part of the research.




alisatanakaking@gmail.com // www.alisatanakaking@jux.com Alisa is a Melbourne-based visual artist and theatre maker. A

since 2010. As a theatre maker, Alisa has had work in Melbourne

graduate of the University of Melbourne’s Victorian College of

Fringe Festival, Midsumma Festival, and St Martins Theatre.

the Arts, Alisa has had exhibitions and performances across

Alisa is particularly passionate about combining picture making

Australia. Alisa prints at the Australian Print Workshop access

with performance to tell stories and create magical and innovative

studio and has been represented by Hawthorn Studio and Gallery


FOREST [JOURNEY] There is always a forest.

In fairytales you enter the forest, come out the other side, and it all

From the very beginning fairytales teach us the ever important

makes sense.


But what if the forest consumes you?

- The number 3 is supreme.

If fairy tales (and the forests in them) are about BECOMING, what

- Magic is real, and available to those who seek it

happens when the forest, growing wild and rampant, is your

- Enter the forest and you will probably get lost, but come out the


other side, beat all odds, and you will find your place in the world, come into your own.

IN THE RESIDENCY September-October 2014

“Be happy, be creative, smile, enjoy life”



faitetrit@gmail.com // www.alexandrapetracchi.com Once upon a time was Alexandra Petracchi. Telling her story

as a tool she calls nature spirits to fill the blank pages, creating

without starting with “”once upon a time”” would mislead us away

mythologies of vivid fantasy woven of thousand dreams and

from her world.


When she’s old enough to choose her own path, she decides to

hidden deep inside our selves. She cuts them out with a pencil thin

express herself, by whatever mean, as long as it is full of wonder

razor to pry them free of our twisted imagination.

and magic. She’s wearing several hats and she loves that.

She has been invited to show her work in various galleries in

She becomes officially illustrator for kids. But don’t be fooled.

France and around the world.

Behind princesses and fairies in honey sweet colours, clouds are

Member of the collective Iduun (digital art and performing arts)

gathering, shadows are leaning from the borders of the woods,

she cocreated the shows » Kadambini » and « Sol ».

and the whole scene starts getting strange.

In parallel, she collaborates with Barthelemy Antoine-loeff on

She pauses sometimes from illustration and drawings to explore

the photo project “Jörd Andi”, and is looking forward to develop

her own universe, scratching into the dark corners that marks a

new projects : interactive and immersives installations, writing,

thin line between the strange and the scary. Using metamorphosis

drawing for adults books.

all together blended into the unearthed realms

LUONNOTAR Intéractive sculpture installation.

I explore my universe, scratching into the dark corners that mark

Intéraction work Barthelemy Antoine

a thin line between the strange and the scary. Using metaphorsis

Sound design Brett Stroka

as a tool i call nature spirits to fill the blank pages, créating vivid fantasies woven of a thousand dreams and nightmares, all

Fairy tales into the woods .. A story of tears, beast, blood ... Luonnotar

together blended into the unearthead realms hidden deep inside

is an encounter between strange things. One must approch the

ourselves. I cut them out with a pencil thin razor to pry them free

black boxes up close, establishing an intimate connection, in order

of our twisted imagination.

to discover the spirits lurking within. The installations are activated by sensors that detect the viewer’s movements.

IN THE RESIDENCY September-October 2014

“Synchronisation is the key”



bartantoine@gmail.com // www.ibal.tv Barthélemy Antoine-Loeff is a french director and a digital artist,

In 2010, he creates with the collective iduun the audiovisual and

member of the digital and stage art collective iduun - www.iduun.

cinema show « Kadâmbini », a flavorous mix of serial images,

com -. He works with pictures as a raw material, as a starting point

instrumental instability, invisible technology, a “Total Show” in

to explore some new narrative forms, complex, free, sometimes

which stage and screen are one, a cross-disciplinary performance

interactives, for performances or installations. His poetic universe

designed as many doors to the world of nightmares.

deals with « unsaid » and (distorted) reality.

In continuity of these performances, he wants to create some

In 2003, he began to create visuals for bands. This proximity with

digital and lights installations. “Ljos” is the first one to be exhibited

the musicians allows him to refine the visuals: he uses videos as

in China.

a real music instrument, able to follow and improvise with the

In parallel, he collaborates with Alexandra Petracchi on the photo

musicians on stage.

project “Jörd Andi” - www.injordwetrust.com - and few other

When he co-funded iduun in 2007, he was focused on create video

interactive and immersive installations.

in realtime. The performances he creates are using sounds to express the unshowable, and minimalistic images to bring the audience in a world that need to be filled using its imagination.

STJÖRNUR Audiovidual and videomapping installation ”in situ”, combination

The lights wake up in front of us; the crackle of the lights fluctuates

of paper, light radiance and equilibrium.

up to create a balance between the prisms of paper floating in the air...

IN THE RESIDENCY September 2014



julie.j.zhu@gmail.com // www.julie-zhu.com I am interested in the intersection of mathematics, music, and

into a series of notes, dynamically, to be performed in time on

the artist’s hand. This exploration is infinite, with innumerable

the bells. The bells in a tower make up an instrument called the

physical and imaginary representations, but so far has manifested

carillon, which I play.

in a series of music compositions called “Circle in Square� that use

I graduated from Yale University in mathematics and art in 2012,

a simple algorithm to choose notes at the intersection of a circle

and from the Royal Carillon School in carillon performance in 2013.

inscribed in a square, and long scrolls of scores that were created

I spent last year working in economic consulting, giving carillon

from the memory of specific pieces of music.

recitals, and performing short theatre pieces on randomness and

I am currently thinking about decalcomania, the fractal pattern

music, and in 2015, I will start an MFA in painting at Hunter College

that results from peeling two sheets of paper apart with paint in

in New York City. In the summer, I teach various 2D arts at the

the middle, and learning about signal processing in order to mourn

Sitka Fine Arts Camp in Alaska.

the morning: to transform the image of a sunrise from a bell tower

MEETING LEAVINGS / THE SWAN OF TUONELA Meeting Leavings is a series of paintings inspired by decalcomania,

were once together—like lovers who have left each other but who

a technique used to transfer one image to another, leaving a fractal

have molded the other and become something else. The paintings

pattern on both surfaces whose degree of recursion depends on

are a simply a moment in that creation, with the potential for future

the viscosity and type of paint.

transformation or regression from symmetry.

For me, the printed and the printer tell a story of coming/going,

The Swan of Tuonela is a lyrical allegory with playful sensibility

equal/opposite. Compounded with layers of these connections

through performance and brushwork. Inspired by the Finnish

and disconnections, the pair of perfect squares provides a still

landscape and drawing upon the Finnish Kalevala myth of the birth

contemplation of relationships between two people or any two

of the moon as well as Pierrot’s timeless role, the stop-motion

things/ideas that have the ability to be changed. In a meaningful

animation is set to Sibelius’s mystical classical piece of the same

connection, souls touch, and as in decalcomania, they come away

title. A deletion of one’s creation as self-confrontation is a lesson

with halves of a splash common to only the two. Although souls

in responsibility and acceptance of loss in the natural cycle of life.

may (inevitably) separate, one can trace the ghosts of when they

IN THE RESIDENCY September 2014

“the cosmos waits for you�



galaxyladybird@gmail.com // www.saltythunder.net Xi Jie works mainly with film, performance, installation and

Her history includes performative-installation/performances

socially engaged art from the little island metropolis of Singapore.

exploring the human relationship with the cosmos (also as

She leans towards the cosmic, intimate, primal, eccentric, lonely

Clown) at the Singapore Arts Festival 2011 and Singapore Night

and commonplace, navigating our relationships with each other,

Festival 2013 (as one half of performing duo Singapierrot,

and that with the universe as a spiritual infinity. At Arteles, she

commissioned by the National Heritage Board), as well as short

will continue an ongoing exploration into the modern role of

films about elderly love and the universe of elderly women (latter

Clown as it relates to identity and a truth in the world today, with a

commissioned by the National Arts Council). She has developed

series of curious and dark images in the Finnish forest combining

arts programming for seniors at the National Arts Council, co-runs

performance and installation.

the Museum of Things I Want to Forget (thingsiwanttoforget.com), and is currently working on a feature documentary about busking (singaporeminstrel.com).

LINTUKOTO & THE SWAN OF TUONELA In Arteles, I continued my exploration into the modern role of

The images paint an ambiguous narrative of identity, calling upon

Clown. The Pierrot I resurrect is a melancholic and disillusioned

the modern and mystic, ending in cosmic metamorphosis. Collaged

but ultimately hopeful being, a counterpoint to the harsh realities

with glossy Singapore postcards, decaying forest matter and

of a modern world, of which it questions authenticity and return

Pierrot’s scribblings, Lintukoto is a tactile, hand bound book that

to a truth via a spiritual journey in nature – a nature that seems at

becomes a sensorial palimpsest examining a modern spirituality.

once rosy, dark and embracing.

The Swan of Tuonela is a lyrical allegory with playful sensibility

In Lintukoto (a warm, peaceful place in Finnish), a clown from an

through performance and brushwork. Inspired by the Finnish

affluent, modern city represented by Singapore -my home country

landscape and drawing upon the Finnish Kalevala myth of the birth

conflicted by disturbingly fast progress, and which was ranked the

of the moon as well as Pierrot’s timeless role, the stop-motion

most emotionless society- visits a misty Finnish forest where it

animation is set to Sibelius’s mystical classical piece of the same

embarks on a journey of self-confrontation and transformation.

title. A deletion of one’s creation as self-confrontation is a lesson

Combining performance and installation, whimsical and dark

in responsibility and acceptance of loss in the natural cycle of life.”

interactions with real and constructed landscapes play out lyrically.

IN THE RESIDENCY September 2014




lisaRcralle@gmail.com // www.lisaRcralle.com Lisa Rybovich Crallé is a multidisciplinary artist living in the San

Arts (San Francisco), Weekend (LA), Field Projects (NYC), Roots

Francisco Bay Area. Lisa received an MFA from the University of

& Culture (Chicago) and the Dublin City Gallery (Ireland). She is

California, Davis in 2011 and a BA from Sarah Lawrence College

the recipient of the Robert Arneson Fellowship and has been an

in 2004, after also studying at the San Francisco Art Institute

Artist in Residence at Ox-Bow (Michigan), ART342 (Ft Collins), the

and the New York Studio School. Her work has been exhibited

Studios of Key West (FL), and the People’s Gallery (San Francisco).

in the US and abroad, including the Yerba Buena Center for the

For more info visit: www.lisaRcralle.com.

