Past Residents
Past Resident2020: Wallace Arts Trust
Imogen Taylor
Imogen Taylor’s practice seeks to illuminate the modernist painting movement’s embedded relationship with LGBTQ+ histories. Her reclamations of modernist tropes emerge on parallelogram shaped canvases to create a sense of disorientation for the viewer through queer phenomenology. Taylor believes that parallel to the physical act of painting, queerness functions as a medium activated by her body.
Imogen Taylor has exhibited work Hocken Collections, Dunedin; Michael Lett, Auckland; and The Dowse Art Museum, Wellington, among others.
Imogen Taylor, Another Word For Abyss, 2019, acrylic on hessian, 47 × 94 in. (119.38 × 238.76 cm).
Imogen Taylor, Shit Guitarist, 2018, acrylic on hessian, 29 × 25 in. (73.66 × 63.5 cm).
Imogen Taylor, Ripe, 2019, acrylic on hessian, 47 × 47 in. (119.38 × 119.38 cm).
Imogen Taylor, Self Help, 2019, acrylic on hessian.
Imogen Taylor, Hooded Violet, 2019, acrylic on hessian, 18 × 17 in. (45.72 × 43.18 cm).
Residents from New Zealand
Past Resident2020: Toby Devan Lewis Donor Advised Fund of the Jewish Federation of Cleveland
Duy Hoàng
Duy Hoàng’s practice focuses on the links between the connections/disconnections one experiences with their surrounding environment, between the mundanes to the phenomena, and from the potential of growth to the inevitability of decay. His work focuses on our relationship to the minute details around us in conjunction with the vast environment we are in. Hoàng entered the United States as a Vietnamese immigrant during his adolescent years and the transitional moment triggered his necessity for intensive observation and awareness.
Duy Hoàng has exhibited work at Brother Joseph McNally Gallery, LASALLE College of the Arts, Singapore; Wave Hill, New York; and Thomas Erben Gallery, New York, among others.
Events & Exhibitions
2019 Fall Open Studios
November 15–November 16, 2019
Duy Hoàng, A Wide Area Where Three Rivers Gather, 2018, mixed media, plants, rocks, ink on paper, books, found materials, and tools, 107 × 139 × 103 in. (271.78 × 353.06 × 261.62 cm).
Duy Hoàng, Archipelago: Mayfly, 2018, mixed media, wood, insects, moss, drawings, spore prints, and tools, dimensions variable.
Duy Hoàng, Septal Nectary, 2017, mixed media, plants, water, food coloring, container, wood, light, and tools, 58 × 127 × 48 in. (147.32 × 322.58 × 121.92 cm).
Duy Hoàng, Second Sightings, 2019, mixed media, natural materials, yarn, drawings, digital prints, and tools, 243 × 174 × 126 in. (617.22 × 441.96 × 320.04 cm).
Duy Hoàng, Shining Afternoons, 2017, mixed media, plants, tarp, dirt, wood, silkscreen on paper, monitor, and video camera, 288 × 210 × 156 in. (731.52 × 533.4 × 396.24 cm).
Residents from United States
Past Resident2020: The Italian Academy for Advanced Studies, Columbia University
Agostino Iacurci
Agostino Iacurci works with a wide range of media, including painting, wall-painting, sculpture, drawing, and installation. He creates immersive spaces to transform the perception of given environments. Starting from specific topics like the use of colors in the ancient and classical world, he questions issues of traditions and identity, investigating the process of idealization underlying historical myths and their impact on the collective imagination.
Agostino Iacurci has exhibited work at Civic Museum of Palazzo Mosca, Pesaro; Society for Fine Arts and Permanent Exhibition, Milan; and Celaya Brothers Gallery, Mexico City, among others.
Agostino Iacurci, Gypsoteca, 2018, paint, plaster, gouaches, paper, and wood.
Agostino Iacurci, Trompe l'oeil, 2017, paint, canvas, wood, cement, and found objects.
Agostino Iacurci, Gouaches on paper, 2017, gouaches on paper, 3 x 4.6 in. each .
Agostino Iacurci, Tracing Vitruvio, 2019, paint, canvas, wood, glass, mirror, and antique books.
Agostino Iacurci, Tracing Vitruvio, 2019, paint, canvas, wood, glass, mirror, and antique books.
