Current Residents

List Grid

Current Resident: Mar 1, 2023–May 31, 2023

Studio #303

Nathaniel Donnett

Nathaniel Donnett’s interdisciplinary practice explores imagination, notions of being, the in/exterior, and race through metaphysical and phenomenological spaces. Through abstraction and vernacular forms as language, his work challenges traditional modes of timeline narratives. Donnett recontextualizes materials and meaning by delving into subjects rooted in sociopolitical-cultural concerns and liminal spaces.

Nathaniel Donnett has exhibited work at Contemporary Arts Museum of Houston, Texas; Virginia Museum of Fine Art; and Project Row Houses, all in the United States, among others.

nathanieldonnett.com

Events & Exhibitions

2023 Spring Open Studios

April 21–April 22, 2023

Nathaniel Donnett, Veil, 2022, backpacks, duct tape, tambourine jingles, fabric, plastic trash bags and sound, 96 × 48 × 90 in. (243.84 × 121.92 × 228.6 cm)

Nathaniel Donnett, To Know a Veil Yearbook , 2022, book, 11 × 8¹/₂ in. (27.94 × 21.59 cm)

Nathaniel Donnett, in the break lies an invisible in-between that allows us to experience a spatial uncertainty, 2023, drums, mixed media, fabric, wood, LED lights and audio, dimensions variable

Nathaniel Donnett, Birth of the Universe, 2021, drum, asphalt, tv/radio antenna and LED lights, 5¹/₂ × 5 × 2 in. (13.97 × 12.7 × 5.08 cm)

Nathaniel Donnett, When You Start to Build a Wall, You First Start With Yourself, 2022, drywall, house paint, earring studs, books, incense, tamabourine jingles and LED light source, 101 × 90 in. (256.54 × 228.6 cm)

Residents from United States

Dana Robinson

United States

Vision Fund

Studio #304

Shanekia McIntosh

text installation installed on decal on storefront

United States

Vision Fund

Studio #222

Hellen Ascoli

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

United States, Guatemala

Pollock-Krasner Foundation

Studio #302

United States

Current Resident: Mar 1, 2023–May 31, 2023

Vision Fund

Studio #304

Artist

Dana Robinson

Dana Robinson is a multidisciplinary artist based in Brooklyn who combines vintage materials, found objects, and paint to explore the themes of Blackness, womanhood, and ownership.

Dana Robinson has exhibited work at Utah Museum of Contemporary Art, Salt Lake City; Texas State University, San Marco; and 92nd Street YMCA, New York, among others.

danarobinsonstudio.com

Events & Exhibitions

2023 Spring Open Studios

April 21–April 22, 2023

Dana Robinson, Hand 001, 2022, multimedia in clear acrylic case, 14 × 11 in. (35.56 × 27.94 cm)

Dana Robinson, Here, We Know Computers, 2022, gouache, acrylic, and collage on wooden panel, 12 × 9 in. (30.48 × 22.86 cm)

Dana Robinson, Miss LeMoyne, A Senior from Memphis, 2022, acrylic on wooden panel, 48 × 36 in. (121.92 × 91.44 cm)

Dana Robinson, Remember How Much You Loved Koolaid, 2022, acrylic on wooden panel, 24 × 18 in. (60.96 × 45.72 cm)

Dana Robinson, Women’s Work Vol.4-03, 2022, printed fabric, 32 × 32 in. (81.28 × 81.28 cm)

Residents from United States

Shanekia McIntosh

United States

Vision Fund

Studio #222

Nathaniel Donnett

United States

Vision Fund

Studio #303

Hellen Ascoli

United States, Guatemala

Pollock-Krasner Foundation

Studio #302

United States

Current Resident: Jul 1, 2022–Jun 30, 2023

Toby Devan Lewis

Studio #305

Artist

Sarah Tortora

Sarah Tortora draws inspiration from canonical sculptures, urban infrastructure, and museum display. Her work alternates between relational warmth and misidentification, and functions parallel to language to create intuitive replicas of archetypal objects. Tortora’s work conjures the psychic displacement necessary to comprehend the cultural displacement such archetypes can induce. The artist accepts the premise that every equestrian monument is truly a Trojan horse, and questions legacies of labor across geological time.