LANDSCAPING THE LANDSCAPE My dream is to live inside the collapsed, colorful world of a

experiences to explore the strange splendor of perception.

painting. But since I exist in three-dimensions, my work is painting

The installations I’ve been working on at Arteles incorporate

masquerading as sculpture. While at Arteles I am creating

painting, sculpture, and performance to establish habitats where

environments that pull painting into the physical world—giving

spatial awareness is distorted. Working directly within the natural

dimension to colorful contours and silhouettes. I am fascinated by

world, I’ve been wrapping the landscape with long rolls of paper

the discrepancy between our tangible spatial world and the illusory,

I paint in advance, and then staging the other Arteles residents

poetic nature of perception. I’ve read that some people who are born

within the painted environments. From a distance, my installations

blind but gain sight later in life find it impossible to reconcile visual

may appear to be large canvases suspended in the landscape,

shapes and colors with the sensory understanding of space they

but upon closer inspection their three-dimensionality becomes

developed before sight. Shadows, for instance, appear to be dark

apparent. I like to think of this process as “landscaping the

‘objects’ presumed to contain the same mass as the forms that have

landscape.” The process is sculptural, the approach painterly, the

cast them. Likewise, the illusion of objects shrinking in perspective

product photographic and the experience immersive.

is a perplexing optical puzzle. With this in mind, I construct visual

IN THE RESIDENCY September-October 2014

“Troy is a scenographer and installation artist whose work revolves around the themes of wonder, immersion, spectatorship and intermediality.”



troyhourie@gmail.com // www.troyhourie.com Troy is a scenographer, continuing to blend performance design

the body works like a three-dimensional collage to immerse the

with installation art. Trained in art history, architecture and theatre

spectator into a reflective position where the mind is more receptive

design, he has merged these disciplines to an artistic practice

to abstract thought and experiences. Much of his work captures

that focuses on the relationship of the body to three-dimensional

moments from his own dreams and nightmares or is inspired by

space as it interacts with technology. His current work revolves

images in texts and music that evoke a strong emotive response.

around the themes of wonder, immersion, spectatorship and

Because his work is a reflection of his own preoccupations, he

intermediality. In search of building a visceral experience for the

consciously attempts to insert himself as the creator in some form

viewer, the work speculates that evoking elements of wonder,

into the process. The convoluted nature of imagination permits a

chance and discovery in the creative process can lead to an

process of image building where narratives are not formed in a

engaged and thoughtful participation by its viewer. Scenographic

linear fashion but through an organic exploration. Images are first

space has always embraced the notion of ‘constructed realities’,

created, then deconstructed and rebuilt aspiring to conjure unique

whether it is a maquette for theatre, a cabinet of wonder or a

contemplation for the spectator from what remains.

gallery installation. The layering of physical and digital spaces with

APPARITIONS This is an intermedial immersive art installation. During my

were immersed in projected images from the mind of the boy Miles

residency at Arteles Creative Centre, I continue to develop a

as he dreamed of toys, a carousel and Quint’s ghost. In Finland I

artwork I began investigating during my residency at Augmented

am concentrating on creating a cabinet of wonder in a victorian

Stage in the Netherlands in 2012 and in Toronto at Artscape

writing box which will be like a pop up book with projections and an

Gibralter in 2013.

attic installation filled with the childrens toys that Quint has built

It explores the idea of designing for wonder by exploring the

as a homage to the children evoking the creepy, yet endearing

esoteric nature of the opera Turn of the Screw. The immersion

relationship to Miles and his sister Flora.

will be build in three parts. In Toronto, I explored the role of the

This initial exhibition is a work in progress that will preview initial

spectator as they embody Miles’ nightmare as he lays in bed. They

ideas for the final installation in late October.

IN THE RESIDENCY September-October 2014

“I’m obsessed with codes and patterns forming in our digital lives.”



lori.hepner@gmail.com // www.lorihepner.com I am an interdisciplinary artist working primarily in conceptually

photographed landscapes that will overlay what the next generation

based photography and photographic installations and have an

of screen-based innovations might add to our personal views of the

ongoing interest in exploring how digital technology is impacting

world. The photographs will visualize social media as light painted

individuals and the physical world around them. This a theme that

text into imagined personal landscapes as they become adapted to

I will be expanding upon to focus on climate change in the personal

future landscapes transported to the arctic from personal images

landscape, which will use social media as a connecting resource

recollecting the years before warming accelerated. I hope to affect

to elicit content for experimental photographic processes.

the personal politics of climate change, rather than the executive

I am interested in developing an imagined futurism in my

voice of Science.

#CROWDSOURCED #LANDSCAPES I used my time at Arteles working on what the “experimental

images as the light painting. Mixing abstract light and swatches of

landscape” part of my project would look like. The original thought

photographs is an aesthetic move that follows on the footsteps of

was to do light painting in the landscape, but I wasn’t happy with

8 years where complete abstraction reigned in my work. This led

the outcome. A shift was made to the studio where photographs

to an aesthetic that I will continue to experiment with as the social

of the landscape were loaded onto LEDs to use the landscapes’

media elements of the #Crowdsourced #Landscapes project grow.

IN THE RESIDENCY September-October 2014

“Believing in nothing is like walking around freshly skinned.”



caraleacole@hotmail.com // www.caracoleart.com Once I set my heart on a thing, I bite down, and the world narrows

me is personal. Participating in these extraordinary ceremonies

to that bright point. The dying animal pounds and thrashes and

count among my most profound encounters with mortality. The

moans as life and death mingle in the body. This mingling is visible

sacrifice rituals are intoxicating. I have been swept into the river of

and insubstantial as a rainbow, as smoke. The animal collapses,

religious transportment.

shivers and stills. Live flesh, responsive, intelligent flesh has

And I have been hurled out of that river. I admit to conflicting

become dead meat. Inert matter. Watching this is like being ripped

desires. I wish I could do more than photograph, do more than

apart and put back together. I wipe my face and look at my stained

place my hands in those secret rich places where memory and

hands. I’ve been dressed in blood.

desire—a life—dwelled. I examine the interiors of bodies and wish

For fifteen years I have researched and documented blood sacrifice

I could perform my own miracles upon the flesh. I wish I could

rituals throughout the globe. I am often asked why I choose to

reverse the tide of time and bring the dead back to life, to make

focus my photography and my first novel on such seemingly grim

blood rush into the body instead of out, to inflate collapsed lungs

subject matter. There are anthropological reasons. The rituals

with fresh breath, to seal gaping wounds neat and invisible, as

themselves are changing. They will die. But much of what drives

though they were never there at all.

CHAPTER 1 - KATHMANDU - REVELATION AND DISASTER “Once I set my heart on a thing, I bite down, and the world narrows

Cecilia is the enigmatic and provocative protagonist who chases

to that bright point. The dying animal pounds and thrashes and

down blood sacrifice ceremonies around the globe. In this vivid and

moans as life and death mingle in the body. This mingling is visible

visceral novel, we move through rich and ominous psychological

and insubstantial as a rainbow, as smoke. The animal collapses,

territory as Cecilia seeks redemption through sacrifice in the

shivers and stills. Live flesh, responsive, intelligent flesh has

politically volatile countries of Nepal, Indonesia, and Mongolia. Her

become dead meat. Inert matter. Watching this is being ripped

obsession with bridging the gap between life and death, the foreign

apart and put back together. I wipe my face and look at my stained

and the familiar, leads to a catastrophic climax.

hands. He’s dressed me in blood.”

This dreamlike novel explores themes of death, fear, religion, god, salvation, filling up, emptying out, foreignism, and the endless search.

IN THE RESIDENCY September 2014

“When we talk about Jazz, we are talking about experimenters. Once the experimenting stops, the music gets stagnant”



davidornettecherry@earthlink.net // www.davidornettecherry.com My music career and education have thrust me into a variety of

from a powerful tapestry of rhythms and sensual melodies. Yet I

musical expressions that I call my “mosaic of sound.” I have been

am also influenced by the infusion of modern technology into that

influenced by music of the world - the music of the spirit created

sound - I am a mix of world and jazz idioms.

SUBJECT OBJECT I am composing and painting, experimenting with both the creation

I have been on an organic journey doing art for a long time, and

of new music and visual scores that reflect the work. Coming to

the one thing I learned from my teachers, mentors, and elders is

Finland gives me time, space and possibility of collaborating with

that we need to stop sometimes and breathe, see where we are,

other energetic, international artists.

and where we want to go as an artist. The world today is marked

I am interested in the intersection between music and painting. I

by a complexity of ever-changing events – unfortunately not all

have been composing for theatre and spoken word poetry for the

pleasant. As an artist there is always the need to take some time

past seven years, integrating music compositions with words and

to look within and allow the creativity to guide the process and the

visual theatre. Being at Arteles Creative Center is allowing me the

flow, without concerns. I have been taught that when we make a

space to create music scores and painting, visual compositions

positive change within, then we can take this out to the community

that can be stand alone works of art, and/or be part of multimedia

and the world.

video and performance.


“Make it Happen”



thelastlibrary@gmail.com // www.april-phillips.com April Phillips is an Australian artist who lives & works from a

During August 2014 this residency period at Arteles will be

seaside village in the Mid North Coast region of NSW, Australia.

an opportunity for April to explore ideas related to her recent

After completion of study in Sculpture at RMIT University

fascination: The imminent ‘End of Days’. Her recent visual

Melbourne, April expanded her skills with a two year footwear

interpretations related to death, growth, transition, connection &

design course. April has pursued many residencies, internships,

loss will be the point of departure for this new body of work.

mentorships & formal study opportunities to develop her technical

This dark theme will be approached with a light contrast of

skills & expand creative outcomes.

optimism, humour and delight.

April chooses to work across mediums in order to develop ideas,

Please follow her blog to check in with the progress of her

which often explore part of a whole story. These stories are directly

residency at Arteles:

related to historical events, places, eras, people or imagined



END OF DAYS During the last two weeks of August 2014 April Phillips spent

The end of human life as we know it is increasingly becoming a

time as part of the summer residency program at Arteles. This

doomed state we all face. Pregnancy for April has expanded

was an opportunity for April to explore ideas related to her recent

this reflection, whereby a sense of optimism and hope for life

fascination: The imminent ‘End of Days’.

is necessary to be a strong mother to be. There is a consolation

Her recent visual interpretations are directly related to life, death,

in that perhaps the human being will not survive but traces of

growth, transition, connection & loss. These starting points are the

ourselves will be held tightly in the bounds of the natural world. A

point of departure for this new body of work.

world that will thrive in the absence of our extinction.

Working within a portable studio practice of two-dimensions

This dark theme has been approached with a light contrast of

April experimented with water colour, paper surface treatments

optimism, humour and delight.

and collage to form workable outcomes for her current ideas.


“I love to play piano and cook for the people I like the most”



mauro.arrighi@me.com // www.linkedin.com/in/mauroarrighi I







I am definitely a Japanophile: my PhD is about current new-media

performances; enthusiast of being on stage playing electric guitar

art ecosphere of Japan.

and piano. As for my artistic achievements: I performed at the Ars

Concerning my recent artistic production as music composer,

Electronica Festival (Linz - Austria), at the Biennales of Art and of

please refer to:

Architecture (Venice - Italy) and at the Pantaloon Gallery (Osaka -


Japan), just to name a few.


I have been lucky enough of having being trained at “Interface

… as essayist:

Cultures” at The University of Art and Design of Linz in Austria and


at IAMAS in Japan.


Now, I am lecturing at the Academy of Fine Arts of Bologna in

I enjoy working in an international environment, always willing to

Italy while conducting doctoral studies at Solent Southampton in

work overseas and open to collaborations with other musicians,


artists, moviemakers, fashion designers, directors, games and apps developers.

Photo by: Masahiro Nakata http://ph.mn78.net/

REALITY BONSAI As a bonsai is a metaphor for Nature itself as a self-

In this work, I aim to tell a story where images of real people and a

contained universe controlled by Humans, these images

fake digital representation of the place where they live are shown;

stand for the city as a “second nature” for humankind.

even nature is an abstraction. Being “escapism” one of the themes

“Reality Bonsai” is an audio-video computer-aided performance

of my present theoretical enquire, I believe that this experiment

where I mix 3D landscapes and my original music.

would function as a tool to explore visually and auditory what I am putting down in words.

