The Artist Residency Project︙Group Exhibition
This exhibition is supported by the School of Visual Arts and Tiger Strikes Asteroid.
Supported by the School of Visual Arts and Tiger Strikes Asteroid, the cohort from the SVA Residency Program has organized an independent exhibition to showcase work made during the 2021 summer session.
The Artist Residency Project︙Group Exhibition features fourteen artists from around the world working across disciplines, medium, and subject matter. Over a five week period, each artist developed their practice with SVA faculty, fostered community amongst each other through critiques and workshops, and pushed the boundaries of project-making through an online platform.
Exhibition design by Amy Yoshitsu
Reteniendo los vínculos
Oil, acrylic, and embroidery on canvas
42 x 44 inches
2019
Viendo quién has sido y serás
Watercolor on paper
14 x 11 inches
2020
Gregg is a painter whose work celebrates his Andean heritage. Using pre-Columbian artifacts, textiles, and histories (oral and anthropological) as a framework for his process, he places himself in a weaver’s role by interlacing/overlaying references to modernity. The resulting spatial dissonance questions the structure of political borders and what it means to “belong,” recalling the lasting effects of colonialism and erasure on indigenous cultures that are perpetuated in contemporary social systems. Nonetheless, the works serve as tribute to the fortitude and resilience of these cultures.
Cadenas de oro
Watercolor, embroidery, and collage on paper
14 x 10.25 inches
2021
Restos de lo que floreció por dentro
Oil, acrylic, and embroidery on canvas, twine, zinc plated washers, brass grommets, swivel hook
2021
Gregg was born and raised in NJ, and holds a BFA in Painting from Mason Gross School of the Arts. He has participated in residencies with the Rome Art Program, Vermont Studio Center with an artist grant, and most recently with SVA’s The Artist Residency Project. Gregg will also have work published in New American Paintings’ upcoming Northeast Issue No. 152. He currently lives and works in Skillman, NJ, surrounded by the Sourlands.
Anti-binary Thinking
Acrylic paint, printed images, ink on cardboard
29 x 26.5 in
2021
Big On Safety
Acrylic paint, printed images, ink on cardboard
29 x 26.5 in
2021
Keep on the Sunny Side
Acrylic paint, glass bead medium, GAC 100, interference, raw linen, wooden board
48 x 48 in
2021
“. . . where can we find light in this never-ending shade?”
Acrylic paint, vellum, printed images on paper
30 x 22 in
2021
Tamera Bedford is a mixed media artist who is noted for her artistic practice and to the nature of her diverse subject matter. Her work turns to visual representation to capture her deep respect for environmental phenomena and beyond to biological life and mental flows of the human brain. Her work spans the micro-elements of these natural networks and systems out to their superstructures built of exquisite flows, lines and patterns. Self-trained, Bedford mixes brilliant palettes of color that mimic the range of combinations and hues she has witnessed in the natural world as well as simulate mind maps of our cognitive experience.
1 (When Light Takes Form)
Digital Photograph
25 x 14 in
2021
19 (When Light Takes Form)
Digital Photograph
25 x 14 in
2021
13 (When Light Takes Form)
Digital Photograph
25 x 14 in
2021
Joe Cimino is a time-based media artist, focusing primarily on video and sound. His work explores histories that remain overlooked in everyday life, highlighting what lies on the peripheries to safekeep their traces for an uncertain future. In his work, Cimino often breaks down the conventions of the formats he uses; such as a series of film trailers that never amount to a full movie, a sound work utilizing the podcast format to question its own existential narrative, large scale video installations of mundane objects that function more like paintings, and editing appropriated footage from Western genre films to focus on the landscape rather than the main characters. In all these works, Cimino brings the background to the foreground asking us to see beyond the banal and to reflect upon the hidden histories of what often goes unnoticed.
