Current Residents

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Current Resident: Sep 1, 2024–Oct 31, 2024

Studio #201

Amy Ching-Yan Lam

Amy Ching-Yan Lam is an artist and writer whose work explores personal and communal histories, approaching them through intuition and necessity. Her practice is rooted in absurdity—where humor and sadness meet, or where the line between them blurs, creating a sense of instability. She primarily works in poetry, site-specific projects, and installation. Her publications include Property Journal (forthcoming, 2024), Baby Book (2023), and Looty Goes to Heaven (2022). Born in Hong Kong, Amy now lives in Tkaronto/Toronto.

Amy Ching-Yan Lam has exhibited work at Eastside Projects, United Kingdom; Seoul MediaCity Biennale, South Korea; and Richmond Art Gallery, Canada, among others.

amylam.me

Photo of a USB key in the shape of the Rosetta Stone, on a miniature plinth

Amy Ching-Yan Lam, Stolen from the British Museum (Rosetta Stone USB Key), 2021, USB key

Photo of a water fountain that consists of a sink with an overly large faucet, water pours out of the faucet into a garbage can in front of the sink

Amy Ching-Yan Lam, Needing and Wanting (fountain), collaboration with HaeAhn Woo Kwon, 2023, water pump, sink, cabinet and garbage can

Photo of a one-page-a-day calendar printed on newsprint, with magenta acrylic binding

Amy Ching-Yan Lam, Property Calendar, 2023, newspaper print and acrylic

Photo of 10 of the Property Calendars installed on a wall, with ripped off pages on the ground

Amy Ching-Yan Lam, Property Calendar (install), 2023, 10 calendars

Amy Ching-Yan Lam, Looty Goes to Heaven, 2022, animation

Residents from Canada

Xiaojing Yan

I'm fascinated by how technological advancements give humans the illusion of power over nature. I explore this through collaborations between human and natural elements, designing controlled environments that give way to organic processes. For my lingzhi sculptures, I put woodchips and lingzhi spore mixtures into molds, controlling humidity, temperature, and light. Once the mycelium binds the woodchips, I remove the mold and place the mixture in a greenhouse to grow. This process creates transformative sculptures, covered in delicate brown spores. My female bust series extends this concept, highlighting the lingzhi mushroom's properties and its role in environmental sustainability and contemporary art.

Canada

Canada Council for the Arts

Studio #304

Timothy Manalo

A multi-colored woven mat laid on a wood paneled floor with white plaster casts of fast-food items.

Canada

Canada Council for the Arts, Toronto Arts Council

Studio #305

Gwenessa Lam

Canada

Canada Council for the Arts

2024

United States, Iran

Current Resident: Sep 1, 2024–Nov 30, 2024

Helen Frankenthaler Foundation Residency

Studio #203

Artist

S Emsaki

S Emsaki works to deconstruct and disrupt East-West subject-object positions through video, drawing, and multimedia installations that incorporate found and provisional elements. Born and raised in an American-built suburb on the outskirts of Isfahan, Iran, Emsaki’s practice challenges the legacies of petro-imperialism by engaging with marginalized archives and intimate histories of both human and non-human subjects. Emsaki was a participant in the Whitney Museum’s Independent Study Program in New York and holds an MFA from Yale University and a BA from UC Berkeley.

S Emsaki has exhibited work at Westbeth Gallery, New York; San Francisco Arts Commission, San Francisco; and Provincetown Art Association and Museum (PAAM), Massachusetts, among others.

emsaki.com

Digitized VHS tape from the artist’s family archives, documenting first graders' inaugural school day in 1996 in an American-built suburb on the northern outskirts of Isfahan, Iran. Pathé Newsreel from National Archives Catalog, capturing British Petroleum’s first prosperous oil strike in the Middle East in Masjed Soleyman at the foothills of Zagros Mountains in 1908.

S Emsaki, crude education, 1908-ongoing, video (digitized film & VHS), 11 min

‘matter of time’ is produced with photographs of petroleum-based marine debris collected from the beaches of Cape Cod during my Fellowship at the Fine Arts Work Center that are UV-printed on Pleistocene clay, also foraged from the same region. I worked with the local geologist, Katie, Castagno, at the Center for Coastal Studies in Provincetown who helped date the clay to 18000 BC, a sedimentary deposition during the last glacial melt.

S Emsaki, matter of time, 2024, UV-cured inkjet print on foraged Pleistocene clay, repurposed cardboard, and plastic pallet, 37 × 37 × 12 in. (93.98 × 93.98 × 30.48 cm)