IN THE RESIDENCY August-September 2014



brett@brettsroka.com // www.brettsroka.com Brett Sroka is a composer, musician and sound artist for film, dance,

Council on the Arts, the I-Park Foundation, and been a visiting

installation and has released five records with his electro-acoustic

artist at the University of Pennsylvania, the Institute of Electronic

ensembles, Ergo and Cherubim, on Cuneiform Records, Fresh

Arts at Alfred University and the Vilnius Academy of Art. In 2014 he

Sound - New Talent, and Zeromoon, collaborating with musicians

premiered his performance-installation, Sine Qua Non at Roulette

such as Jason Moran, Mary Halvorson and Avishai Cohen. He has

in Brooklyn, and will be an artist-in-residency at Ptarmigan in

performed at the Sonic Circuits Festival, the Guggenheim Museum

Estonia and the Arteles Creative Center in Finland this summer.

and Risonanze in Venice, Italy, received awards from the Queens

SYLLABLE FROM SOUND “Syllable from Sound” is a sound installation that integrates

and pulsating rhythms, processed through envelope filters, pitch

the voices of it’s visitors into a modular music composition.

shifting, splicing/sequencing and spatialization techniques, still

In an installation space, a speaker is placed in each of the four

recognizable, but only barely. Each time a new voice is added

corners, with a microphone in the center. Visitors are invited to

it replaces a previous one, and the generative programming

speak, sing, whistle, etcetera, into the microphone, which will

advances that channel to a new phase of the piece. Therefore,

activate a Max/MSP software patch to record it as a new element

each of the four channels develops at its own pace, creating a new

of the piece. Those voices are transformed into a tapestry of dense

relationships to one another with each visitor interaction.




nathalie.collins25@gmail.com // www.nathaliecollins.us I am originally from Anchorage, Alaska, currently living in

MFA from Pratt. The rigor of both these programs, and being with

Brooklyn. Growing up in an environment that was wild, where

communities dedicated to creative work nurtured me as an artist.

everything was extreme had a huge impact on my work. My work

Since school I have mostly lived in New York, where I share a

has a fragility and a physicality that evokes the rugged but subtly

studio and belong to a cooperative gallery. In addition to making

formed and changing mountains, tundra, and glaciers of Alaska. I

work, my life focuses on community building and spending time

have a BFA from the School of the Art Institute of Chicago and an

feeling my way into the visual arts culture of this time and place.

DRAWINGS / COLLAGES My time at Arteles has been spent drawing on silver photo paper

ant hills, the way the sunlight dances on the lake making patterns.

that I found in the storage cabinet. The drawings have been

The drawings come alive when sunlight hits the silver paper where

influenced by walks in the forest noticing different shapes of bark

painted line and light collide.

on the birch trees, delicate/ hard textures, moss, shapes of rocks,




aaron@aaronkirschner.com // www.aaronkirschner.com Aaron J. Kirschner (b. 1988) is a composer, theorist, clarinetist,

Symposium. As a performer, Mr. Kirschner is strong advocate

and conductor currently residing in Salt Lake City. Mr. Kirschner’s

for new music and performs regularly as a clarinetist and bass

music has been performed throughout the United States and Italy

clarinet specialist. Since making his soloist debut in 2010, he

by members of the American Modern Ensemble, DuoSolo, Corky

has premiered dozens of new works throughout the country. Mr

has a Band, the Fireworks New Music Ensemble, the Boston New

Kirschner holds a Bachelor of Music in clarinet performance from

Music Initiative, and the Des Moines Symphony Orchestra, among

the University of Iowa and a Masters of Music in composition from

others. In August of 2014, Mr. Kirschner will be an Artist-in-

Boston University. He is currently completing his Ph.D. at the

Residence at the Arteles Creative Institute in Haukijärvi, Finland.

University of Utah, where he also serves as a graduate professor

Also active as a theorist, Mr. Kirschner has received invitations to

of Theory and Musicianship. Mr Kirschner has studied composition

present his research at the 2014 annual meeting of the Society for

with Steve Roens, Ketty Nez, John H. Wallace, David Gompper,

Music Theory, the 2013 Harvard Bach Colloquium, the West Coast

and John Eaton, as well as studying clarinet with Maurita Murphy

Conference of Music Theory and Analysis, the Rocky Mountain


regional SMT meeting, and the SUNY Buffalo Music Graduate

STRING TRIO NO 1: “WHOOSH—CLICK—FLOAT THE SOLITUDE OF INTIMACY, FOR SOLO GUITAR String Trio No 1: “whoosh—click—float” is a 23 minute work

new intervals created by this tuning are explored. The subtitle refers

for strings, exploring alternative tunings and techniques. For

to the three main types of sounds created by the new techniques.

the entire work, the performers fingers never touch the body of

The Solitude of Intimacy is a short work for solo guitar, reflecting

the instruments—all sounds are made from lightly touching the

on the interpersonal boundaries created by romantic intimacy.

strings and/or different bowing techniques. In addition, the strings

There is a constant conflict between the initial improvisatory

are retuned, in just intervals to the lowest of the violoncello strings.

material, and the rigid control of the rest of the work.”

This removes traditional concepts of pitch relations, and the many


“I feel that my responsibility as an artist to touch the human heart and prevent this world from careening totally out of control.”



chinchihyang@gmail.com // www.chinchihyang.com The Internet, news programs, conversations with friends and

The greatest excitement for me lies in solving problems associated

strangers, my whole environment serves as the raw material for

with the execution of a particular idea. Finding the right information,

the creation of my work. Insofar as I believe I may have answers

images, and selecting the most suitable technique for representing

for a more interconnected lifestyle, I feel it’s my responsibility

my thoughts is what gives my day it’s meaning. Would it be more

as an artist to develop, and hopefully realize, instruments, tools,

effective to use humor, satire or shock to illustrate my thinking?

methods or techniques, to improve human communications,

What is the best way to communicate and attract attention in our

making our personalities visible to one another.

global society?

TRASH KING I collected the daily trash, such as milk containers, soft drinks,

the trash coat and use hand-held projectors to interact with trees in

beer cans, consumer product packaging, and the like. I did this over

the residency’s park, while also interacting with an audience.

the course of my month-long residency at Arteles Creative center. With

This is about how, in as little as one month, a single artist was able

only the weather, rain or shine, to clean my materials, I then used

to pollute our natural environment. It also shows how human beings

all the trash to create a coat: a windbreaker/trench coat. I will wear

conflict with the natural environment around them.


“I think about ‘blindness’ in my work. ‘Blindness’ in regard to the diverse identities, landscape and social functions in society. ” JACQUELYN SOO


jpadifields@gmail.com // www.jacquelynsoo.4ormat.com BIOGRAPHY

Her first artist-in-residency was in Jatiwangi, Indonesia where she

Jacquelyn Soo (b. 1981) is a Degree (Hons) Fine Art graduate from

stayed in the village of Burujulwetan working with the villagers

LASALLE College of the Arts, Singapore. She received a bursary

to create Community Art Project. She has since had residencies

award and a travel grant to Hong Kong in 2006 to create a project

with NAFAS: Yogyakarta, The Artists Village Singapore: Pulau Ubin

about cultural identity. She has been inspired to create and discuss

Residency Programme and with Arteles Creative Centre in Finland.

works about the differences in cultural practices.

Soo represented Singapore for the 1st Jakarta Triennale in

Soo has presented drawings, photos, installation and performance

November 2013 at Nasional Gallerie, Jakarta.

art works in Southeast Asia, America and Europe.


identity of the natural world with the homosapien.

I think about ‘blindness’ in my work. ‘Blindness’ with regards to

In this series, I use my fingerprints as a focal point to discuss

the diverse identities and social functions in society. Since 2013,

the position of the unique identification of the human body with

my work has developed to explore the concept of blindness in the

the equally unique identity of the land. A relationship of the two


encourages discussion of equality in both worlds.

A project ‘Code in the Micro’ was realised in August 2014 at Arteles Creative Centre. The project highlighted the similarity in the unique




megantaylor1989@googlemail.com // www.meganelizabethtaylor.com Megan is a visual artist and illustrator based in Glasgow, Scotland.

Megan’s interests lie in themes of imagined territories and

She graduated from Glasgow School of Art in 2012 where she

potential futures loosely translated as picture lands of film

studied Communication Design.

space narrative, which sees the convergence of objects and

Megan’s practice encompasses a wide range of disciplines, with

images that together build up fragments of a fantastical vision

projects ranging from experimental drawing and illustration to

of a misremembered world. She aims to unfold the narratives

sculptural installation and immersive environments. Most recently,

of film landscapes through the act of delaying cinema. Through

her work explores the possibility of Architectural Absurdities,

drawing and installation, this project explores spatial delineation

where ideas appear impossible and illogical. Her approach often

using a language of two dimensional and three dimensional linear

includes large scale drawing, complex layering, cutting and

elements which reference both organic and geometric systems

projection techniques in a variety of materials. A recurring theme

and structures within film space, inviting the viewer to experience

is the psychological distortion of structure, narrative and human

fragile and temporal experiences of visuospatial perception.



I have used my time here to learn the process of hand drawn animation. What started out as quick observational sketchbook

Week 1 = 1 second a day

drawings of my surroundings, turned into moving images

Week 2 = 2 seconds a day

and sequences as part of an on-going animated collection.

Week 3 = 3 seconds a day

Each new second communicates a time or place, a feeling,

Week 4 = 4 seconds a da

an event, or simply a diary in motion of my time at Arteles. Sound has been collected throughout the duration of the residency and will be added in retrospect, reflecting on the experience as a whole, which in turn will help the film feel more cohesive.


“Building the House without Exit�



ellyce.m@gmail.com // www.ellycemoselle.com Ellyce Moselle works primarily with drawing, photography and

what the boundaries of human are. This leads her to research

sculpture to look at a human history of consciousness. She is

everything from contemporary medicine to mystical illustrations

particularly interested in how we shape images of ourselves, and

of the universe.

NOTHING: A SERIES OF PHOTOGRAPHS AND A WORKING TITLE Ellyce Moselle spent her time at Arteles working on two projects.

meditative non-space. These images strive to be empty, sometimes

The first was a completely new endeavour; she concentrated on

through baroque density; they strive to have no subject but the

teaching herself the basics of 3D modelling, using the program

light that makes them and at the same time avoid a collapse

Blender. Moselle hopes to use this media in the future for some

into decoration. This work has been driven by Moselle’s reading

planned animations and video work. The second project was

in Zen and phenomenology. She started taking these images,

the continued pursuit of a long standing photo project, currently

unknowingly, in 2008 and has only recently started to approach

untitled, where she takes images with the goal of creating a

them with specific intent.




adamsetala@gmail.com // www.adamsetala.com Adam Setala is a Milwaukee based illustrator, designer, visual

and has been exhibited in shows from Los Angeles to New York,

artist and teacher. He has a bachelor’s degree from The Milwaukee

and a bunch of places in between. He enjoys bad 1980’s horror

Institute of Art & Design with an emphasis in illustration. He also

movies, his dog named Boy, fly fishing, and baseball. Currently

has his MFA from the Minneapolis College of Art & Design. His work

Adam is a professor of design and illustration at The Milwaukee

has been featured in both national and international publications,

Institute of Art & Design.

PAPPALAND My time at Arteles has been spent creating a series of illustrations,

Finland’s rich mythological lore. My practice is very research heavy,

drawings, paintings, and designs dedicated to exploring the link

so in addition to this work, I have been coupling my physical, pen

between my family’s Finnish history, and my current trajectory

on paper process with constant exploration, reading, and writing,

as an American maker of things. I have also been examining,

so that I may better take this experience with me when I leave.

and attempting to comment on my connection (or lack thereof) to


“The limits of material and physical construction are surpassed by examining the physicality of virtual construction.�



thisisjacobriddle@gmail.com // www.thisisjacobriddle.com Tools and materials of a carpenter viewed through the mixed

the physicality of virtual construction. Presenting itself through

reality lens of Photography and 3D Rendering are used to critically

photographs of a mixed reality neither wholly physical or virtual

examine the constructed nature of a photograph. The limits of

both drawing attention to the differences between the physical and

material and physical construction are surpassed by examining

virtual and presenting them laterally.