Tree 5
Digital Photograph
10 x 7 in
2021
Aerial Views
Video and Sound
8’ 27”
Joe Cimino is a time-based media artist, focusing primarily on video and sound. His work explores histories that remain overlooked in everyday life, highlighting what lies on the peripheries to safekeep their traces for an uncertain future. In his work, Cimino often breaks down the conventions of the formats he uses; such as a series of film trailers that never amount to a full movie, a sound work utilizing the podcast format to question its own existential narrative, large scale video installations of mundane objects that function more like paintings, and editing appropriated footage from Western genre films to focus on the landscape rather than the main characters. In all these works, Cimino brings the background to the foreground asking us to see beyond the banal and to reflect upon the hidden histories of what often goes unnoticed.
www.joeciminoart.com | IG: @joeciminoart | TW: @joecinimoart
These images are part of a series of photographs of constructions made with fragments of photographs from my archive and images found online. I cut and arrange the photographic pieces, in some cases adding other elements such as drawing and cut paper, to create new arrangements. I then rephotograph the result, and sometimes alter the image digitally. I am interested in the connections that emerge from combining different fragments and ideas together and intermingling their sources, and in the creative act itself. By manipulating these fragments and materials, I examine questions of personal identity, of fragmentation and disconnection as well as healing and connection.
Untitled (c28)
Archival pigment print
8 x 10 in
2021
Untitled (c29)
Archival pigment print
30 x 24 in
2021
Untitled (c27)
Archival pigment print
30 x 24 in
2021
Anastasia Davis was born in Ukraine but grew up in Israel and the United States. She received a BA in psychology from Northwestern University, Evanston, IL in 2009, an MA from The Chicago School of Professional Psychology in 2011, and attended classes at the International Center for Photography in New York, NY between 2013-2021. She has published a photobook of her work entitled self-portrait by the house wall in 2018 and a zine of work done during the pandemic titled Sunless. Her photographic work is concerned with sensory and emotional experience before it is translated into meaning and what lies between perception and interpretation. She lives and works in New Haven, CT.
Painting #381
Acrylic on canvas
79 x 102 x 1 in
2020
I'm Felipe Goes, Brazilian artist. I live in Sao Paulo, Brazil.
I work with painting, and my current work is mostly landscapes. The pictures are not based in photographs, or even real places. It is a mixture of memories and fantasy.
The paintings usually have an initial intended image, which eventually dissolves during its development. For example, lakes may become forests and grasslands may be transformed into vague color blurs. It is important that the final image emerges from the painting process.
I also seek to provide to the audience other ways to relate to the images, in a wish that the viewers draw connections between the paintings and their own repertoire of memories and experiences. To stress the idea that everyone must find its own way through the image, the titles are just sequential numbers, without any clue to what the image represents.
My goal for further development in my painting practice is to interrogate both the formalist tradition of an autonomous art, and also the inherited mannerisms of conceptual art. Painting is not just about a visual surface, it’s not just about concepts too. I think it is interesting to merge the potential of art to both: be visually stimulating and conceptually intriguing.
Painting #387
Acrylic on canvas
59 x 51 x 1 in
2021
Painting #382
Acrylic on canvas
67 x 59 x 1
2021
Painting #386
Acrylic on canvas
35 x 39 x 1 in
2021
Painting Process
Video
43 seconds
2021
Felipe Goes (1983, Sao Paulo, Brazil)
Felipe works with painting, and his current work is mostly landscapes.
The artist have accomplished solo exhibitions at Galeria Kogan Amaro (Sao Paulo, 2019), Galeria Murilo Castro (Belo Horizonte, 2018), Instituto Moreira Salles (Poços de Caldas, 2017), Galeria Virgílio (Sao Paulo, 2016 and 2018), Central Galeria de Arte (Sao Paulo, 2014), and Phoenix Institute of Contemporary Art (Arizona, USA, 2014).
He was engaged in group exhibitions such as “Mapping Spaces” (Kentler International Drawing Space, New York, USA, 2016), and “2nd Bienal Internacional de Asunción” (Asuncíon, Paraguay, 2017).
www.f-goes.com | IG: @fe.mgoes
Aesthetic 1
Digital photography in black and white
5 x 10 in
2021
In 2018, my thesis show at the California Institute of the Arts was titled Transition through Movements. In this work, I explored the concepts of beauty and decay. The intention behind this was to show the difference between urban and rural settings. I photographed people in museums, airports, train stations, and art fairs and contrasted these with old buildings.