Sarah Tortora has exhibited work at Ulterior Gallery, New York; C. Grimaldis Gallery, Baltimore; and NADA x Foreland, Catskill, among others.

sarahtortora.com

Events & Exhibitions

2023 Spring Open Studios

April 21–April 22, 2023

2022 Fall Open Studios

November 18–November 19, 2022

A lifesize off-white vessel with a gritty papery texture, which has a black modelled gridded armature partially exposed. The vessel is not perfectly symmetrical. It undulates in a slightly awkward way. There is a black modelled Greek key design on the exterior of the vessel at the rim which encircles the form. Inside the vessel, a variety of pastel colors are mixed with white paint to create a subtle glowing effect within.

Sarah Tortora, Yolanda, 2018, paper pulp, epoxy clay, plywood, acrylic and latex paint, 64 × 35 × 36 in. (162.56 × 88.9 × 91.44 cm)

A life-size faded, grey, stone-textured vertical stele form sits atop a subdued lime green, smooth-textured rectangular pedestal which sits flat on the floor. The stele form is subtly curved in the shape of a gravestone. There is an organic, but rectangular shaped cutout in the center of the stele form, revealing its interior as well as a mosaic of wood fragments that are framed within the shallow interior of the cutout. The wood fragments are plywood, pine, and hardboard. Some of them are treated with a green or black paint wash. The wood mosaic forms taper off inside the form and consolidate toward the base.

Sarah Tortora, Tonguetied (Mirror for the Unthought Known), 2020, wood composites, plywood, pine, gypsum cement, acrylic and latex paint, 76 × 48 × 18 in. (193.04 × 121.92 × 45.72 cm)

This sculpture sits within a 3-4 foot square, and sits flat on the floor, extending no more than 40”in height. The bottom of this form is made of concrete which has different stones, minerals, and construction debris embedded in it. There are chunks of broken asphalt, large scallop shells, fragments of fallen graffiti, and unidentifiable minerals. The concrete and stones are cast in staggering layers; some stick out 3-4” from the central base form. There are also areas where black epoxy clay or epoxy resin had been modelled or poured over areas of shallow concrete. Appearing to be wedged within the concrete base is a fragmented drywall structure, which juts upward in enclosed, angular construction. On one side of the form, the concrete base is very short, and so are the drywall fragments. Toward the center, the concrete base gains height and so does the drywall form; utilizing larger and larger pieces of drywall toward the top of the form, which is cut into a crenelated, castle-like shape.

Sarah Tortora, Acropalypse, 2020, drywall, cement, epoxy resin, acrylic & latex paint, found minerals and construction debris, 33 × 38 × 44 in. (83.82 × 96.52 × 111.76 cm)

A sculpture comprised of a 4-‘5’ tall by 1’ wide cartoonish leg, appearing to move to the left, is thickly outlined by black painted wood, with an abstract, atmospheric recessed painting within this framing. Grey and white are the dominant colors painted on the leg, with occasional wisps of blue, yellow, and copper. Atop the leg sits a tapering white rectangular form, which extends perpendicularly from the leg on a downward tilt to the right, and hovers just over a massive stone-like structure to the right of the leg. The stone structure is approximately the same height as the leg, but three feet wide. It is a warm white, and the surface is sanded to reveal patches of light blue, green, and grey underneath. Embedded within this stone structure is a very graphic black X shape made from wood, that is not symmetrical. The upper left “leg” of the X meets the top of the leg to support the white tapering form, while the opposing upper right “leg” of the X is embedded fully in the stone structure.

Sarah Tortora, Wayward Queen, 2021, plywood, wood composites, gypsum cement, resin, acrylic and latex paint, 55 × 35 × 58 in. (139.7 × 88.9 × 147.32 cm)