PERFECTION GREY Perfection Grey is a body of work that I have been working on for the

examine the constructed nature of a photograph. The limits of

past six months. I have used my time here at Arteles to work in a more

material and physical construction are surpassed by examining

free and focused manor than I am typically able to. I have freely moved

the physicality of virtual construction. Instead of juxtaposing or

between reading and writing about the work and actually producing

completely integrating the virtual and the physical I am exploring

the work without the pressure of deadlines or expectations.

the space between juxtaposition and complete integration. By

Tools and materials of a carpenter viewed through the mixed

creating a sort of hybrid reality I strive to create something more

reality lens of Photography and 3D Rendering are used to critically

than the sum of the virtual and physical.




alexandria.carrion@gmail.com Capturing the essence of a detail interests me. I study

architectural interruptions. My practice observes the minutiae

intersections of moments within the landscape: exposure of

of what could be considered banal, and renders it into considered

edges stripped bare from erosion, fissures from compression,


cracks of pressure, furrows on roads, profiles of trees, and






FROM BEDROCK TO BOULDERS, BACK TO MAQUETTES My project at Arteles has been rooted in the observance of

duct tape. By exploring the tangible nature of model making, and

Finland’s geology. The terrain serves as a source of inspiration for

utilizing the immediate landscape as a source, I am attempting to

sculptural forms. As a result of studying the local bedrock, I have

generate small sculptural works that explore the ideas of tension,

been working on a series of maquettes made from sheet metal and

compression, and intersections.


“I want my art to smell like me, and be full of energy, joy, and contradictions.”



tommehhogan@gmail.com // www.tomhogan.com.au Tom Hogan is a composer and sound artist, writing and performing

to collaborate, and makes sure his works captures a sense of joy

music for theatre, film, dance, and for bands that don’t exist. He

and energy.

mysteriously moonlights as performance poet Scott Sandwich, but

In his second visit to Finland, he will be developing a collection

it’s getting a bit out of hand now.

of large-scale poetry works. Each work will be a representation

He is in an ongoing internal battle with himself, about his artistic

of a major composition by Jean Sibelius. This project is based

sensibilities and identity. However, it’s much less intense than you

on a quote from Sibelius: “Music begins where the possibilities

think. His ambient music requires time, patience and subtlety,

of language end.” The final product will be a response to this

while his poetry is like a jet-powered bulldozer... and never the

challenge, a celebration of Sibelius’ personality and musical

twain shall meet.

intuition, and a showcase of the power of words that sit behind

He works fast and fun. He juggles multiple projects – using one

everything we do, even when nothing needs to be said.

idea to take time off from the others. He tries new things, loves

MUSIC BEGINS WHERE THE POSSIBILITIES OF LANGUAGE END I created a collection of large-scale visual poetry works.

shapes and movements within each composition, but still

Each work is a representation or translation of a musical

concede to the limitations of reading and writing text. The

composition by Finnish composer Jean Sibelius. The project

poems both glorify and humanise the figure of Sibelius,

responds to a quote and challenge from Sibelius himself:

and are all affected by my own context and personality.

“Music begins where the possibilities of language end.”

Works such as “Symphony No. 1 in E minor (Op. 36)” contain

Inspired by Modernist writing that developed in Sibelius’ time,

cohesive structures to provide an attempt to translate the

each work is made up of at least three layers of poetry. They

energy of a vibrant musical work, while “Finlandia (Op. 26)” is an

feature the voice of the music, the voice of the composer, the

onslaught of text and footnotes, providing an impossible task of

voice of musical critics, analysts and biographers, as well as

summarising such a grand musical and nationalistic statement.

my own voice in dealing with the complexities or failures of

The overall collection is a humorous and energetic take on the

impossible translations. The voices respond to each other, often

limitations of language, the problems of translating media,

contradicting, disagreeing, or misunderstanding. These layers

embracing cultural differences and subjective viewpoints through

are then printed on a large scale, presenting a text-based form

poetry, as well as a celebration of Sibelius’ personality and musical

as a visual artwork with their own shape, colour and composition.

intuition, and a showcase of the storm of words that sit behind

The form of each poem is inspired by musical structures,

everything we do, even when nothing needs to be said.




mmarieland@gmail.com // www.youtube.com/watch?v=R4Tb6ezpIuw Marie-Louise Andersson is currently working on a series of

both an esthetic constellation and as a growing syntactic structure

drawings, performances, and audio.

for language, to create an imaginary place out of time and out of

Geometry of Language is a piece based on a series of drawings in a

any real place.

diagrammatic sense along with an audio walk, and performances.

The pineapple spread from South America to its coast and

Marie-Louise Andersson fascination of plan drawings of places

north to the islands of the Caribbean and European continent

is the idea of representation of place, since the diagrams are

with its gardens and hothouses to mimic the tropics in the

able to combine spatial and non-spatial ideas. To present

temperate zone and created artificial places to make it grow

a real and an imagined world, abstract ideas and concrete

and bloom on the Europeans idea and fascination of the exotics.

proposals. Diagrams or plan drawings are all seeing but also

It became the beginning of a European spinning love affair with

deceptive and illusory - it hides not only the third dimension but

the princess of fruits, its precious shape and complex beauty

as well the dynamics, temporal and sensual qualities of place.

originated from the tropics made it popular but difficult to cultivate

In renaissance Italy they shaped the so called ideal cities on

in Europe. The cultivation of the pineapple disappeared throughout

abstract rules of proportion and symmetry shaped spaces as an

Europe and finally back to plantations in the tropics as Europeans

imaging serene of unpopulated spaces.

colonized and import slightly changed in society. Into modern

By the work Geometry of Language, I intend to draw on principles

time the export and sale of the pineapple got labeled as comfort

in geometry. Playing with references as the ideal renaissance cities

of sun-kissed lands, ocean breeze, sensuality and a sweet scent

and the pineapple’s symmetry as shape and its cultural history - as

of paradise.

PINEAPPLE WARRIOR The Pineapple Warrior costume is a part of a performance that

exhibition taking place in Parc de la Ciutadella, Barcelona.

plays a central role in the piece Geometry of Language. Geometry

The Pineapple Warrior costume is made up of enlarged fragments,

of Language is a body of work including performances, costumes,

ordered as a suit of body armour made of paper, textiles, and

props, paperwork and sound. The overall piece is for a performance





kevinkane311@gmail.com // www.kevinkaneonline.com Knowing how essential the performing arts were to his own

arts, arts education, and culture & performance. As a twenty-

personal development and education, Kevin has dedicated

year resident of Los Angeles, Kevin has worked extensively as

his career to working primarily with youth ensembles in the

a high school and university level dance, theater, movement,

fields of dance, theatre, and interdisciplinary performing arts.

and arts education instructor and director-choreographer. To

His main interest in both his scholarly and creative work is

address issues of access, Kevin has formed his own non-profit

creating/ devising progressive, inclusive, intercultural, and

organization to assist low-income youth to participate in the

interdisciplinary ensemble performance projects that explore

arts. He will soon take on the position of Associate Director of

personal and social identity within a wide range of socially relevant

the Visual and Performing Arts Education program at UCLA. He

topics, allowing many voices and perspectives to be heard.

also has an impressive and varied resume as a performer and is

Kevin holds a BFA degree in Theatre Arts; an MFA degree in Dance;

currently invested in creating his own solo, autobiographical multi-

and a PhD in Cultural Studies, with an emphasis on community

disciplinary performance projects.

PHOTOS OF A GOOD BOY: REFLECTIONS AND REGRETS ...AND OTHER THINGS I came to Arteles to rest, read, research, and write. I wished to

can sometimes speak better than (differently than) words, just

start to write a book proposal and complete a few scholarly feature

as movement does. I came here, therefore, to contemplate how

articles to be published in arts education journals.

photographs help us tell our stories, recall and articulate the past,

Beyond those pursuits, I came here to return to an embodied

and make sense of personal events that are troubling and uplifting,

practice, to dance and move. I came here to explore dance as

mysterious and defining. I drew inspiration from many songs,

memory, prayer, and meditation; dance as something that can be

tunes, melodies, and lyrics to connect me to deep and genuine

psychologically, intellectually, physically, and spiritually curative.

feeling. Putting this all together, I sought to explore text and

I wanted to explore the deep meanings of gestures and mudras

movement, dance, memoir, music, and memory‌ investigating

and how they can help describe or define us without words.

how it might be shaped into a solo dance-theatre performance.

Likewise, I have always felt that pictures and photographic images


“Nothing matters more than what never happened”



sonja@sonjalotta.com // www.sonjalotta.com I am a Swiss Artist with a BFA in Photography from The University

Playfully I add some narrative levels which go beyond the daily

of the Arts in Philadelphia, USA and an MFA from the Glasgow

routine. The idea of identiy apprears in various positions (identity

School of Art, Scotland. I have been working and living in Zürich,

formation, search for identity, identity escape); it constitutes a

Switzerland since 2007. My work is strongly inspired by everyday

common thread that connects all my work. The presentation and

life, which I document and transform by distancing. The details in

installation in the room is part of the work.

daily life fascinate and animate me to view life from different angles.

WENN DU ALLES VERLASSEN HAST, KOMMT DIE EINSAMKEIT [IF YOU LEFT IT ALL, THE LONELINESS FALLOWS] My current work is based on the theme of frustration from the

started and finished the last part of the work: the frustration of

book “Missing Out” by Adam Phillips. I have been working on four

being deprived of something one has had. I chose the feeling of

different projects since the beginning of 2014. Here in Finland I

loneliness and the role it plays everybody’s life, as well as in mine.


“Grace Kingston is the child of an Ancient Historian and an Economist; born in 1987”



gracekingston@gmail.com // www.gracekingston.com I am a multidisciplinary artist whose work is primarily concerned

I often create works that use the data and symbols of our

with technology and it’s intervention on our body, identity and

online lives in the real world to consider how our identities and

everyday life. I conduct research in the fields of social media,

interactions are evolving as technology becomes more prevalent,

digital culture, bodymod, networks, environments and spatial-

and more personal. I am interested in Sherry Turkles notion of

contextual awareness.

being ‘alone together’ with technology, and where that might

These themes have been employed through meticulously

lead in terms of privacy and intimacy. As the global community

constructed scenes that have been networked and suspended by

grows closer, devices mediate more of our dealings with each

rope. In addition to working with the body as a site, object making,

other and our opportunities for play and experimentation are

photography, drawing and semi-permanent impositions on the

vastly increased. It is for this reason that my area of research is so

natural environment. I enjoy making and documenting scenes that

exciting and unpredictable.

are unusual in their execution, yet surprising in their familiarity.

SOLUS / ABSENCE During the month of August I have explored the notions of space

“prototypes” building towards a larger exhibition in Sydney later

between bodies and the environment. I have created a number

in the year. Language has informed the works, in particular the

of experimental interdisciplinary projects, photography, site-

latin word “solus” as the root word for both “alone” and “only” - a

specific installation and soft sculpture. Many of these projects are

reflection of the intimate rural environment of Arteles.



Hong Kong

coscar1013@gmail.com // www.oscarchan.com I am a Hong Kong based artist (1988). My creative approach explores

personal experiences into a wider context of collective relationship.

personal experiences whilst embracing different media and their

Based on these very real personal experiences, I explore how

properties including installation, ceramics, and illustration. Some

individuals associate themselves with others.

of my artwork are site-specific, enabling viewers to contextualise

WHAT (DEVIL) BABIES DO This project is based on a belief that babies are born ‘a

monsters from different mythologies, I try to find out see if there

piece of paper’. They turn out to become a good or bad

any similarities and reasons how the bad personality created and

person as a result of their environment and education.

twisted from a neutral baby to scary devils.

Through the process of drawing different devils or bad behaviour


“What you see is not what it is”


South Korea

buffaloo11@gmail.com // www.facebook.com/jihyun.youn.54?ref=tn_tnmn Born and grow up in South Korea and lives in Amsterdam.

My inspiration start with observes ‘body’ as a complex object in

Since young age I trained classic ballet and Korean traditional

itself and relation with characteristics of ‘Time’. As a strategy,

dance techniques. In 1999, I came to Netherlands to study new

I like to see the passive object flip into active manly by one’s

dance techniques and choreography at EDDC (European dance

‘observation’ or ‘intention’. And sharing or witnessing that flip

development center) in Arnhem and after the graduate I continued

experience together is the purpose of performance for me. I am

my study at DasArts (Master in Theater) in Amsterdam.

also interested in uncertainty of structure or pattern in relation

I work as freelance artist and create projects in collaboration with

with emotions.

different discipline artists and giving workshops in Europe, Korea, Mexico and Brazil.