During the School of Visual Arts residency, I wanted to continue the work from my previous exhibit and show the beauty of abandoned towns. I photographed old churches, grocery stores, buildings under construction, and railroad stations. The beauty and decay concept is important to me because as a New Mexican who grew up in the area, I find these buildings to be beautiful and know that there is a story behind each of them. However, tourists who visit the area briefly may not recognize the beauty.
Aesthetic 2
Digital photography in black and white
5 x 10 in
2021
Aesthetic 3
Digital photography in black and white
5 x 10 in
2021
Aesthetic 4
Digital photography in black and white
5 x 10 in
2021
Aesthetic 5
Digital photography in black and white
5 x 10 in
2021
I attended the California Institute of the Arts and received my BFA in photography and media in 2018. During my last semester in school, I developed my love for photographing models. After I graduated and moved back to New Mexico, I discovered the Albuquerque Street Meet where I began to network with many models and photographers. My current work addresses New Mexican Hispanic legends.
Repetition
1 large screen, one USB key
Video installation, 60", 12 min
2020
A visual and digital artist, my work is in the tradition of conceptual art. As a whole my research into images is about escaping from our conditioning to bring forward our individual relations in the world. | employ installation, photography, performance, artist books and programming to articulate issues of individuality and how we become subtracted from ourselves and from the conditions of society. Adding to this theme is a sharp interest in nature and ecology investigated via language.
By carefully choosing places where I can become a spectator of our conditions, latest to what we refuse to see, speaking to a form of visible invisibility. lt is through gestures and with attention to behaviors that I make video and sound installations addressing the notion of 'presence? Then this work is presented in turn in empty places where I use scenography and site-responsiveness to allude to this sense of ‘strangeness.’
Recently I have expanded my investigation of presence to include representation of psychic states that have led me to create forms of portraiture that combine gestures, breath, the beating of hearts, with the act of looking. The rhythmic nature of the body shown through repetitive acts, and at times meditative states continues my questioning into our societal behaviors.
Respiration
Large-band speaker, sound amplifier, a phone
Sound installation, sculpture, 25x25x30cm
2019
Libe (Elody Sanchis) trained in arts and graphic en-Provence (ESAAIX). In 2020, she took part in the design at Arènes in Toulouse, France, then obtained KCAW (Kensington + Chelsea Art Week) festival in a license of Fine Arts degree from the Aix-en London by proposing a photograph of her edition Provence school of arts (2017). Following this was Sur terre (On earth). a master of Fine Arts degree based on real time She now lives and produces artworks in Montreal, (2019). She is an emerging artist with 6 years of Quebec and is a member of l'ADAGP (La Société professional practice. Recent group exhibitions include: Hybrid’Art a contemporary art fair (2017), des auteurs dans les arts graphiques et plastiques, and the FRAC PACA (2018). In 2017 & 2019 she France) and the RAIQ (Regroupement des arts had 2 solo exhibitions at the school of art in Aix interdisciplinaires du Québec.)
eslibe.com | IG: @l.ibe | FB: @www.eslibe
Under the umbrella of an invented alphabet, Zoë Elena explores sentence structures, syntax, linguistics and more to create a world that co-exists with a modern reality while remaining fictional. Her process of communication re-scripts language in code via visual translation to detail conversations, thoughts, and writings. These meticulous paintings and drawings evolve from Zoë Elena’s research, manifesting map making, text, and philosophy as abstractions that are as elusive and whimsical as language.
In Search of Dissent 1
Acrylic, molding paste, sandpaper, sharpie, thread on canvas
32 x 42 in
2021
In Search of Dissent 2
Acrylic, molding paste, rice paper, thread on canvas
36 x 42 in
2021
Zoë Elena received a BFA in Painting, Art History, and Curatorial Practices from the Maryland Institute College of Art in May 2019 and is the Founder and Curator of The Aerogramme Art Center for Art and Culture – an online arts collective, fine art literary magazine, and podcast providing opportunities during the pandemic closures. Her curatorial projects explore the intersection of art and activism as a vehicle for social change. Selected projects include: “from” a virtual solo exhibition featuring artist Nicholas B. Jacobsen in July 2020; “Sign Language: Breaking Down Behavior” a group exhibition at the Rosenberg Gallery in February 2019; and “American Made: Mass Production/Mass Incarceration” a group exhibition at the Maryland Art Place Inc. in April 2017. Zoë Elena currently resides in New York where she is obtaining a master’s from the Center for Latin American and Caribbean Studies with an advanced certificate in Museum Studies at New York University.
zoeelena.net | IG: @_zoeelena_
The Zoom nudes were a project I started in April 2020, during the first pandemic lockdown; I thought creating images far removed from the subject would be an interesting way to capture the human form. I began shooting static, conventional nudes, but after one of the models moved as I was making the “exposure” I realized that motion made the image much more visually interesting.
