Past Residents
Past Resident2017: The New York Community Trust’s Edward and Sally Van Lier Fund
Ayesha Kamal Khan
Ayesha Kamal Khan’s work hovers in the anxiety of displacement. She addresses the tensions of polarity using impressions of provisional nomadic structures. She uses a variety of mediums including sculpture, video, drawing. Her more recent work is primarily installation based and is subject to change according to the site in question. Khan uses the language of provisional nomadic structures that assert their unreliability in their means of construction. She exaggerates these temporary solutions to claim land. The work looks for a balance, admitting in itself the lack thereof.
Ayesha Kamal Khan graduated from the National College of Arts, Lahore, Pakistan in 2011, and earned an MFA from Pratt Institute, New York in 2015. She lives and works between Brooklyn and Lahore. Khan has been exhibited at art institutions internationally, including the Queens Museum, and participated in the Skowhegan School of Painting and Sculpture in 2015.
Ayesha Kamal Khan, Sharing Ground, 2015, 58 second stop-motion animation, looped, Dimensions variable.
Ayesha Kamal Khan, Following, 2015, Used orange cooler, philips tube light, small blue cooler, transparent straw, and stuffed black plastic bag, Dimensions variable.
Ayesha Kamal Khan, This May Fall (Huffing and Puffing), 2014, Red bricks, white enamel, clothes line, hooks, nails, green bending wire, black metal pedestal fan, extension cord, and electricity, Dimensions variable.
Ayesha Kamal Khan, Only a Fall Can Save, 2014, Marker on paper, 24 × 28 in. (60.96 × 71.12 cm).
Ayesha Kamal Khan, This May Fall (Chairlift), 2015, Monarch rocking chair, mangos, clothes line, yellow marigolds in red and white flower pots painted (big and small), graphite on paper, white cushions, used green soap bar, green bending wire, nails, and hooks, Dimensions variable.
Past Resident2017: Pollock-Krasner Foundation
Olaniyi Rasheed Akindiya
Olaniyi Rasheed Akindiya aka Akirash’s work focuses on moments of time, particularly fleeting moments that can easily be forgotten or transformed. His work reflects upon rural and urban life, as well as the accelerated pace of development and social infrastructure. In his practice, Akirash explores both the personal and the universal by investigating invisible systems of power that govern everyday existence. He utilizes a multitude of techniques and materials, including repurposed objects, with which he creates mixed media paintings, sculptures, installations, video works, photographs, sound pieces, and performances. Akirash’s work is designed to create comfort, peace, and solace. His art is a reflection of the joys of life, directly inspired by rhythm, harmony, and the movement of daily existence.
Olaniyi Rasheed Akindiya was born in Lagos, Nigeria. Before pursuing a degree in fine and applied arts in his hometown in 1991, he was a practicing pharmacist for two years. Since, Akindiya worked as textile designer for a Nigerian textile mill and has travelled at length internationally. In 2000, he founded the non-profit Artwithakirash, with the goal of empowering children, youths, and young mothers.
Olaniyi Rasheed Akindiya, Ogirl L'eti/Walls Do Has Ear, 2014, Mixed media installation.
Olaniyi Rasheed Akindiya, Gbaju Gbaja/Celebrity, 2015, Mixed media installation, 180 × 84 × 180 in. (457.2 × 213.36 × 457.2 cm).
Olaniyi Rasheed Akindiya, Basket Mouth, 2016, Mixed media installation, 168 × 240 × 240 in. (426.72 × 609.6 × 609.6 cm).
Olaniyi Rasheed Akindiya, Work in Progress, 2016, Mixed media installation, 720 × 600 × 600 in. (1828.8 × 1524 × 1524 cm).
Olaniyi Rasheed Akindiya, isiCelo/Petition, 2014, Mixed media installation, 240 × 156 in. (609.6 × 396.24 cm).
Residents from United States
Past Resident2017: Saltire Society
Claire Paterson
Claire Paterson’s current practice involves working with models and other artists in a collaborative myth-making process. Paterson hosts experimental photo sessions, where models are provided with a collection of various costumes, sculpture, and installation elements. They pick out items that appeal to them most, before starting to generate spontaneous poses. Other artists are invited to contribute elements, installations and objects to the modeling sessions, incorporating their own art into the process.
Claire Paterson is a contemporary painter and graduate of the Glasgow School of Art. After she graduated, she used a British Airways Travel Bursary to fund a trip around California, New Mexico, Mexico, Arizona and Texas, to do research on the iconography of various religious groups in these states. Paterson has also spent time collaborating with other artists at the Cornaro Institute, Cyprus.
Claire Paterson, Rain in Kansas City, Mo, 2016, Photograph, with sculptural elements contributed by Genevieve Paterson, 71/2 × 10 in. (19.05 × 25.4 cm).
Claire Paterson, Feather Aviator, 2016, Photograph, with sculptural elements contributed by Genevieve Paterson, 10 × 81/2 in. (25.4 × 21.59 cm).
Claire Paterson, Bolivian Military Macaw, 2016, Photography, 8 × 10 in. (20.32 × 25.4 cm).
Claire Paterson, Rabbit-Skin Cage, 2016, Photograph, with sculptural elements contributed by Genevieve Paterson, 10 × 71/2 in. (25.4 × 19.05 cm).
Claire Paterson, The Hand of Glory, 2016, Photograph, with sculptural elements contributed by Genevieve Paterson, 9 × 10 in. (22.86 × 25.4 cm).