SUBJECT OBJECT Visual Artist Maggie Kelly and I found common ground in our

objects as a substitute to the human body. By using objects we

interest of exploring the human ‘body’ as a material object and so

begin exploring the word ‘body’ in a wider context in order to lose

began playing with the passive body in space. Our collaborative

any associations connected to the passive body, such as the weight

exploration naturally surfaced in the form of performance and

of death. Ironically in doing so, this weight is regained, exposing

photography, through which we gradually shift to the use of daily

our inescapable attachment to death, bringing us full circle.




m.kelly.2705@gmail.com If you see the human condition as being mind internalised within

the personal process of self-observation, navigation and reflection,

a body and the status of our built environment as buildings that

my practice aims to explore the meaning of ‘inside’ and ‘outside’

contain bodies, then what is the nature of human nature immersed

both as state and concept, as well as question what constitutes

in this secondary body of architecture? What does it mean that

a human habitat. I’m very much interested in the concept of the

the human animal chooses to live within this second body?”

body as an environment itself; our primary location; a mobile and

-Antony Gormley

impermanent environment, acting as an archival container in

Interested in the interdependent connections and boundaries

which we as sensual, social, emotional and psychological beings

between mind, body and environment and increasingly driven by


EXPLORING ”NATURE” Feeling wrapped up in the boundless blanket of countryside

JiHyun Youn and I found common ground in our interest of exploring

landscapes at Arteles, I primarily began to absorb the immense

the human ‘body’ as a material object and so began playing with

beauty of nature and naturally started to consider themes

the passive body in space. Our collaborative exploration naturally

concerned with the human condition and our relationship to the

surfaced in the form of performance and photography, through

natural and built environment. With the use of latex I began to create

which we gradually shift to the use of daily objects as a substitute

small replicas of natural habitats, documenting my experiences

to the human body. By using objects we begin exploring the word

of texture, colour and location. By replicating parts of the natural

‘body’ in a wider context in order to lose any associations connected

landscape in which my body inhabited and by removing them from

to the passive body, such as the weight of death. Ironically in doing

their original context to be displayed in a constructed order, I begin

so, this weight is regained, exposing our inescapable attachment

to question the status of each environment and the perceptions

to death, bringing us full circle.

of ‘self’ within the natural world. This documentative process was merely a starting point before entry into a collaboration with fellow resident JiHyun Youn, a Korean dancer and performance artist.




andreamcginty@gmail.com // www.andreamcgintyart.com Andrea McGinty is a multimedia artist working primarily in video,

express agency, power, guilt, and shame when filtered through our

text, and drawing. Her work focuses on how language can subtly

personal relationships.

NONE OF IT Provocative text flashes across the screen as intimate relationships

reflects our cultural framing and the expectations and limitations

and private admissions are recounted unapologetically in my

of our socially prescribed roles. The way we communicate reflects

videos. Casual, conversational discussions of personal narrative

the contradiction and confusion embedded in our understanding

reveal underlying notions of agency, power, guilt, and shame

of gender identity and sexuality. With a narrowed definition of sex

that stem from our cultural norms. The way we use and misuse

professed as universal truth anything that falls outside of that

language creates meaning, and that meaning reflects our cultural

reductive definition is relegated to perversions. This makes our

experience. Language provides, at best, an imperfect expression.

true desires difficult to confront. Navigating difficult emotional

My work translates the imperfections of communication in search

territory, the prose walks a fine line between sincere and absurd

of greater understanding.

building into itself a level of precariousness. As I try to recall my

I am interested in the way language can subtly reflect our societal

own history, fabrication and truth are entangled. I become an

conditions when filtered through intimate relationships. My concern

unreliable narrator and it becomes unclear where fact ends and

isn’t with bold statements or generalizations, but in the slightness

fiction begins.

of personal experience. The way we interact in our relationships




sklein79@gmail.com // www.susankleinart.com My paintings and drawings begin from the direct experience of

sheep or urban construction sites. They retain a strong relation

walking through the landscape. I use digital photography as a way to

to perception- the process of seeing and structuring spatial

record my visual passage through space. The photographs become

relationships. Traces of hiding and revelation remain and the

source imagery for both paintings and drawings. The work deals

surfaces of the paintings show wear and tear. Irregular surfaces,

with the particular: the tension between two shapes, the quality

architecture, botany, gnarly branches, fences, piles of bricks – they

of the color, the fact that the paintings all evolve from specific

swim together to create a dense visual obstacle course.

visual situations that I observe, whether bucolic landscapes of

WALKING, STACKING, DRAWING During my time at Arteles, I made a habit of taking long daily walks.

repetition. The drawings created here use this imagery - they are

I documented these walks with photographs. Patterns began

a record of time, space, and human organization (my own and that

to emerge from the photographs: wood stacks, piles, ordering,

of the neighborhood residents).


“My current work focuses heavily on shape, line, form, composition and colour”


South Africa

thesenyol@gmail.com // www.senyol.blogspot.com Born 25 October 1980 in Cape Town, South Africa.

has given me the freedom to break away from traditional notions

I have been drawing and painting since my early high school years,

of painting, to explore genres and styles, and to meld mediums,

however never pursuing any form of artistic or graphic training.

allowing myself creative freedom to flow through my works.

At 16, I discovered the freedom of skateboarding and punk rock

My art lingers gracefully and intentionally between beauty and

music in the beautiful suburb of Welgemoed, where I grew up.

honesty and brings a surreal, yet abstract world into being. My

This naturally became a key influence in my early drawings,

current work focuses heavily on shape, line, form, composition

sketches and paintings. Skateboard graphics, album covers,

and colour. Each faint line. Bold brushstroke and shape carefully

magazine layouts and illustrations played a role in developing my

composed to breathe life into it’s environment, reflecting something

aesthetic eye. Around the same time, I also became exposed to

of light, experience and thought. My finished work seeks to engage

the creativity of graffiti and street artists such as Marc Gonzales,

the viewer through translating my own experiences to canvas,

Ed Templeton, and Barry McGee - all of this forming part of my

allowing an open discussion and translation of the work.

early ‘art education’. I was later introduced and moved by the

I have exhibited extensively throughout South Africa and abroad.

creative thought and artistic genius of Jean-Michel Basquiat, Andy

I currently live and work from a studio in Woodstock, Cape Town.

Warhol, and Cy Twombly. My lack of formal training and schooling

NO MAN’S LAND During my stay at Arteles I set out to create a series of five

residency at Salon91 Gallery in Cape Town, South Africa. During

artworks, each roughly the same size as each other. They form

my time at the residency my paintings focused on explorations with

part of a year-long theme to my work, culminating in an exhibition

color, compositions, linework, textures and new mediums. These

with previous artist-in-residence Pierre le Riche (South Africa). We

artworks will also be shown at a group show at CircleCulture

will be showing work from during our residency, as well as post

Gallery in Berlin during July.




alexis@alexiscourtney.com // www.alexiscourtney.com My work is a systematic investigation into the way human

I use to challenge social structure by way of deprogramming and

beings interact/react to themselves and their surroundings.

mimicking day-to-day interactions. The reversal of pattern, the

By using daily life as a stand in for material and source, I draw

influence of balance, and the mirroring of an opposing force are

parallels between process and experience, self and the other.

reoccurring themes that explore the innate need for connection to

Repetition, deconstruction, humor and vulnerability are methods

others and to the physical world.

UNTITLED A holding pattern recreated using five men and a red ball,

seen. I drew inspiration from both my physical surroundings and

Facebook conversations deconstructed to only include affirmative

the other residents at Arteles for these video pieces. They are

or negative phrases, the artists relationship to their art mimicked

each a meditation on what it feels like to be in a foreign place with

by way of tripping on something invisible, a figure running through

strangers and friends, physically and mentally.

the woods wearing neon orange in an effort to be caught but not




drabjohn@gmail.com // www.dustyrabjohn.com I am a Chicago-based artist and teacher. My work is predominantly

incomplete result, encouraging viewer participation. I operate

motivated by sociopolitical concerns. I try to create simple but

under the assumption that art is a democratic form and should

provoking images that ask questions of the viewer. I’m interested

therefore be accessible and productive, reflecting themes of

in realism, but I want to render images that give a vague and

contemporary relevance.

EXPLORING ”NATURE” I purposefully came to Arteles with no ideas in mind. It’s my second

and subject matter. The content of my work remains focused on

residence here and the previous time I rushed to produce a lot of

human nature, and the inherent beauty and cruelty of the natural

work that I was only partially satisfied with in the end. This time I


wanted to be open to more exploration in materials, techniques,




hkrhame@gmail.com // www.hkrhamefineart.com/blog My practice is an attempt to reclaim my own history by providing

origin within culture as well as unpack a fundamental relationship

a container for that history. The paintings function as mirrors

between trauma, the body (archive) and the landscape (container).

for myself and present as landscapes in an attempt to locate my

PROCESS; THE ACQUISITION OF LANGUAGE // EXPERIMENTS I propose a three room show that viewers can traverse in

paintings and will be traditionally lit. These paintings engage with

the shape of a circle. The purpose of the three rooms are to

the imagery previously seen in the dark but will further articulate

mimic the process of bringing the unconscious into language.

the development of personal schematic mythology and move the

The first room would be painted completely black with a glow in

viewer from a pre language state to a preconscious state. The

the dark x on the floor for orientation. The viewer would be given

final room will contain black on white dictionary paintings to be

a flashlight to view 50 - 75 7 x 5 black on black panel paintings.

displayed in a grid pattern. These paintings will directly define the

The intention behind the work is to engage with prelinguistic

images used throughout the two previous rooms encouraging the

/ unconscious imagery in a way that mimics the brain’s natural

viewer to revisit the previous work with a newly acquired language.

process of dissociation. I intend to highlight the biological reality of

In my second month of the residency I experimented with block

the lacuna or blind spot through the use of flashlights and darkness.

printing and made a series for the Field Projects Gallery Flat File

The second room will contain approximately 20 - 30 white on black

that will debut this August.




julio_ortav@hotmail.com // www.julio-orta.com I use a wide variety of media to produce my works. My work is

text and fictionalized story line that emerges little by little but with

conceptual; it’s everyday life woven together with the absurd and

a haunting crescendo that reaches for total awareness juxtapose

the playful. The environment is often a staring point for me with


high focus on the playful all the way into the paradoxical, it ranges

The work is intended to challenge and invite introspection beyond

from the obvious poetry of human drama to the unseen absurdities

one’s own subjective boundaries and is a residual invitation for

of life that go unspoken for.

one to destroy and rebuild the relationship between “I”, “the

In my work, I seek to exploit the aesthetics of balance while

other”, “the entity”, “cannibal”, and “civilized”. Aesthetically, this

highlighting trivial moments that would otherwise go unnoticed in

is the cordial marriage of extremes, of seemingly incompatible

their original context. And then there are other facets of my work

worlds: the Avant-garde and the postcolonial theory or democratic

that come with an intense political charge; specifically dealing

movement from a left late, as a form of artistic resistance against

with the cancellation or the misplacement of a fixed identity “I”

the suppressive logic of capitalism.

(historical or social), so that time and space converge in a spoken

SOMETHINGS ARE JUST VERY DIFFICULT These puzzles are based in pictures of the Russia/Ukraine problem

be covered in red simbolizing the blood that has been spilt on these

there its so hard whos wrong and whos right everybody has their

2014 problems as more and more people try to solved the jigsaw

opinions, its it as difficult as a puzzle this is mages are 256 pieces,

puzzle, doing the puzzle becomes more and more difficult as the

people who wanna use the piece are asked to paint their fingers

pieces at the end are just gonna be red and you would not be able

red before trying to use it. At the end they puzzle pieces are gonna

to see the images on the puzzle pieces no more.