The process is fairly simple: I begin a Zoom session on my computer and the model joins it on her phone. I then have her position the phone’s camera towards where the light and background are pleasing, and we’re ready to start. I direct her as I would normally, and as she moves I press the PrtScr key, which captures the image on the screen at that moment. I then quickly go into Photoshop, save the image, and return to Zoom to repeat the process. After the “shoot” I upload the images into Lightroom, and process them: I crop the images, color grade them, and use grain to hide the artifacts that Zoom creates as it compresses the constant stream of data.
The Three Graces/Hollywood Remix
Digital image
6 x 4.8 in
2021
Silk Dance II
Digital image
6 x 6 in
2021
Silk Dance I
Digital image
6 x 6 in
2021
Falling Nude II
Digital image
4 x 5 in approx
2021
Falling Nude I
Digital image
4 x 5 in
2021
Marco Pallotti was born in London, England, and moved to the United States in his mid twenties. He now lives in Santa Monica, California, and works as a commercial and fine art photographer in a variety of genres, using both analog and digital technologies.
My latest series began while in quarantine with my husband and 3 young children. I recognized that this was such a fragile and all encompassing time for my entire family and I needed to capture it on paper. I began to investigate all of the overprotective feelings I have for my children and my anxieties about keeping them safe and out of harms way. Throughout this series I have used charcoal, collage and oil paintings to observe and articulate these overpowering feelings. Whether it shows family bonding time or myself looking over my children they all explore the complexities of how I feel about being a mother during a pandemic.
Bedtime Reading
Oil on Canvas
30 x 40 in
2021
Violet Sleeping
Oil on Canvas
72 x 48 in
2021
Watching Over
Charcoal
18 x 24 in
2021
While Dad Sleeps
Charcoal
18 x 24 in
2021
Dinner Time
Collage
8 x 11 in
2021
Katie Heller Saltoun is an artist currently based in Brooklyn, New York. She is an observational painter and drawer who explores her views of motherhood and family. She received her BFA in Painting and Drawing from the University of Michigan (2002) and her MA in Art Education from Columbia University, Teachers College (2005). She recently completed an Artist Residency at the School of Visual Arts (2021).
When I was young, my mother taught summer Home Economics classes. As the trend of “home training” phased out with the rise of third-wave feminism, those early experiences introduced me to the push and pull of “women’s work” and the value of one’s time. My research-based practice comes from a paradigm of being a military spouse who has lived all over the country and overseas, which has caused reflection on my role as daughter, mother, caregiver, and working woman. It is through my investigation of three generational and matrilineal dialogues that I explore the transformative qualities of female personas, inherited streams of consciousness, and the American dream from a working mother’s perspective. My work utilizes sculpture, textiles, photography, video, and interactive installations to support my interdisciplinary practice.
Mother to Mother
Textile on burlap, wood, metal and paint
20 x 60 in
2021
Mother & Child II
Textile on burlap, wood, metal and paint
35 x 35 in
2021
Mother & Child II
Textile on burlap, wood, metal and paint
35 x 35 in
2021
Mother & Child I (front)
Textile on burlap, wood, metal and paint
20 x 30 in
2021
The Deborahs Project
Handmade textiles, mixed media and video
Time-based interactive installation
2018-2021
Deborah Schöen is a daughter, mother, military spouse, and interdisciplinary artist who works for a blacksmithing and architectural ironworks studio. Deborah grew up in an eccentric home filled with folk dancing, dinner theatre, car shows, dog shows, and koi fish shows (yes, that is a thing). As a child, Deborah loved using her hands to create immersive environments, which included questionably built forts, teeter totters and cardboard “rocket ships.” She eventually married into the military, has spent more than half her life moving across the country and overseas, and has settled in Colorado Springs, Colorado. She has a B.A. in Visual & Performing Arts with a minor in Art History from the University of Colorado, Colorado Springs. Her work utilizes sculpture, textiles, photography, video, and installations to support her research-based practice.
