Past Residents
Sara Wallgren
Sara Wallgren works with sound, installation and drawing. Process is at the core of her art practice, as she explores materials, physical properties and various phenomena conditions. Wallgren visualizes thoughts through drawing.
Sara Wallgren has exhibited work at Lunds Konsthall; Galleri Thomas Wallner, Simris; and Bonniers Konsthall, Stockholm, among others.
Sara Wallgren, Movement of Beginnings, 2017, wood, plexiglass, charcoal, air compressor, computer, and Max MSP, 67 × 7413/16 in. (170.18 × 189.99 cm).
Sara Wallgren, Amble, 2018, graphite on acrylic coated paper, 435/16 × 435/16 in. (109.98 × 109.98 cm).
Sara Wallgren, Decay, 2018, acrylic inc on raw canvas, 67 × 551/8 in. (170.18 × 139.95 cm).
Sara Wallgren, Becoming, 2016, oak and birch wood veneer.
Sara Wallgren, Discontinuances, 2017, graphite on paper, dimensions variable.
Residents from Sweden
Past Resident2019: Anonymous
David Escalona
David Escalona uses ideas and concepts he studied in medical school as guiding principles in his artistic practice. The body, disease, disability, cure and the fragility of our existence are some of the topics present in his work. Escalona uses conflict and contingency as starting points for new artistic possibilities.
David Escalona has exhibited work at Instituto Cervantes New Dheli; CentroCentro Madrid; and Künstlerhaus Bethanien, Berlin, among others.
Events & Exhibitions
2019 Fall Open Studios
November 15–November 16, 2019
David Escalona, Snowy Shirt, 2018, salt and resine.
David Escalona, Supporting Points, 2015, three wooden bars with alloy braille inscription.
David Escalona, Apollo’s Chariot, 2015, gold plated folded wheelchair.
David Escalona, Untitled (injection), 2018, glass.
David Escalona, Powder Wasps, 2014, braille score, wasp nest, and ceramic finger.
Past Resident2019: Canada Council for the Arts
Jasmine Reimer
Jasmine Reimer’s installations feature exterior and interior, natural and artificial, human and non-human elements. They contain organic materials and every day objects, with recurrent components such as snails, branches, frogs, and fingers. Her work begins with the re-appropriation of the body, the revaluation of its experiences and the re-discovery of its capacity for transformation. Through excess and order she investigates the rituals, rhythms and sensations of what she calls permanent ‘in-becoming.’
Jasmine Reimer has exhibited work at Forest City Gallery, London; Clint Roenisch Gallery and Georgia Scherman Projects, both Toronto, among others.
Events & Exhibitions
2019 Fall Open Studios
November 15–November 16, 2019
Jasmine Reimer, Of, In, or Under, 2018, wood, rubber, sand, resin, epoxy putty, found objects, wax, and acrylic, 120 × 264 × 96 in. (304.8 × 670.56 × 243.84 cm).
Jasmine Reimer, Of, In, or Under, 2018, wood, rubber, sand, resin, epoxy putty, found objects, wax, and acrylic, 120 × 264 × 96 in. (304.8 × 670.56 × 243.84 cm).
Jasmine Reimer, Me and My Earth Cult 23 of 37: Owl-as-Self-Portrait, 2018, found objects, sand, paper mache, rubber, resin, and epoxy putty, 141/4 × 10 × 63/4 in. (36.19 × 25.4 × 17.14 cm).
Jasmine Reimer, Dating Dionysus, 2018, plaster, sand, rubber, resin, and found objects, 123/4 × 63/4 × 43/4 in. (32.38 × 17.14 × 12.06 cm).
Residents from Canada
Keli Safia Maksud
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
