2014
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
FUNDERS // //
ARTELES CREATIVE CENTER & RESIDENCY PROGRAM
_ ARTS PROMOTION CENTER FINLAND
_ SKR - FINNISH CULTURE FOUNDATION / PIRKANMAA REGIONAL FUND
_ HÄMEENKYRÖ
_ EUROPEAN UNION / JOUTSENTEN REITTI RY
OTHER
_ ARTS COUNCIL OF PIRKANMAA [7] [10]
_ FRAME [11]
COLLABORATIONS [in alphabetical order] // //
_ ALLIANCE OF ARTIST COMMUNITIES
_ PIIPOO RY [12]
_ ARTS COUNCIL OF CENTRAL FINLAND [3]
_ PORI ART MUSEUM [7]
_ BACKLIGHT PHOTO FESTIVAL [4]
_ PERFO! (CULTURAL CENTER TELAKKA TAMPERE) [6]
_ CENTER OF CREATIVE PHOTOGRAPHY [3]
_ PISPALA CENTER FOR CONTEMPORARY ARTS [5] [6]
_ ESKARO [8]
_ PTARMIGAN HELSINKI & TALLINN [6]
_ CREATIVE SCOTLAND [2]
_ RAJATAIDE ASSOCIATION [5]
_ GALLERY 3H+K, PORI [6]
_ RED CROSS / REGIONAL DIVISION [13]
_ GALLERY ALKOVI, HELSINKI [6]
_ RECYCLING CENTER, HÄMEENKYRÖ [8]
_ GALLERY RAJATILA [7]
_ TAMPERE UNIVERSITY OF APPLIED SCIENCES [3]
_ HAUKIJÄRVELÄISET ASSOCIATION
_ TAMPERE ARTIST ASSOCIATION [5] [9]
_ HÄMEENKYRÖ BOROUGH [8]
_ TAMPERE CITY / CULTURAL OFFICE [5] [12]
_ INSTITUTO ITALIANO DI CULTURA FINLANDIA [2]
_ TAMPERE TRADE FAIR [9]
_ JYVÄSKYLÄ ART MUSEUM [3]
_ TUNTURI HELLBERG LTD
_ JYVÄSKYLÄ UNIVERSITY OF APPLIED SCIENCES [3]
_ TEHDAS RY [7]
_ KIASMA [1]
_ TIKKURILA [8]
_ LIVE HERRING GROUP [3]
_ TR1 KUNSTHALLE [7]
_ NÄKYMÄ PUBLIC ART SHOW 2011 [6]
_ UNIVERSITY OF JYVÄSKYLÄ [3]
_ MAKE 8ELIEVE
_ XL ART SPACE HELSINKI [6]
_ ORE.E REFINERIES [7]
EXPLANATIONS // //
[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
Argentina
ANA FANELLI // Photography, video
Poland
ALEKS SLOTA // Performance, video, sound
NICOLÁS MARTELLA // Photography, video Portugal
MARIANA PORTELA ECHEVERRI // Installation, Photography
MICHAEL HENDERSON // Writer, painter, installation art
Australia
ALISA TANAKA-KING // Print-/bookmaking, Performance RYAN LAUTENBACHER // Sound art & design, music, media
XI JIE NG // Performance, installation, film
Singapore
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
Switzerland
SONJA LOTTA // Photography, Mixed Media
ALESSANDRA FALBO // Photography, video, installation Taiwan Bulgaria
JEAN MAILLOUX // Drawing, lithography, photography SAM CORBIN // Performance, writing, installation
Canada
UK
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
China
USA
MARIE-LOUISE ANDERSSON // Multidisciplinary
Denmark
ALEXANDRA PETRACCHI // Illustration, installation
France
BARTHÉLEMY ANTOINE-LOEFF // New media art, installation JEAN-PHILIPPE LAMBERT // Sound, music Germany
IRMI WAHL // Drawing SOPHIA GUTTENHÖFER // Dance, performance
Greece
TANO // Painting, Drawing, Tattoo OSCAR CHAN YIK LONG // Mixed media
Hong Kong
CLAIRE FOX // Photography, Installation, Visual Art
Ireland
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
Japan
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
Australia
YIORGOS ZAFIRIOU // Performance Art, asceticism
Brazil
LUIZA LACAVA // Photography, video, installation
Canada
ANNIE FRANCE NOËL // Photography, video/film
Poland
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
Argentina
MARÍA EMILIA SILVETTI // Painting & poetry
Mexico
IVÁN KRASSOIEVITCH // Visual art
Netherlands
MAARTEN BOEKWEIT // Visual art
NIZHA BUSTOS SALIM // Music Australia
SIMON GARDAM // Media art PILAR MATA DUPONT // Visual art JODY QUACKENBUSH // Visual art
New Zealand
JOANNE DRAYTON // Visual art SUZANNE VINCENT MARCHALL // Visual art