Deborah has been involved in solo and group exhibitions across the country, including Colorado locations the Heller Center for the Arts & Humanities, Cottonwood Center for the Arts, and the Kreuser Gallery. Deborah had an interactive installation titled The Deborahs Project that was installed at the Ent Center for the Arts for a two-year lease. She has a large-scale public sculpture titled Lift Off as a permanent installation at the University Village Center in Colorado Springs. Her work was featured at the GOCA121 Great Expectations: highlighting some of “Colorado’s Front Range Emerging Artists.” During the summer, Deborah has been an artist in residency with NY’s School of Visual Arts, as well as a self-directed resident of An Artist Residency In Motherhood (AiRM) program.
Deborah’s awards include the Linda Holmgren Jensen Endowed Scholarship for the Arts; a curatorial internship with the Chrysler Museum of Art in Norfolk, Virginia; The University Village Center Public Sculpture scholarship; the LAS Faculty & Student Creative Works grant; Auxiliaries Directors Lease Award; and LAS Outstanding Post-Student Award.
Deborah’s work has been published in Virginia’s Chrysler Museum of Art Magazine, Southside Daily, The Virginia Pilot, the online publication Design Within Reach, University of Colorado, Colorado Springs’ news, literary & arts publications Riverrun and Communique, Colorado
IG: @deborah.schoen.art | IG: @the.deborahs.project
Conceptually, my art practice is focused on mental health. Employing the use of two dimensional visual art, I present to the viewer ideas regarding depression, struggles with suicidal ideation, relational loneliness, and other common shared melancholic experiences. This is accomplished through still life and portraiture in a variety of mediums ranging from all printmaking methods, drawing, painting, and other forms of mark-making. The goal of each piece is either to create a composition that conveys a feeling for the viewer to sympathize with to gain a better understanding of another human experience, or to educate a viewer on tools they can adopt to help with these shared struggles. By relying on human experiences or common objects, I am able communicate a wide range of mental health concepts to the viewer.
While there is certainly a space for joyful artwork, I think it is essential to portray other emotions of the human condition in order to assist each other in coping with this thing called life.
Method Acting
Graphite, charcoal and pastel on paper
15 x 22 in
2020
Structures for Coping no. 9
Charcoal and graphite on paper
30 x 22 in
2021
Structures for Coping no. 14
Charcoal and graphite on paper
30 x 22 in
2021
I Can Feel the Soil
Graphite and charcoal on collaged paper
20 x 24 in
2020
Language is Inadequate
Graphite on paper
20 x 14 in
2020
Brady Smith is an Arvada based artist, working and living in his hometown. In 2011, he received a BFA in 2-D Studies with an emphasis in etching from Brigham Young University - Idaho. He then completed a Master’s in Contemporary Art from Sotheby’s Institute of Art - London in 2014. Brady’s art practice is comprised of portraiture and still life work focused on portraying the vast spectrum of mental health issues. He has exhibited nationally in museums, galleries, and universities, including Denver, CO, Portland, OR, and Oakland, CA, and has given painting and printmaking demos in a number of museums. Most recently, Brady has created a solo exhibition for the Arvada Center for the Arts. The exhibition, (Don’t Be Embarrassed by) Your Trouble with Living, is made up of over 50 new pieces exploring struggles with suicidal ideation.
In 2015, Brady’s work was also unknowingly included in Buzzfeed’s 23 of the Absolute Worst Things that Could Ever, Ever Happen.
Fascination with the human body, the natural world, and the complexity of emotions is central to my understanding of life. The convergence of these things is the root of my inspiration in both art and writing, and my background as a cancer and end-of-life nurse informs the shapes and colors in my work. I attempt to merge ideas both tactile and intangible - flesh and bone, suffering and joy, the way the light hits a leaf, or the way a song feels that transcends explanation; the sensation of touch, or how it feels to share in laughter with another person. There is beauty in darkness and lightness in suffering too difficult to put into words. My art is an observation of the natural world and human nature; I often find myself painting simple and familiar objects or body parts, attempting to convey the depth of feeling that exists there, just beneath the surface.