“We were born naked. The rest is drag” - RuPaul



david@davidbloom.info // www.davidbloom.info I mostly make dance pieces. I also enjoy teaching, dancing in

My work generally explores transcendence, community, intuition,

other folks’ projects, giving bodywork, telling fortunes, & making

spirituality, ecstatic states, parallel universes, and the role of the

music. Last year i made the world’s first pornographic dance film.

body in an increasingly virtual world.

THE INTUITIVE BODY - RESEARCH FOR UPCOMING DANCE PIECE ”THE UNIVERSE PROJECT” My current work is heavily influenced by the Chinese philosophical

It deals with the fact that bodies are simultaneously separate and

concept of Wu Wei, usually translated as non-action or doing

inseparable from their environment. I believe that intuition and

without doing. In artistic practice, this doesn’t mean doing nothing,

energetic work can be “improved” and sharpened through practice

but rather creating a set of conditions that allows the work to not

like anything else. The Finnish countryside experience of the body

be produced, but rather to emerge from what is already there.

allowed The Divine to manifest within/without the body/universe/

During my stay at Arteles, my intention was to write and develop

nature. A lot of time was spent looking at the sky. I also bought an

body practices to share with my collaborators for an upcoming

axe made by a local blacksmith.

larger dance piece in Berlin next year, The Universe Project.


“We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time.” - T.S. Eliot



meytar.m@gmail.com // www.meytarmoran.com I am an Israeli artists (1986) with a BFA in Photography from

crucial element to the subjects and issues I engage in.

Bezalel Academy of Arts and Design, Jerusalem. Photography

In our perception of the world it is always laid out before us,

is usually the core and starting point of my projects. My method

breached to our satisfaction – in the ease of a flight and the speed

of working includes an integration of original work with found-

of a mouse click we have access to all places.

footages and readymades, with an approach of a fictitious-didactic

In an era where everything is familiar, known, saturated with

state of mind and all means acceptable.

information, I strive to re-introduce the unfamiliar, raise the

Traveling and exploring somewhat-desolated landscapes, is a

possibility of mystery, and the projections it lays on us.

”BLACK MAGIC” The work ”Black Magic” (temporary title) deals in a playful way

Century and some are imaginary, taken from a fictional book

with aspects in the landscape that hold dark perceptions to them

series. The maps are processed in a way that no text is visible and

and a supernatural feel. The imaginative aspect of culture that we

mirrored into a rorschach style image.

all draw from is what allows for the mystery to exist in the work. It

Beside the maps are original film photographs, taken in the

is what I am attempting to disassemble and reassemble in various

surrounding landscape. Some of which are also manipulated in


various ways, creating a tension between the two dimensions of

I have been manipulating ready-made hand drawn maps found

the photographs and the sculptural quality of the maps.

online, some of which are old Finnish maps from the 1700-1800




lush.chrissy@gmail.com // www.chrissylush.com My images depict my desire to make connections and explore the

arise from the different interactions whether it internal, with our

ways we communicate with ourselves and our environment. How

environment or with others. The images are about the types of

we become aware of our internal desires and fears through our

connections that result from these vulnerabilities and how that

own actions, as well as how the environment can also determine

creates the structure of our personal realties.

these fears and actions. There are degrees of vulnerability that

UNTITLED (PROJECTIONS) Projecting images of nature on a wall I placed my body within

our own actions, as well as how the environment can determine

the scene to explore how it can interact with the imagery. I then

our emotional landscape. There are degrees of vulnerability that

re-photographed the image as it is projected onto my body, creating

arise from the different interactions whether it internal, with our

a relationship with the landscape one of distortion and harmony.

environment or with others. The images are about the types of

My images depict my desire to make connections and explore

connections that result from these vulnerabilities and how that

the ways we communicate with ourselves and our environment.

creates the structure of our personal realties.

How we become aware of our internal desires and fears through



South Africa

info@pierreleriche.co.za // www.pierreleriche.co.za I am a visual artist who works with concepts surrounding identity,

I translate my explorations into multimedia and sculptural works,

particularly focusing on issues pertaining to sexuality, gender,

as well as installations, which sometimes include performance

politics and cultural heritage. I find the identity of the Afrikaner


male in the post-apartheid climate of South Africa especially appealing.

TWO NEW EXHIBITIONS IN PROGRESS My time at Arteles was spent working on two new exhibitions and

urban culture of certain areas of Johannesburg in South Africa,

during the open studios event you will be able to see these new

whilst the second is an introspective study in culture and solitude

works in progress. This includes conceptual drawings of a new

through cooking, photography and painting.

installation which explores the history, built environment and




diogo@diogoblanco.com // www.diogoblanco.com I’m Diogo Blanco, born and raised in Londrina, south Brazil.

subconscious and the moment that deep feelings overflow and

Currently living and working in São Paulo. Mainly devoted to

become apparent as a physic emotion. It’s very important for my

painting, drawing and calligraphic handwriting. I’m interested

work to explore different cultures, walk outdoors, meet people and

in people and my artistic production mostly seeks images of the

try to understand the human nature and it’s relationships.

HIATO Like an intermission in life, a gap between states of mind. Time. Serenity. A search for a way to express deep feelings. Trial and error.




lea.sorrentino@gmail.com // www.leadevon.com My practice is an auto-ethnographical investigation of my life in

and entertainment to create individuality. Or, in not art speak, I am

pursuit of understanding contemporary American culture. My

interested in why we eat too much, spend too much, and cry at

practice is about calling attention to the constructs of American

reality television.

success and the emotional investments we place in possessions

FRIEND REQUEST Friend Request is a project started at Arteles that is equal parts

escalated the intimacy amongst social users.

observation, research, interaction, and performance. The project

structure of social media networks promotes the idea that sharing

begins with a questionnaire comprised of extracted information

information increases connections, but this information does

asked by Facebook to inform a user’s “About Me” section in

not necessarily strengthen a singular relationship. Sharing an

the profile. In a folder is a physical version of the questionnaire

abundance of personal information helps with self-promotion

personally filled out, along with a recent image of myself. Once

before generating a connection, making online development more

someone agrees to become my “friend” on Facebook I give them

self-serving than commutative. Large amounts of self-disclosure

my personal file and proceed to inquire about their personal

create vulnerability, but constant curation of a user’s online profile

lives based off the questionnaire. (This exchange happens at first

allows for the development of an ideal identity. Since the virtual

encounter or arranged). The intention of Friend Request is to start

interaction is crafted the relationship promoted online can be

a discourse about the amount of information social media users

entirely different than the relationship held in the physical world.

give forthcomingly to all of their social networks.

This shift has implications in the real world, or maybe it means

Technology has shifted societies notions of privacy and intimacy

that society is moving into an existence of multiple identities that

and has expedited virtual relationships. The speed and accuracy

have to be developed and navigated.

that strangers get acquainted through online interactions has

The editable


“Musician and Sound Designer�



mcintyrerory@hotmail.com // theballadofmablewong.bandcamp.com My main creative outlet is through playing guitar. I have played in

and editing. I plan to explore this further by recording ambient

an instrumental band since 2005 and am largely influenced by film

sound and integrating it with music, in order create pieces

and film music. I have been working with Pro Tools for around 2

somewhere between soundscapes and ambient music.

years now, which has created an interest for me in sound design

LOOPS, SOUNDSCAPES AND TIMELAPSE VIDEOS. I have been recording improvisations on guitar, editing them later,

lapse videos. I have also recorded sound effects and voices which

(or not depending on each piece) and placing them against time

will feature in some of the recordings.


“The eye searches for what the heart already knows�



cmebaktay@gmail.com // www.carissabaktay.com I am an interdisciplinary artist and designer based in Calgary,

create installations and objects that cater to the haptic experience

Alberta with a Bachelor of Fine Arts Degree in Glass from the

of the spectator, where seeing is wholly intertwined with feeling.

Alberta College of Art + Design. I have studied at the Rhode Island

The feeling of discomfort when first introduced to strange or

School of Design, Red Deer College, participated in an annual

different surroundings, the desire and longing between people

Snow and Ice sculpting residency in Norway and was accepted to

and places and the way seasons evoke distinct memories inspires

the 2011/2012 Living Arts Center Fellowship in Glass.

my work aesthetically, conceptually and technically. My work has

Whether through hand made glass or installation and performance,

an inherent stillness, taking artistic cues from the landscape and

my current practice aims to transfer my own emotive knowledge

dream like environments. Portraying this simplicity has remained

and experiences to the viewer. My inter-disciplinary work employs

a constant aim within my work through a wide range of methods,

different materials and methodologies for their specific values to

techniques and projects.

THE MOSS IS ALWAYS SOFTEST IN THE SHADE gold. honey. writing fairy tales that write themselves.


“Beckmann uses layering techniques, to explore the transience of perception, identity and immersive experiences.�



ebeckmann1@hotmail.com // www.limousinebull.org.uk/2011/06/show-emily-beckmann Much of my work is driven by a desire to expose and overlay

objects, text and imagery. The objects I make are often based

stages in the creative process. I orchestrate performances with

on items with symbolic uses. I take inspiration from displays of

repeated gestures and present fictional scenarios, usually in the

museum artefacts, and the visual merchandising techniques of

form of Installations. I think of these as immersive collages. This

retail. Both impact on my work.

approach influences every stage of my creative process.

Costume plays an important role: it simultaneously suggests

In my installations, I present fragments of broken narratives, with

presence and absence.

SOWNER, LIKE DOWNER: NOT SAUNA, LIKE FAUNA The starting point for this project, was the Finnish tradition of

1985. I performed the movements in slow motion, then selected


specific gestures to loop.

My artistic practice typically involves an almost anthropological

Inspiration also came from the mating displays of a pair of cranes,

investigation of contemporary, and ancient, behaviours and

visible from my studio window. In the fields opposite, they spread

artefacts, where an egalitarian approach is applied to, high and

their wings and performed the dance common to their species,

low, sources of cultural significance.

while mirroring each other’s movements.

In previous work, I have explored the universal association

In Easter Bonnie, 2014, I enacted my own adaptations of

between steam, smoke and condensed breath, with visual

the Finnish tradition of Virpominen, substituting the usual

representations of the soul. The Finnish word, “löyly”, is applied

Virpomisloruja (blessing) with a time-honoured Scottish farming

only to sauna steam, and its original meaning derives from spirit,

song, Ca’ The Yowes, Robert Burns, 1794. This is overlaid with

soul and breath.

footage of the UNESCO World Heritage sites of Old Rauma, and

In Sowner Spirit, 2014, layers of creative processes (for example,

Sammallahdenmäki, the bronze-age burial site.

re-filming moving imagery, projected onto flowing fabric and

The theoretical premise of my artwork, is that gestural

curls of synthetic smoke), result in an ethereal glow amongst the

behaviours supersede human lifespans, during which we, semi-

colour banding of defunct technologies.

unconsciously, serve as host carriers for behavioural clusters

This film depicts repeated gestures, re-enacted from documentary

that transcend our comprehension.

footage, of a performance that took place at the site of Arteles, in




rr@raoulries.com // www.raoulries.com/ I am interested in people and places, and in how their history and key characteristics can be perceived or reconstructed in a photograph.

MEETING FINNISH FAMILIES AND EXPLORATIONS ON A RED BICYCLE! Two topics intrigued me when I arrived at Arteles.

The second impression grew more slowly. Having lived in a city

The first was the distance between houses, and the social

for the last few years, I re-discovered the joy of exploring pastoral

structure implied by local architecture. Houses are spaced further

surroundings on a bicycle. Although neither new nor fancy,

apart than in villages in Western or Southern Europe. Most of

the bicycle was red! On the red bicycle I felt like a ten-year old

them have playgrounds or toys nearby, and one or two cars,

adventurer on an expedition into both familiar and uncharted

indicating nuclear families quite unlike the statistical average in

territories. My outings on the red bicycle eventually developed

cities. I wanted to see how the families present themselves to a

into a second photographic project at Arteles.

stranger, how they group themselves for the photograph, what distance they keep between themselves, and how they pose. This set of photographs is tentatively called “Finnish Family�.


