Current Residents

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Canada

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

Residents from United States

Bryan Fernandez

United States
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #216

S Emsaki

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.
United States, Iran
Helen Frankenthaler Foundation Residency
Studio #203

Nifemi Ogunro

United States
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #217
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 disorient East-West subject-object positionings through video, drawing, and multimedia installations incorporating found and provisional elements. Born and raised in Isfahan, Iran, Emsaki’s practice unsettles the legacies of petro-imperialism by engaging with marginalized archives and intimate histories of human and non-human subjects. Currently based in NYC, Emsaki is an alum of the Whitney Museum’s Independent Study Program 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)
Impermanent drawings (part one of a two-part exhibition) at Hudson D. Walker Gallery in Provincetown, MA. The shadowy drawings of various found plastic objects are rendered directly on the gallery’s walls and floor, using squid ink I caught from the local harbor and processed in my studio. The marine plastic debris that gave form to the drawings were also collected from the local beaches during my daily walks, which became a studio ritual during my 7-month-long fellowship at the Fine Arts Work Center.
S Emsaki, some things last a long time, 2022, wild-caught squid ink on existing architecture, dimensions variable
Observational drawings of a collection of plastic debris found during daily walks on Cape Cod beaches and rendered with squid ink that I sourced from the local harbor.
S Emsaki, Oct 22 - Race Point, 2022, graphite and wild-caught squid ink on paper, 22 × 30 in. (55.88 × 76.2 cm)
This etching illustrates the Caspian Sea’s agreed-upon maritime boundaries based on a treaty that was signed in 2018 between the leaders of the five countries that surround the sea. In the treaty, the sea and its resources (notably oil and natural gas) are divided into five pieces, shared amongst Azerbaijan, Russia, Kazakhstan, Turkmenistan, and Iran. In this etching, the national borders are removed and the theoretical boundaries on the body of water are rendered in stitches.
S Emsaki, divided sea, 2020, (etching) ink on Kitakata paper, 211/2 × 171/2 in. (54.61 × 44.45 cm)

Residents from Iran

Farkhondeh Shahroudi

Iran, Germany
Goethe-Institut New York
2024

Bita Razavi

Finland, Estonia, Iran
Uniarts Helsinki's Academy of Fine Arts and Saastamoinen Foundation, Uniarts Helsinki's Academy of Fine Arts and Saastamoinen Foundation.
2017

Zeinab Shahidi Marnani

Iran
Edge of Arabia and Art Jameel
2015

Past Residents

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