ANNIE NGUYEN // Visual art ADAM GIBSON // Visual art & music HENRY ANDERSEN // Sound & music JACQUI MILLS // Visual art Belgium
BEATA SZPARAGOWSKA // Visual art
Norway
Poland Spain
KRISTIN NANGO // Dance & performance SENA WOLF // Visual art GLÒRIA ESCALA VIDAL // Performance & installation JOSE BAHAMONDE // Video, 3D, motion graphics
Brazil
MYRIAM GUILLAMÓN // Video, 3D, motion graphics
BEATRIZ MOGADOURO CALIL // Visual art VICTOR LEGUY // Visual art CARLA CHAIM // Visual art
Sweden
JIMMY ALM // Visual art MAURITZ TISTELÖ // Poetry & visual art
Canada
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
Switzerland
Turkey UK
Denmark
Finland
France
Germany
Hong Kong Iran Ireland
Italy
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
EDWARD SANDERS // Painting
SYDNEY SOUTHAM // Visual art JULIE PASILA // Visual art Colombia
LILIAN BEIDLER // Visual art CAROLINE VON GUNTEN // Drawing, Installation
AMELIA CROUCH // Visual art USA
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
Australia
Sasha Margolis // Sound art, installation, music
Australia
Sam Fagan // Visual art
Australia
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
USA
Jessica Anderson // Sculpture, photography, installation
USA
Matthew Clark // Visual art
USA
Birgit Larson // Performance, drawing
USA
RESIDENTS 2012
Australia
MICHELLE DICINOSKI // Media art
Russia
TATJANA GORBACHEWSKAJA // Visual art
RYAN McGENNISKEN // Visual art HOLLIE KELLEY // Visual art
Slovenia
GRACE KINGSTON // Visual art
NATASA KOSMERL // Photography GREGA LOŽ // Illustration
LAURA BATCH // Visual art TOM HOGAN // Sound & Music
Bulgaria
South Africa
LAUREN VON GOGH // Visual art
ADAM GIBSON // Sound & Music
ROBYN COOK // Visual art
JACQUI MILLS // Visual art
JENNA BURCHELL // Visual art
IVAYLO GUEORGIEV // Visualart
South Korea
SAEBON KIM // Visual art JI HYE YEOM // Visual art
Brazil
RENATA PADOVAN // Visual art LARISSA PINHO ALVES RIBEIRO // Visual art
Spain
ANA GALAN // Visual art
STEFFANIA PAOLA ALBANEZ // Visual art Canada
JENNIFER PICKERING // Visual art
ALBERTO MARTÍNEZ CENTENERA // Visual art
Switzerland
NATALIA COMANDARI // Visual art
VANESSA BRAZEAU // 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
CARLOS LABBÉ JORQUERA // Literature
PATRICK LOAN // Visual art
MONICA RÍOS VASQUEZ // Literature
ANNABELLE CRAVEN-JONES // Visual art Finland
EMMA REEVES // Visual art
ANU TURUNEN // Visual art
CAMILLA EMSON // Visual arT France
EMILIE COLLINS // Visual art USA
Hungary
TAMAS SZVET // Visual art
MARY-ELLEN CAMPBELL // Visual art GRACE NEEDLMAN // Visual art CHRISTOPHER D WILLE // Media art
Israel
OFRI LAPID // Visual art
MARK WUNDERLICH // Poetry DOROTHY K. MCCALL // Art history
Italy
SARAH EDITH LOMBROSO // Illustration
MARLENA MORRIS // Photography
ROBERTO PUGLIESE // Sound & Media art
PAUL ZMOLEK // Dance & Performance JOSEPHINE A. GARIBALDI // Dance & Performance
Japan
MIKA MIZUNO // Photography
SUSAN EVANS // Visual art
AQUICO ONISHI // Visual art
JAMIE URETSKY // Visual art
TOSHIHIKO SUZUKI // Architecture
DELILAH JONES // Visual art
YUKI SUGIHARA // Design
JOHANNA BREIDING // Visual art MARY RASMUSSEN // Visual art
Malaysia
VALERIE NG // Painting
MELANIE EDWARDS // Music STEPHANIE CHAMBERS // Visual Art
Mexico
DANIEL ORLANDO LARA // Photography
JESSELISA MORETTI // Visual art CARRIE NAUGHTON // Literature
SIMEN JOACHIM HELSVIG // Visual art
RESIDENTS 2011 Argentina
CAROLINA TRIGO // Media-art, Performance
