Current Residents

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Current Resident: Mar 1, 2025–May 31, 2025

Studio #204

Cem Örgen

Cem Örgen draws on his industrial design background to explore the histories, functions, and processes of materials through a lens of subjective and contextual movements. By uncovering collective memory from hidden, rushed, and isolated settings, he examines the moral dilemmas and unease triggered by everyday stimuli. Through a diverse range of media, Örgen reflects his hyper-situational values, creating works that embody affective states and processes with meticulous material control. His pieces, spanning sculpture, drawing, assemblage, text, and sound, appear simultaneously organic and artificial.

Cem Örgen has exhibited work at The Pill, Turkey; Les Urbaines, Switzerland; and IMALAT-HANE, Turkey, among others.

cemorgen.com

CNC cut, power carved, paint-washed, and varnished plywood, epoxy fillings, blow-molded acrylic water lens, silicon sealant, and fine art print on aluminum.

Cem Örgen, Breakfast with Family, 2024, sculpture, 71 × 87 × 69 in. (180.34 × 220.98 × 175.26 cm).

Backpack straps, webbings, zippers, buckles stitched on polyethylene foam. Tools, products, mock-ups, test parts, and defective parts used in making the Risk of Rain exhibition.

Cem Örgen, Bag 3, 2024, sculpture, 4 × 18 × 10 in. (10.16 × 45.72 × 25.4 cm).

Laser welded, sandblasted aluminum, mirror, metal plate, pipes and spring, XPE foam.

Cem Örgen, Pop, 2023, sculpture and music video.

Fiber-optic, MRI, and X-ray films of the artist, his friends, family, and loved ones, plywood, screw eyes, aluminum.

Cem Örgen, Race Major, 2024, sculpture, 34 × 38 × 50 in. (86.36 × 96.52 × 127 cm).

Cem Örgen, Content, 2022, sculpture and video work, 55 × 67 × 102 in. (139.7 × 170.18 × 259.08 cm).

Residents from Turkey

Alper Aydin

Turkey

SAHA Association

2024

Eda Gecikmez

Turkey

SAHA Association

2023

Civan Özkanoğlu

United States, Turkey

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, Hartfield Foundation, Danna and Ed Ruscha

2020

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United States

Current Resident: Mar 1, 2025–May 31, 2025

Vision Fund, National Endowment for the Arts

Studio #305

Artist

Aryel René Jackson

Aryel René Jackson is a Black Afro-Creole film-based artist exploring land as a site of internal representation. Their visual essays blend film, soil, performance, and installation to examine critical race theories and memory. Raised in post-Katrina New Orleans, their work reflects ancestral wisdom and land’s role in knowledge transmission.

Aryel René Jackson has exhibited work at the Museum of Modern Art, New York; Baltimore Museum of Art, Maryland; and Big Medium, Texas, among others.

aryelrenejacksonstudio.cargo.site

A textured diorama of a winding river cutting through rocky terrain, with mossy green patches suggesting vegetation. A circular inset in the lower left corner features a vintage scene of two Black filmmakers operating a camera, evoking themes of archival memory and historical storytelling.

Aryel René Jackson, A Welcoming Place, 2020-22, film, 29:14 min.

A textured mixed-media artwork featuring a silhouette of a musician playing the violin, draped in bold blue and yellow hues. The background is an abstract, fragmented landscape with geometric lines, earthy textures, and patches of moss. A partially broken circular form resembling a moon or planet hovers above, with bright red and pink elements suggesting energy or disruption.

Aryel René Jackson, Temporal Glimpse, 2024, acrylic, Texas topsoil, sand, creole accordionist alphonse "Bois Sec" ardoin, Marjis Allen (Grandma), flock, archival print, cyanotype, screenprint, acrylic-based cement patch, and varnish on panel, 18 × 18 × 1¹/₂ in. (45.72 × 45.72 × 3.81 cm).

A layered composition blending photography and painting, depicting a group of figures engaged in an intense scene. A central figure, darkened and silhouetted, interacts with a mechanical structure resembling an engine or turbine. The surrounding figures, outlined in vibrant colors, appear to be observing or reacting. The piece has a rough, earthy texture with abstract, stormy black-and-white elements framing the background.

Aryel René Jackson, Learning to Soar, 2024, acrylic, pumice, sand, potting soil, Texas topsoil, cadets in ground school studying a radial aircraft engine (Air Force Historical Support Division, 1942), 7 × 5 × 1⁵/₈ in. (17.78 × 12.7 × 4.06 cm).

a shed-like barn coated in soil. The house like structure appears to sink into its base, suggesting stability and change.

Aryel René Jackson, Buried Signals, 2024, wooden beams, Texas topsoil (chocolate loam), 84 × 84 × 84 in. (213.36 × 213.36 × 213.36 cm).

A dimly lit, vibrant interior bathed in deep blue and red hues. A person in a white tank top and purple pants energetically removes a faux fur jacket, while another, dressed in suspenders and a bow tie, focuses intently on a DJ setup. The retro-styled room is adorned with vintage portraits, lush plants, and eclectic furniture, suggesting a theatrical performance or cinematic reenactment.

Aryel René Jackson, We are the [Hackers], Baby, [Hackers] are we, 2021, partition walls, botanical print, red paint, laminated wood flooring, pink armchair, white table, wooden side table, gold plated metal disk, planters, keyboard, speakers, television monitors, framed images of Juanita Brunson Jackson's mother and grandmother, as a child, as a student in secondary school, and during nursing school in Brooklyn covering between approximately 1890s until 1940s), circular rug, track lighting, floor lamp, foam, topsoil, tap floor, small suitcase, pillows, microphones, 9 min.