Current Residents

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

Conseil des arts et des lettres du Québec

Studio #201

Artist

Antonietta Grassi

Antonietta Grassi’s paintings recontextualize the history of abstract art, emphasizing the vital role of female labor in technological advancements. By referencing textiles, technology, and women’s contributions to early computer systems, her work draws a parallel between the loom and the origins of computer programming. Though rooted in modernist painting traditions, Grassi’s art reflects the contemporary condition of living in an overly digitized, dematerialized world, while seeking to reconnect with a more embodied and spiritual experience.

Antonietta Grassi has exhibited work at Canadian Pavilion, Expo Dubai, United Arab Emirates; Musée national des beaux-arts du Québec, Canada; and Katonah Museum, New York, among others.

antoniettagrassi.com

Antonietta Grassi, Compiler 3.0, 2022, oil and ink on linen, 60 × 61 in. (152.4 × 154.94 cm)

Antonietta Grassi, Pink Power Push, 2023, oil and ink on linen, 55 × 55 in. (139.7 × 139.7 cm)

Antonietta Grassi, Zip no.2, 2022, acrylic oil and ink on linen, 55

Antonietta Grassi, Chromatopia, 2023, oil and ink on linen, 84 × 82 in. (213.36 × 208.28 cm)

Antonietta Grassi, Zip Stack Flow, exhibition view , 2022, mixed media

Residents from Canada

Stanley Wany

Ase (pronounced “ah-sheh”; also spelled ashe) Yoruba words often have multiple meanings: Ase is generally defined as “the power to make things happen” and also refers to the spiritual life force that flows through things, much like the Chinese concept of chi. Deepening the exploration of my relationship with my ancestors, Ase, a drawing that measures almost two meters high by three meters long. For this piece, charcoal, a medium with archaic roots, is used to evoke powerful waves crowned by troubled sky. Towards the bottom of the drawings, the waves melt into abstraction, dripping onto the white surface of the paper. The title Ase, referring to Yoruba culture, embodies my ongoing relationship with my ancestors, those who perished in the sea as well as those with whom known ties have been cut by the transatlantic slavetrade. When creating this work, I also reflected on what it meant to be Black in the Americas and how my identity had been defined by the dominant society. I turned to the writings of Stuart Hall, Franz Fanon as well as of Edouard Glissant, whose concept of “creolisation” serves as a focal point in my practice going forward.

Canada

Conseil des arts et des lettres du Québec, CIÉCO

Studio #222

Kara Springer

A hanging wall work consisting of deep purple prints of high resolutions scans of clay hanging over a poplar wood rod mounted on the wall.

Canada, Barbados

Canada Council for the Arts

Studio #305

Amy Ching-Yan Lam

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

Canada

Canada Council for the Arts

Studio #201

United States

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

Leon Polk Smith Foundation

Studio #202

Artist

Brenda Mallory

Texture and rhythmic repetition are central to Brenda Mallory’s abstract compositions and installations. By ‘sewing’ together soft fabric forms—primarily reclaimed materials—with industrial hardware, she explores themes of dominion, disruption, repair, and the interconnections within long-established natural and human systems.

Brenda Mallory has exhibited work at Gorman Museum of Native Art, UC Davis, California; Heard Museum, Arizona; and Portland Art Museum, Portland, among others.

brendamallory.com

Brenda Mallory, Adaptive Connections, 2024, waxed cloth, nuts, bolts, and felt, 120 × 240 × 6 in. (304.8 × 609.6 × 15.24 cm). Photo by Mario Gallucci

Brenda Mallory, Old Homeplace, 2024, rice paper, cloth, encaustic and hog rings on panels, 135 × 180 × 2 in. (342.9 × 457.2 × 5.08 cm). Photo by Mario Gallucci

Brenda Mallory, Consensual Attachments, 2022, waxed cloth and hog rings, 60 × 37 × 2¹/₂ in. (152.4 × 93.98 × 6.35 cm). Photo by Mario Gallucci

Brenda Mallory, Precession, 2022, ceramic, wool felt, and linen thread on wood panel, 48 × 46 × 1 in. (121.92 × 116.84 × 2.54 cm). Photo by Eric Mellencamp

Brenda Mallory, Reformed Packings #24, 2022, honeycomb packing sheet, paint, and encaustic, 32 × 32 × 2¹/₂ in. (81.28 × 81.28 × 6.35 cm). Photo by Mario Gallucci