Past Residents

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Past Resident
2023: Celebrate the Studio

Artist

Andrew Ross

Andrew Ross is a sculptor and new media artist. His works ranges from process-based abstractions to figurative tableaus, combining idiosyncrasy, reverse engineering, and digital imaging to create narrative fragments. He uses everyday objects, popular culture, mythology, and online communities to create speculative fiction inspired by diasporic thought and explore the relationship between the arbitrary and the designed.

Andrew Ross has exhibited work at Clima, Milan; False Flag, New York; and American Medium, New York, among others.

Escher once asked, “Are you really sure that a floor can’t also be a ceiling?” The Dutch artist might have ignored the fundamentals of gravity, but Andrew Ross takes them head on, laying out a narrative where gravity is a character as real as the mole or ant. Ross’s exhibition—with its creatures, exotic garden, and reclining man admiring an apple —distorts what could otherwise be seen as a kind of pastoral. Using the language of display (plinths, pedestals, trusses), Ross teases out the purgatory between what we experience and what we know: the heavens, the earth, and the scafolding that connects them. The many faces of astrophysicist Neil deGrasse Tyson found in Ross’s flowers One suspects Tyson would admire the way that Ross’s universe, situated in the double helix of fact and ction, gives body to the forces we usually take for granted. His Untitled (Figure), a nod to the Newtonian myth, locates us in a moment of wonder when daydreams collide with reality. The ceiling and floor collapse and leave us with a divine sense of self- awareness. In the words of Tyson: “We are part of this Universe, we are in this Universe, but perhaps more important than both of those facts is that the Universe is in us.” — Kat Herriman, Artforum Critic's Pick

Andrew Ross, Untitled (Landowner), 2017, wood, plastic, plaster, pigment, plastic, acrylic, fabric, tubing, bamboo, string and planter, 85 × 95 × 61 in. (215.9 × 241.3 × 154.94 cm)

Chassis, is the word for the base structure of a car, onto which all the other parts attach. It also sounds a bit like a person’s name. The desires latent in the anthropomorphism of this sound associated with what’s “under the hood” are exposed by the fanaticism accompanying car parts, extending into toy and model versions. DIY vacuum forming is in a sense a political act, to take a technique used by mass production and to do it in your home and to uniquely customize your plastic shells. It’s a hobby associated with toy cars and cosplay, and other avenues where plastic bodies are interchangeable to their chassis. The show is comprised of plastic parts that interconnect to create hollow objects bordering on figurative, abstract and functional.

Andrew Ross, Chassis, 2017, vacuum formed thermoplastic, light bulbs, electrical wire, aluminum and wood, dimensions variable.

A sculpture using real riot gear and a steel wool figure that does not anatomically align with the riot gear.

Andrew Ross, Hollow Man With Rubber Boots, 2017, riot gear, resin, fiberglass, steel, vinyl, wire mesh and steel wool, dimensions variable.

The work was originally sculpted out of air dry clay over a plaster and wire armature and base. The top half was then re-cast as a hollow shell in fiberglass and resin. The bottom half was left as the original material. The final material list is resin, fiberglass, clay, plastic, plaster, lacquer, paint, steel and aluminum armature. My intention was to make figurative sculptures which also served as architectural spaces for miniature figures. So the work focused on armor and shell like shapes. All Cartoons was intended to feel like a pile of costume materials that became animated into a figure of its own. The bottom half is sculpted to resemble the tread on the boots that I was wearing as I made it, and the top half was sculpted with a breast plate and helmet in mind.

Andrew Ross, All Cartoons Are Masculine, 2017, unfired water-based clay, resin, fiberglass, primer, plastic and plaster, 56 × 45 × 54 in. (142.24 × 114.3 × 137.16 cm)

Andrew Ross takes a cinema-inspired approach to sculpture. He’s interested in the dissonance created by the simultaneous events of depiction and reception. Ross sculpts in the round a zany cartoon character, which resembles Bugs Bunny. The sculpture casts the character as a archetypal underdog akin to classical depictions of David. Rather than holding a stone or slingshot, the cartoon rabbit figure rolls up its skin like a sleeve, apparently in preparation for a fight or to tackle a dirty task. The task at hand being absent, sets its gaze or the direction of the arms toward the viewers’ space. The sculpture gazes through the viewer allowing for symbolic confrontation, or perhaps anticipation to be placed in front of an appropriate adversary by its curators. Ross embraces the potential for both direction and misdirection given by this frozen moment of tension, and the emotive embodiment allowed by the animated figure- emphasized by the arm’s physical contortion.

Andrew Ross, Fight Loop, 2021, 3D printed thermoplastic, epoxy coating, polyeurothane, aluminum, stainless steel, plywood and automotive paint, 62 × 36 × 36 in. (157.48 × 91.44 × 91.44 cm)

Residents from United States

Hellen Ascoli

This interactive sound table is an exploration of the relationship between text and textile, particularly through the oral tradition.

United States, Guatemala

The Pollock-Krasner Foundation, Inc.

Studio #302

Meghana Karnik

Exhibition view of TITLE TBD, a group exhibition featuring work by ⚙️️Admin, Adult Kindergarten, Thomas Barger, Lukaza Branfman-Verissimo, GenderFail, Jeff Kasper, Ariane Loze, Natalia Nakazawa, Emily Mae Smith and presented at The Cleveland Institute of Art's Reinberger Gallery.

United States

Artis

2022

Li-Ming Hu

A messy desk with a laptop, hard drives, and duct tape made of faux fur

New Zealand, United States

Wallace Arts Trust

2022

South Korea

Past Resident
2023: Doosan Art Center

Artist

Ji Hye Yeom

Ji Hye Yeom’s practice is based on multidisciplinary research; her work investigates the unseen force that causes events in the present to occur and emphasizes the sense of experience. Yeom proposes an alternative worldview and new modes of communication through moving images by exploring the connecting links and blurred boundaries between the past, present, experience and memory.

Ji Hye Yeom has exhibited work at the National Museum of Modern and Contemporary Art, South Korea; Leeum Museum of Art, South Korea; and Al Mureijah Art Spaces, United Arab Emirates, among others.