Australia
THE MOTEL SISTERS // Action
Italy
HELENA HLADILOVA // Fine art PAOLA RICCI // Sculpture
PILAR MATA DUPONT // Video, performance
Japan
HANAE UTAMURA // Transart
JENNA CORCORAN // Installation KATHERINE SHRINER // Painting
South Korea
HWAYOUN LEE // Drawing HYOJUNG JUNG // Film, video
JESSICA MONTFORT // Painting
HYEKYONG YUN // Photography Belgium
JAN VERBRUGGEN // Sculpture, Painting KAREL VERBUGGEN // Engineering
Spain
Canada
ANDREANNE FOURNIER // Media art
VICTOR GONZALEZ CASTRILLO // Writer MARIA SANCHEZ // Curator
PIETER GYSELINCK // Sound Switzerland
CETUSSS // Design, art, sound
AARON WELDON // Painting JEANNE MARSHALL // Textile
Taiwan
JULIET FANG // Fine arts
Turkey
DIDEM OZUBEK // Design
RICHARD IBGHY // Conceptual art MARILOU LEMMENS // Conceptual art CHRISTIAN CHAPMAN // Painting ANNE MARIE DUMOUCHEL // Performance
UK
LUCY DRISCOLL // Illustration LUCY BAKER // Fine art
Croatia
ANA GEZI // Painting
EDWARD LAWRENSON // Painting
JOLENE MOK // Transdisciplinary
HILJA ROIVAINEN // Painting
SAMANTHA EPPS // Fine art China
LAURA DONKERS // Conceptual art Finland
ULRICH HAAS-PURSIAINEN // Curator OLLI HORTTANA // Photography
USA
MATT SHERIDAN // Media arts SUSAN BERKOWITZ // Photography
France
HÉLÈNE BARIL // House painter
LUCAS COOK // Photography
JEANNE DE PETRICONI // Sculpture
SHARI PIERCE // Fine art
SORAYA RHOFIR // Video art
KARIN HODGIN JONES // Installation
BERENICE SCHRAMM // International Law
MONTANA TORREY // Videoart
MARIE MONS // Design
DAN SPANGLER // Media Design KATIE ZAZENSKI // Installation
Germany
SABINE SCHRÜNDER // Photography
TREVOR AMERY // Installation
VERA HOFMANN // Photography
GAYLORD BREWER // Poetry
NINA FARSEN // Design
ARIEL MITCHELL // Textile Art GEORGIA ELROD // Painting
Greece
GEORGIA KOTRETSOS // Conceptual art
TRAVIS JANSSEN // Media-art
ALEXIS AVLAMIS // Painting, Drawing
COLIN WOODFORD // Sound art
DINOS NIKOLAOU // Media Art
BRENDAN CARN // Music KELLY MONICO // Video
Honduras
ALMA LEIVA // Transdisciplinary
MIKE KOFTINOW // Painting EILIYAS // Sound art GWYNETH ANDERSON // Animation MARISSA GEORGIOU // Conceptual art
IN THE RESIDENCY 2010 June >
Australia
Brazil
Canada
MICHAEL PULSFORD // Sound art
France
CAROL MÛLLER // Photography
HANNA TAI // Installation Art
MAXIME BONDU // Installation
SALLY DAVISON // Actor
NICOLAS CILINS // Installation
LEANDRO LEITE // Choreographer EMMA HOOPER // Research and music
Israel
Slovakia
MAYA ARUSCH // Fine Arts EMESE HRUSKA // Research, music
ELIA ELIEV // Visual arts, research JOHN LUI // Photography, design
The Netherlands
BREGTJE WOLTERS // Drawing
RICHARD IBGHY // Conceptual art MARILOU LEMMENS // Conceptual art
USA
TAKESHI MORO // Photography, media art CHARLIE WILLIAMS // Composer
Estonia
ANNA JAANISOO // Theater director
Finland
EERO YLI-VAKKURI // Multidisciplinary art
ALICIA VIANI // Research, Music DEREK LARSON // Artist, Curator
INKA JURVANEN // Drawing EEVA TALVIKALLIO // Research IIDA-MAARIA LINDSTEDT // Actor PAULA LEHTONEN // Media-art
Vatican City
STEPHANO SUH // Graphic design
RESIDENTS + PROJECTS
IN THE RESIDENCY December 2014
YOONJUNG KIM
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 VARELA QUINTERO
Spain
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
forms.
“Worlding, fully inhabitating body and space while continuously refreshing all relationshiops without naming any aspect of experience as a means to share identity.”