“The empty-handed painter from your streets is drawing crazy patterns on your sheets.� - Bob Dylan



carl.gombert@maryvillecollege.edu // www.carlgombert.com I love to draw. I love the tools and I love the processes of drawing.

structure to explore complexity and pattern arising from the

My current works are all ink on paper, and they all rely on radial

application of simple rules. They are all hand drawn or hand stamped.

RADIANT GEOMETRIES In my month at Arteles, I am using rubber stamps and a small

larger, decisions about which stamps to use next are guided

ink pad to create a series of improvisational mandalas. Using the

equally by formal concerns such as shape and size, and content

principles of repetition and rotation, these images grow from a

issues, especially humorous potential. Because the drawings

central core into larger, complex circular forms. The works begin

involve countless small repetitive acts, the process also becomes

with a basic decision about whether the circle will be divided into

quite meditative.

six, eight, nine, ten, twelve or more parts. As the drawing grows



New Zealandl

wartimeskits@live.com // www.mattsiwerski.com Coming from a somewhat reclusive way of life, art making

I am curious about contemporary modes of survival, primitive

continues to be primarily cathartic for me. When overcoming fears,

foundations, and exploring new connotations through visual media.

doubts, and the ensuing procrastination, the execution is hooked

Previous work has been an integration of digital media with textile

in notions of self, social conditioning, and an outlet for the many

manipulations, centring on decoding masculinities and my own

questions and frustrations I have gathered over time.

artistic rationale. I explore hybrid processes, break down common beliefs/challenge social constructions and overall make art work with conviction.

MAS AMAS DIEHTĂ MAID OARRI BORRĂ . HOW CAN A STRANGER KNOW WHAT A SQUIRREL EATS Arteles has provided me with a unique opportunity to exist outside

journal writing, some drawing, and digital sculpting were

of the everyday grind. While working hard to settle in Melbourne,

processes used in my treatment of the inspirational surrounds.

Australia. My creative wellbeing took quite a hit. Here I have had

This research and early planning will be continued on my return

the rare luxury of living in a creative centre with wonderfully

to Australia where I work towards a textile based exhibition held

talented people and a calming, serene, but also discreetly quirky,

in Central Australia. The focus will be on exploring mythologies

cultural landscape. My time passed with quiet reflection and

and finding my own purpose through observation and experience

contemplation; a look at some of my previous projects, habits, and

of these two polar, yet strikingly similar cultural landscapes.

how to approach art making in the future. Digital photography,




falbo.alessandra@gmail.com // vimeo.com/alessandrafalbo In my work I explore possible results of methodically improper

used; specially if they are multifunctional and creations made with

uses of equipments and/or technics generally employed in the

them are shared online. I curiously observe patterns; to some

production and/or display of representations. I research medias

extent the group image capturing multifunctional technological

which, intending to show us reality or representing the real

objects + post processing apps with filters + social networks with

(cinema, TV, books, social networks, etc), shape subjectivity. I

tags standardizes image production. Aiming to resist this kind of

am interested in how image capturing technological objects are

standardization, I build strategies.

VIDEO-PATTERNS I’ve been making video projections outdoors at night. The projected

apparatus as a bodily extension. Through simple steps of image

videos are part of a series that I refer to as video-patterns.

multiplication, these first recordings are used to make patterns

They are used as samples within site-specific installations. The

that differ from their origin; since the videos are in continuous

starting point for each video-pattern is a recording of a pattern or

motion the images keep morphing into new patterns non-stop.

mosaic (in this case) located throughout public spaces in Brazil +

Even though almost abstract, indexicality, real-time and sound

the ambient sound - which remains original and unedited in the

allow these videos to conserve something of the atmosphere of

final sample. Practical research during the recording process

the recorded sites. These atmospheres overlap/mix with natural

includes the investigation of the technical limits of the camera in

environments here. On top of a frozen melting lake, for example,

use + its capturing program, while experimenting with the whole

they juxtapose with the sound of breaking ice.




robertc.beam@gmail.com // www.robertcollierbeam.com Robert Collier Beam is an interdisciplinary artist working in

land, scientific exploration, and natural phenomena - Robert’s

photography, installations and drawing. Robert received his MFA in

work explores the effects of perception centered on the spaces we

Photography from the University of Oregon and BFA in Photography

create and challenge. Creating object and image based works that

from the University of North Texas. Finding inspiration from the

resonate with our inherent need to explore and see further.

PHENOMENOMENA Phenomenomena reflects on the impulses and mysteries held

landscape that I believe to exist, but are beyond my awareness.

within our understanding of the landscape. Shelters, traps and

These impressions of spaces and objects confound the standard

sites of worship - human interventions determine the function

expectations of photographic veracity. The image then responds

and values of space. Phenomenomena blurs the lines between

to a sense of space beyond our perception.

these functions, working in the studio with found objects and

My time was spent exploring the landscape, observing the light, and

with the surrounding area, I create impressions of events in the

constructing objects based on navigation and finding ones place.


“Walk Explore Dance�



irmi.wahl@web.de Nature serves as a great influence for me, I gain inspiration

Dissolving the landscape through my process of drawing, I want

from long walks and exploring, especially through mountianous

to go beyond the obvious and create a unity of outward expression

regions. Music also serves an important role, exploring formless

and inward reflection.

and complex spaces, it is an imaginative power beyond words.

------------------------The new series is inspired by the surrounding landscape, solitude and stillness. We had an early spring. Slight changes can be seen everywhere, the space has awaken while it should be asleep.


“Memory | Imagination�



clairefox365@gmail.com // www.clairefox.co.uk Claire Fox is a Photographic Artist Living and working in Northern

each other. Claire often uses a wide range of medium to produce

Ireland (and at times) London. Using a documentary aesthetic,

her work. Documenting, creating installations, making props,

many of her projects look at the relationship between memory and

styling, illustrating and writing stories are just a few areas she

imagination and how the two can both conflict and complement

explores when developing new work.

THE VIEW FROM AN ARTELES WINDOW. Whilst on the residency (apart from mildly injuring herself) Claire

and a plethora of naked people rushing to use the sauna. (Not

has been developing her skills in paper engineering. Her lack of

to mention the presence of a Ginger Wolf, the Moomins, tourists

mobility (which made it awkward to take photographs over the

looking at a ‘map of Tassie’ and the cookie monster.)

four weeks) lead her to develop a 3D scene which she created

Claire has also been developing two short stories ‘The Hum’ and

based around what she could see from her desk and what she

‘The Fliptaflies’ - as well as illustrations and models that will

learnt whilst at Arteles. Within this piece we can see two swans

be developed into larger projects beyond the time scale of the

swimming towards the frozen lake, a wood pecker – (which could

residency. Claire is also developing and researching a number of

be heard on occasions during her time there) instructions on the

ideas for photographic projects which are inspired by Finnish culture

correct and ‘safe’ use of crutches, various local tourist attractions

(which she will complete on her return to Finland in the future.)




leslie.lanxinger@gmail.com // www.lolaramona.org The themes in my work are layered with mythology, religion,

think we are, and how we expect to end up. My drawings reveal

science, fairy tales, anthropology, and pop culture. I use tiny

universal fragility- the cracks in the armor. The moments that

details to convey feelings and ideas, as well as to elicit an

often go unnoticed in life become the pivotal tensions: they expose

empathetic emotional reaction. I am interested in the ways that

vulnerability and tragic/ comic poetry.

we view ourselves as human beings: who we want to be, who we

CHARCOAL DRAWINGS I came to this residency with an open mind, looking for inspiration

are solitary, but clearly possessed with a certain longing. These

from my surroundings and I was not disappointed. I discovered

little figures proved very helpful in interpreting my experiences.

work left in my room by a previous artist- small sculpted figures

They became almost talismanic: a way to channel my feelings into

wearing snowsuits, very crude and gestural. I began to make my


own figures and draw them: anonymous, faceless characters who


“Eyes Shut Space. Working into the invisible.”



bethywest1976@gmail.com I draw because it is my way of seeing. The immediacy of the mark

around with it in the imaginary, I allow myself, through recognising

demands a candour – an allegiance to the original idea. So as the

the process as a journey, to genuinely question whether where I

image is manipulated, drawing it away from the visible and playing

end up cannot be as real as the point that I started from.

FINDING FACES I look for faces. And I have found some lovely ones this past

go. The portraits I have been working on will be incorporated into

month. As is my journey, I take every unique feature and quietly

a solo show in France in August entitled ‘call me Pygmalion and

pull it through into the imaginary. I do not try hard to justify where

I will say thank you but would prefer you didn’t call me names’.

I end up. I just let each new pair of eyes tell me where I should

Ps. Thank you to each one of my Faces...




benjulien@gmail.com // www.benjulien.com/ I write to tell stories. I write pieces of me into characters surviving

I have written several YA fiction novels based on Norse mythology,

different worlds. I plot, I brainstorm, I control and I let go and see

a full length novel on a self-imagined world, and I am currently

where the story and the characters take me.

working on a trilogy of YA novels set in a dystopian future with themes of loss, identity and environmentalism.

THE DECAY CHAIN I intended to spend my time working rigidly on a sequel to a

nothing, to be anything, was new. And this challenged me and had

novel I’d previously written. While I did initially take in years of

me question what I want and what I will do with my writing. I don’t

notes, brainstorming further scenes and ideas, and write many

have the answer but this is the first I’ve thought of this, to step

new chapters, I found that this wasn’t the outcome I valued

outside my writing and look back. It was also the first experience

from Arteles. The very experience of working outside of normal

I have had of being completely in the moment, still and quiet and

routines, of having a vast swathe of time to do something, do

able to look and be without judging.

IN THE RESIDENCY February- April 2014



ambulantic@gmail.com // www.benhernstrom.com Ben Hernstrom is a filmmaker and photographer based in Pittsburgh, Pennsylvania in the United States. He will not shut up about existential nihilism.

ETIÄINEN Inspired by the Finnish myth of the same name, Etiäinen tells the

and perceptions of how long they’e been there and how they know

story of 2 scientists sent to a distant planet to study it. However

each other, calling into question the validity of their perceptions

after arrival they realize that they have very different memories

of themselves and their lives.

IN THE RESIDENCY February 2014

“I work in actions towards empathetic social diagrams�



annebean8@gmail.com // www.annebean.net In an article on drawing and process that I was asked to contribute

emerging, An imagining, An imaging, A wording, An unwording

to for the February 2014 issue of the MIT publication Performance

My work has always recognized the ephemeral and the need for an

Art Journal, my statement reads: My work is an ongoing drawing

openness towards the inevitable shifts of viewpoint, created by the

from life. A life drawing, A drawing life, A layering, A delayering,

awareness of the endless change of time, place and context.

A reaching, A breaching, A netting, An unnetting, A merging, An

THE COLD OF MY MIND Before I arrived I envisaged snow sculpturings of the body and the

five-minute drawings of the same landscape until my hand froze

mind. Burying myself, deep patternings, gaspings, breath frozen

and the image became desperate. The thermal drawings in the

in the lungs, thoughts disturbed, words trapped in the throat,

accompanying image are inspired by the fact that in terms of

body shuddering convulsively: a union of mind, body and output.

nuclear fusion, the mass of a glass of water contains the energy

Without the depth of snow or extremes of temperature, a quieter

to power a city the size of Helsinki for a year. I did this as a small

work emerges of tremblings and gropings whilst murmuring a

event, producing instant drawings during the public open evening.

Navaho song “my interior filled with cold as I walk�. I made some

I have many ongoing thoughts, possibly adding to the video I made

steam drawings of snow on heat sensitive paper, ---an embrace

at Arteles by juxtaposing it with the original idea of immersion in

of steam and ice, the extremes of states of water. I attempted

extreme minus temperatures.