John Looks at the Sky
Acrylic on canvas paper
16 x 20 in
2021
My Brother Holding His Daughter
Acrylic on canvas paper
16 x 20 in
2021
Dissociation
Acrylic on canvas paper
16 x 20 in
2021
Hannah Obanni With Flowers in Her Hair
Acrylic on canvas paper
16 x 20 in
2021
Crevices
Watercolor
8 x 10 in
2020
LA White is a self-taught artist and registered nurse currently based in Brooklyn, NY. She works primarily in watercolor. Her fascination with the human body, the natural world, and the complexity of emotions converge as the root of her inspiration. LA’s background as a cancer and end-of-life nurse informs the colors and shapes in her work; which uses deep shadows to represent the complexity of the natural world and human nature. She attempts to merge both the tactile and intangible; often painting a simple or familiar object or body part, attempting to convey the depth of feeling that exists just beneath the surface.
www.lawhite.art | IG: @lawhite_art
My artistic practice starts with the relationship between my perspective, circumstances and lineage—defined by multi-generational trauma and isolation incurred from ambitious striving within gas-lighting white supremacist patriarchal capitalism—and systemic patterns, myths and power. As an Asian-American personally contending with inherited, conflicting duties and narratives of care-giving and achievement, I am especially interested in engaging with the conscious and unconscious positions and conditions of those whose lineages are entangled with diaspora, assimilation, colonialism and imperialism. In my creative process, I seek to incorporate other individuals, through interviews and conversation, and/or visualize the organized chaos of the collective human experience. While reaching towards healing, I recognize the existence and functions of complexity, interconnectivity and nuance at multiple scales.
A key concept of my work is infrastructure, which relates to the act of supporting and of human intervention, the foundations of creation, and the many who labor to build and maintain our unsustainable global practices. Literal infrastructural objects—pylons, utility covers, traffic signs—are site-specific representations of, especially in the US, deterioration, the results of time and use. They are aesthetically defined by a combination of technology, the phenomenon of private versus public property, and decision-making power. As physical markers of large-scale systems, these objects affect private conditions and psychic spheres while often overlooked or purposely hidden. Such is similarly the case with intertwined capitalist and racial systems constructed through rules defining normativity, legitimization narratives and assumed practices. These mechanisms are deeply personal, stronger than steel beams, and often as obscured, over-simplified, and fundamental as the mechanisms of energy and electricity.
Return and Schedule Self Interest
Linen, canvas, thread, chain
62” x 49” x 36”
2021
Return and Schedule Self Interest (detail)
Linen, canvas, thread, chain
62” x 49” x 36”
2021
Return and Schedule Self Interest (detail)
Linen, canvas, thread, chain
62” x 49” x 36”
2021
No Need for Speed (Riverside County)
Digital image of sculpture (paper, thread)
2021
Room (Berkeley, CA)
Digital image of sculpture (paper, thread)
2021
Amy is a sculptor and multidisciplinary designer exploring physical and ideological infrastructural systems that influence our individual psychic and emotional experiences. Driven by identity and heritage, her work deconstructs and highlights the interconnections between power, economics, labor, and race in order to illuminate their foundational impact on personal schemas and interpersonal relationships. Objects, installations and images result from the amalgamation of industrial and refuse materials, textiles and sewing, and layers of manual and digital approaches that re-interpret our built realities. Amy was raised and is currently based in Berkeley, CA. She received an A.B. in Visual and Environmental Studies from Harvard University and attended the MFA Art program at California Institute of the Arts. In 2021, she was honored to be an Artist in Residence at Esalen Institute and participated in the virtual Artist Residency Project at the School of Visual Arts. Amy is a founding member of the digital creative worker’s coop, Converge Collaborative.
amyyoshitsu.com | IG: @amyyoshitsu
Related
Artist Takeovers
As part of our fall group show, The Artist Residency Project, some of our exhibiting artists will showcase their work and practices by taking over the @aerogrammearts Instagram for a day.
SEP 13 - OCT 13, 2021