GABRIEL FORESTIERI
USA
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
MALGORZATA ZURADA
Poland
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
ANNIE FRANCE NOËL
Canada
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
photography.
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�
YIORGOS ZAFIRIOU
Australia
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)
performance.
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!”
HEEJIN JANG
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
Francisco.
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
EMILIE LINDSTEN
UK
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
London.
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
LEIGH DIFULVIO
USA
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
ANJA MARAIS
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
ELISABETH HORAN
USA
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
JEAN MAILLOUX
Canada
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
TARMARC + PHOTO NOIRE (WORKING TITLE) Tarmac
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
MICHAEL HENDERSON
Australia
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”
ANA FANELLI
Argentina
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
of
who one can always learn.
assisting
wonderful
professionals
such
as
Eugenio
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
NATALIYA PETKOVA
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
away.
manipulated in order to produce an improvised sound performance,
IN THE RESIDENCY October 2014
“I’ve been told that I take the ambiguity of the universe very personally.”
SAM CORBIN
Canada
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
(TRE).
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
with
discourse.
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!
the
undercutting
of
assumptions
about
IN THE RESIDENCY October 2014
NICOLA WILLIAMS
UK
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
woodlands.
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
landscape.
neon pens create a heightened sense of reality, particularly with
IN THE RESIDENCY October 2014
RYAN LAUTENBACHER
Australia
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
(Melbourne),
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
reality.
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
Ponty)”
IN THE RESIDENCY October-November 2014
TANO
Greece
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.
IN THE RESIDENCY October 2014
ALISA TANAKA-KING
Australia
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
worlds.
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.
basics:
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
UN-BECOMING?
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”
ALEXANDRA PETRACCHI
France
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.
nightmares,
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”
BARTHÉLEMY ANTOINE-LŒFF
France
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 ZHU
USA
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�
XI JIE NG
Singapore
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
“OK!”
LISA RYBOVICH CRALLÉ
USA
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.”
TROY HOURIE
CANADA
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
USA
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.”
CARA COLE
Canada
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”
DAVID ORNETTE CHERRY
USA
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.
IN THE RESIDENCY August 2014
“Make it Happen”
APRIL PHILLIPS
Australia
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
www.aprilphillipsfootwear.com
scenarios.
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.
IN THE RESIDENCY August 2014
“I love to play piano and cook for the people I like the most”
MAURO ARRIGHI
Italy
mauro.arrighi@me.com // www.linkedin.com/in/mauroarrighi I
compose
electronic
music
and
“do”
computer-aided
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 -
https://itunes.apple.com/us/artist/mauro-arrighi/id591240910
Japan), just to name a few.
https://soundcloud.com/mauro-arrighi
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
http://amazon.com/author/mauro.arrighi
at IAMAS in Japan.
http://www.digicult.it/authors/mauro-arrighi/
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,
England.
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 SROKA
USA
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.
IN THE RESIDENCY August 2014
NATHALIE COLLINS
USA
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,
IN THE RESIDENCY August 2014
AARON J. KIRSCHNER
USA
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
Mead.
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
IN THE RESIDENCY August 2014
“I feel that my responsibility as an artist to touch the human heart and prevent this world from careening totally out of control.”
CHIN CHIH YANG
USA
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.
IN THE RESIDENCY August 2014
“I think about ‘blindness’ in my work. ‘Blindness’ in regard to the diverse identities, landscape and social functions in society. ” JACQUELYN SOO
Singapore
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.
CODE IN THE MICRO (SERIES) LH + RH COLLECTED SPECIMEN & FINGERPRINTING 2014 ARTIST STATEMENT
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
environment.
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
IN THE RESIDENCY August 2014
MEGAN TAYLOR
UK
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.
perception.
WEE BITS AT A TIME Rules
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.
IN THE RESIDENCY July 2014
“Building the House without Exit�
ELLYCE MOSELLE
USA/UK
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.
IN THE RESIDENCY July 2014
ADAM SETALA
USA
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
IN THE RESIDENCY July 2014
“The limits of material and physical construction are surpassed by examining the physicality of virtual construction.�
JACOB RIDDLE
USA
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.
IN THE RESIDENCY July 2014
ALEXANDRIA CARRION
USA
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,
forms
cracks of pressure, furrows on roads, profiles of trees, and
with
articulated
surfaces,
sculptural
meditations.
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.
IN THE RESIDENCY July 2014
“I want my art to smell like me, and be full of energy, joy, and contradictions.”
TOM HOGAN
Australia
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.