IN THE RESIDENCY February 2014

“Quiet. Solitude. Aesthetics.”



ruitong2014@gmail.com // www.zhaoruitong.com I was you in the shadow of the crescent; you were him in a red

their own. And later, those rooms have their own personas too and

snowy day; he was her when pointing to the northern stars, and

so become people.

she was me digging the knowledge of nothingness.

I represent these people by a combination of photography and

I love people. I love similar people because they are different. In the

fragmented writings, video and performance, and I strive on

24 years of my life, of which 2o years in China, matters that I see the

experimenting on turning the nonfigurative, unidentified people

most is people, or “the people”. I see crowded people all the time,

into three dimensional, multi-medium installations.

but I chose to isolate each one of them. Indeed, they are actually

Quiet is delicate. Quiet and solitude together is aesthetics. It is a

isolated persons, or I say they are human beings having rooms of

moment when art is about to happen.

MIDNIGHT SHINE I’m just a weed shined by a 2 a.m. flash of light.

IN THE RESIDENCY February 2014



martels@gmail.com // www.nicolasmartella.com One of the interests that guide my work, mainly in photography

uses and customs of the media, his “Popular Mechanics “: his

and video (for which I use both photographs and video made by

rules, her desk, reading, etc., both in the everyday context and in

me, as found and appropriate from different sources), are the

contemporary art.

Untitled (_MG_4099). Photography

Untitled (HD video) Still. 10:15 min. Loop

I came to Arteles to make photos and videos.

happen the way we plan it, so it’s good I can’t remember what I

I don’t remember exactly what kind of pictures and videos I thought


I would made. Surely not the ones I’ve done. After all, things never

IN THE RESIDENCY February 2014



kehalulie@gmail.com I enjoy creating impermanent spaces, facilitating shared experiences, and making up games that emphasize/illuminate the brevity and wonder of being alive together.

PROGRESS/COME UNDONE Here is a flower cave facing the northern woods. Structure built

collected from the woods and heated on the sauna steps. Flowers

from willows and birch saplings collected from the woods and

hunted on several trips to town. Branches cut and brought inside

roadside. Skin of sheets and räsymatto from the second hand shop

to begin budding. Visited by one or two at a time on a beautiful

and recycling center. Inside a wooden raised platform covered

dark and snowy night. Made out of heartbreak, transformed into

with rugs and wool blankets. Lit by tiny lights. Warmed by rocks





tsaichihfen@yahoo.com // www.linkedin.com/pub/tsai-chih-fen/20/603/929 Tsai Chih-Fen is a visual artist based in Taipei. Emphasizing

In order to provide an alternative framework to delve into

environmental installation and digital media in her work, Chih-Fen


critically examines the interplay of space and place that are related

photography, video, and installation to reflect the tremendous

to people’s cultural identity. She has accomplished many projects

destruction caused by complex social factors. Meanwhile, she is

through applying estranging techniques to the thematization of

searching for a counterpoint from diverse cultural phenomena

human interaction with the environment that her oeuvres share.

which might trigger reciprocal interactions between human and

Chih-Fen’s long term interest in the relationship between man and

natural forces.

nature resonates in her projects, which leads her to look into the

As well as practicing as a visual artist, Chih-Fen is currently

problems of ocean pollution and global warming. By observing

teaching at the Department of Fine Arts, National Taiwan Normal

the struggles between modern industrialization and ecological

University. Her teaching interests encompass installation, video,

preservation in Asia-Pacific countries, Chih-Fen’s work reflects

animation and art theory.

the fragility of human existence and living conditions. Apart from

Tsai Chih-Fen is supported by the grant of Boundary Break-

questioning of the impacts to our living because of the deteriorating

through Project from the AIR Taipei, Taipei Culture Foundation.

environment, she investigates the polluted wasteland along the north coast of Taiwan with an attempt to provoke multifarious discussions on issues regarding the exploitation of nature due to cultural and political reasons.





INTO THE DARKNESS For we begin to understand Nature only when we no longer

impenetrable darkness, the wildness unknown to me seemed to

understood it; when we felt that it was the Other, indifferent

be enshrouded in confusion; nevertheless, as an ambiguity was

toward men, which has no wish to let us enter, then for the first

summoned, a sensitivity revitalized. Only through perceiving the

time we stepped outside of Nature, alone, out of the lonely world.

dark, the boundary between the internal and external became

—Rainer Maria Rilke

increasingly amorphous, and eventually interchangeable.

Into the darkness

Overwhelmed by the surrounding dark, I created four works

With an expectation to experience an everlasting night, I came

during my two months stay at Arteles to investigate the complexity

to Arteles in winter, a place of solitude encompassed by frozen

of indeterminacy and intimacy awakened in me. Incongruous

landscape. Falling leaves drifted into icy lake and evergreen trees

ideas about sublime or clarity, and my sentimental response to

whispered beneath snow. Shadowy light brought everything into

darkness had generated a tension between losing and restoring

an existence of featureless and colorless.

my identity. Nordic winter blanketed all in the gloomy light, yet

Even in snow days, I kept a habit to walk in the woods, along

something mysterious about what was hidden and unpredictable

the meandering trails. Once alienated to nature, I was deeply

called for a return. Enlightened by darkness, an emotional

attracted to the inherent power it contained and obliviously gone

landscape revealed multifarious experiences and insidious

further and further until the distant light finally faded out. In

possibilities after a prolonged silence.




naomibishop75@aol.com.au Melbourne based artist Naomi Bishop has always been fascinated

Naomi Bishop has been exhibiting internationally since graduating

by peripheral frontiers and mysterious landscapes. Through

with a Master of Fine Art from Chelsea College of Art in London in

her paintings and works on paper she explores the relationship

2003. Focused primarily on painting, her work has been exhibited

between the earth and sky, and between humans and nature.

at The Whitechapel Gallery in London, The Irish Museum of

She has recently been working with subterranean imagery. ‘I

Modern Art in Dublin, Fondation Hippocrène and Galerie Nicolas

remember reading in an old National Geographic issue about

Silin in Paris. She has been included in several curated exhibitions

caving several years ago that ‘cave exploration was the poor man’s

in Melbourne and has received grants from Arts Victoria and The

space travel’. At that time I was making work about astronomical

Australia Council. Bishop’s work is represented in The Whitechapel

phenomena and space exploration. I often found images of

Gallery collection, as well as private collections in Europe, The

caves in old books on space and science fiction beside images of

United States and Australia.

telescopes and outer space. I became interested in the idea of the underground cave being a dark and silent unexplored frontier.’

LIGHT THE DARK When I arrived on New Years Day there was no snow. An

Gradually the cloud lifted and snow arrived bringing its gentle

impenetrable and endless grey cloud smothered the sky. The

otherworldly light. I observed and documented changes in

forest was black. People talked about the Black Winter, and

weather, the forest and the sky, taking photographs, making

worried about the lack of snow and it’s consequences for the

drawings, planning paintings and sculptures.

wildlife, forests and lakes.

Around the studios I found objects made from metal, stone, wood

During the hours of darkness that beckoned quiet introspection

and bones. The shapes were so unusual and intriguing to me that

I became obsessed with the weather, constantly monitoring

I imagined and reinvented them as magical objects with which to

temperatures, cloud cover, snow forecasts and predictions for the

conjure winter weather with its soft crystalline snow and Arctic

Northern Lights. Often I would get out of bed in the middle of the


night and wander around the studios looking out of the windows searching the night sky for signs of celestial phenomena.





pat.navrick@gmail.com // www.sitstilldontmove.com Always hungry.

practical. I draw most my imagery and ideas from video games and

For food, knowledge, vice, material possession, inspiration, mental

humorous idiosyncrasies in popular culture and mutate them into

self-indulgence, expression and you. Especially you.

(often reflexive) high concept excuses for my thought processes,

My work is slow moving and deeply invested in my own growth as an

overcomplicating them to the point of frustration.

expressive individual. I’d call myself pragmatic, but not necessarily

Am I mess? Ooohhh you betcha!

”SKYNIGHT MOTHER” (AURORA MATERNAL VARIANT) Originally having no intent on creating here in Arteles, this

own vein (The inclusion of the northern lights aesthetic also came

project came about as a response to the immense influence

from Naomi’s initial desire to see them during her stay here).

that the darkness of a Finnish winter had on myself as well

Using the same programming template as two of my previous

as my fellow artists (I mainly wanted to use this as a retreat

projects (Cellspace Sister and Cityland Brother) I created Skynight

to teach myself Unity3d and brush up on my Puredata skills).

Mother as an addition to the “”Spatials Family”” that I have been

Upon arriving at Arteles, we saw no stars in the night sky. In

working on. They are all interactive ‘patches’ created in Puredata

retort, Mariana Echeverri and Naomi Bishop had produced a

which are then projected. This particular iteration has the subtitle

constellation projection to brighten up the night. Upon seeing the

“Aurora Maternal” in reference to Naomi Bishop and my time in

stars again I endeavored to produce something akin to it in my

Arteles; unlike the rest of the family this one is not interactive.




www.aki.ito.free.fr Among the interpreters, she has worked with Smash Ensemble,

In 2011 she was awarded a fellowship at Institut Français for Hors

Multilatérale ensemble, defunensemble, Saori Furukawa, Eric-

Les Murs program. She was granted other fellowships by Casa de

Maria Couturier. She also worked with Richard Siegal for dance

Velázquez in 2010 and by Kone Foundation for Saari residence in

and multimedia performance.

2011. The project of research and creation for voice, ensemble and electronics has been sponsored by Kone foundation since 2012.

PRINSESSA LEIKKII/ THE PRINCESS PLAYS/LA PRINCESSE S’AMUSE FOR MUSICAL COMPOSITION AND RESEARCH We worked on score, sounds and real-time sound program to reach to create «Voix ombrée» (shaded voice) through polyphonic writing.




mariana.echeverri@gmail.com // www.mecheverri.com My artistic practice is based on subjects related to belonging and

In the past, I have explored these interests through projects

the subsequent construction of multiple realities. Its nature is self-

related to sexuality, gender and science fiction. Currently, I am

reflective and centred on the individual’s subjectivity, its relation

also working with concepts related to displacement, strategies of

and interaction with the external world and its capacity of personal

integration, the strangeness of landscapes and the fantastic in the

preservation through alternative systems. I am interested in


creating fictional environments, which come from the belief that

Interdisciplinarity and collaboration are central to my work.

re-imagining spaces, objects and bodies, enables the construction of possibilities and immerses one in the logic of another place.

THE GREAT OUT THERE/BLACK WINTER At the time I arrived at Arteles I was developing The Great Out

the pleasure to attend a class from Arts and Crafts teacher for

There, a project that orbits concepts of displacement and

Hämeenkyrö council Elise Turppa. On the other hand, I developed

belonging through the construction of abstract structures and

an archive of natural phenomena and landscapes focusing on the

their attempt to integrate with natural/raw environments.

fictional potential of their logical elements.

During the residency, due to a radical change of context – life in

These two main approaches blended in a series of visual collage

the country, extreme temperatures from snow to sauna, cultural

experiments (like those in this page) that explore one’s own intent

exchanges, forging friendships and new philosophical questions

to integrate in the new environment.

– previous methodologies evolved into different shapes and

I have also worked in collaboration with other residents, creating

different approaches to those same concepts.

the conversation project with Emily Stewart or planetarium with

I primarily focused on the construction of small-scale sculptures

Naomi Bishop.

and fictional landscape photography. On one hand, I used both

To sum up, the whole month at Arteles was incredibly enriching

improvised and controlled techniques to compose structures.

and allowed space for experimentation and expansion of

Having previously researched about Himmeli making, I had

techniques and concepts of interest, creating a strong starting point for projects to come.

ARTELES Hahmajärventie 26 38490 Haukijärvi Finland +358 341 023 787 info@arteles.org www.arteles.org

Profile for Arteles / Teemu Räsänen

Arteles catalogue 2014  

Arteles catalogue 2014  

Profile for arteles