IN THE RESIDENCY July 2014
MARIE-LOUISE ANDERSSON
Denmark
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
rubber.
IN THE RESIDENCY July 2014
KEVIN KANE
USA
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
IN THE RESIDENCY July 2014
“Nothing matters more than what never happened”
SONJA LOTTA
Switzerland
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.
IN THE RESIDENCY July 2014
“Grace Kingston is the child of an Ancient Historian and an Economist; born in 1987”
GRACE KINGSTON
Australia
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.
IN THE RESIDENCY June-July2014
OSCAR CHAN YIK LONG
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
IN THE RESIDENCY June 2014
“What you see is not what it is”
JIHYUN YOUN
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.
IN THE RESIDENCY June 2014
MAGGIE KELLY
UK
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
inhabit.
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.
IN THE RESIDENCY June 2014
ANDREA MCGINTY
USA
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
IN THE RESIDENCY June 2014
SUSAN KLEIN
USA
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).
IN THE RESIDENCY June 2014
“My current work focuses heavily on shape, line, form, composition and colour”
PAUL SENYOL
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.
IN THE RESIDENCY May-June 2014
ALEXIS COURTNEY
USA
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
IN THE RESIDENCY May 2014
DUSTY RABJOHN
USA
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
world.
wanted to be open to more exploration in materials, techniques,
IN THE RESIDENCY May-June 2014
HOLLY KNOX RHAME
USA
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.
IN THE RESIDENCY May-June 2014
JULIO ORTA
Mexico
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
self-awareness.
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.
IN THE RESIDENCY May 2014
“We were born naked. The rest is drag” - RuPaul
DAVID BLOOM
USA
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.
IN THE RESIDENCY May-June 2014
“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 MORAN
Israel
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
ways.
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
IN THE RESIDENCY May 2014
CHRISSY LUSH
USA
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
IN THE RESIDENCY May 2014
PIERRE LE RICHE
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
elements.
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
IN THE RESIDENCY April-May 2014
DIOGO BLANCO
Brazil
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.
IN THE RESIDENCY April 2014
LEA DEVON SORRENTINO
USA
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
IN THE RESIDENCY April 2014
“Musician and Sound Designer�
RORY MCINTYRE
UK
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.
IN THE RESIDENCY April 2014
“The eye searches for what the heart already knows�
CARISSA BAKTAY
Canada
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.
IN THE RESIDENCY April 2014
“Beckmann uses layering techniques, to explore the transience of perception, identity and immersive experiences.�
EMILY BECKMANN
UK
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
Sauna.
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
IN THE RESIDENCY April 2014
RAOUL RIES
LUXEMBOURG
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�.
IN THE RESIDENCY April 2014
“The empty-handed painter from your streets is drawing crazy patterns on your sheets.� - Bob Dylan
CARL GOMBERT
USA
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
IN THE RESIDENCY March 2014
MATT SIWERSKI
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,
IN THE RESIDENCY March 2014
ALESSANDRA FALBO
Brazil
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.
IN THE RESIDENCY March 2014
ROBERT COLLIER BEAM
USA
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.
IN THE RESIDENCY March 2014
“Walk Explore Dance�
IRMI WAHL
Germany
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.
IN THE RESIDENCY March 2014
“Memory | Imagination�
CLAIRE FOX
UK
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.)
IN THE RESIDENCY March 2014
LESLIE LANXINGER
USA
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
pictures.
own figures and draw them: anonymous, faceless characters who
IN THE RESIDENCY March 2014
“Eyes Shut Space. Working into the invisible.”
BETH GIBBONS
UK
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...
IN THE RESIDENCY March 2014
BEN JULIEN
Australia
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
BEN HERNSTROM
USA
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�
ANNE BEAN
UK
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.”
RUITONG ZHAO
China
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
NICOLÁS MARTELLA
Argentina
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
thought.
I would made. Surely not the ones I’ve done. After all, things never
IN THE RESIDENCY February 2014
KEHA MCILWAINE
USA
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
joy.
IN THE RESIDENCY January 2014
TSAI CHIH-FEN
Taiwan
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
contemporary
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.
environmental
issues,
Chih-Fen
integrates
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.
IN THE RESIDENCY January 2014
NAOMI BISHOP
Australia
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
Lights.
night and wander around the studios looking out of the windows searching the night sky for signs of celestial phenomena.
IN THE RESIDENCY January 2014
“I JUST WANT YOU”
PAT NAVARRO
Canada
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.
IN THE RESIDENCY January 2014
AKI ITO
Japan
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.
IN THE RESIDENCY January 2014
MARIANA PORTELA ECHEVERRI
Portugal
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
quotidian.
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