Current Residents

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

Conseil des arts et des lettres du Québec

Studio #222

Artist

Stanley Wany

Stanley Wany’s practice spans large-format works on paper, illustration, and installations, focusing on his multi-ethnic identity and the reappropriation of Black representation in the West. His work engages with the concept of “creolization,” a term popularized by Martinican author Édouard Glissant, through its materiality and form. Central to Wany’s practice is extensive research, encompassing African-Canadian, African-American, and Caribbean history and culture, as well as African myths and traditions.

Stanley Wany has exhibited work at Galerie de l’UQAM; Plug In Contemporary Art Institute; and Ottawa Art Gallery, all in Canada, among others.

stanleywany.com

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.

Stanley Wany, Ase, 2021, charcoal on paper, 60 × 84 in. (152.4 × 213.36 cm)

This work acts as a generator of ideas within which we can seek a form of knowledge by establishing relationships between identity, territory and culture.

Stanley Wany, Rhizome, 2024, ink, polymer medium and acrylic on wood panel, 60 × 60 in. (152.4 × 152.4 cm)

Coffee, in Voyage à Fonds-des-Nègres, is amalgamated with polymer medium, a product derived from petroleum. This also carries meaning as coffee and energy extraction intertwine in the West Indies (particularly in Trinidad and Tobago), from the start of the 20th century. The resulting mixture of coffee and polymer is draped over a beam of Wenge wood, an endangered tree from West Africa (including Congo) due to overexploitation by international markets. The stories of these materials are also that of extraction, which begins with the arrival of settlers in the Antilles and which continues with the slave trade.

Stanley Wany, Voyage à Fonds-des-Nègres, 2023, coffee and polymer medium; Wenge, 100 × 120 in. (254 × 304.8 cm)

In Chaosmos, 8 calabash gourds are treated in different ways. On the surface of one gourd, I engraved an excerpt from the novel Dézafi (meaning “cockfight” in Haitian Creole) by the Haitian poet, artist and activist Frankétienne, in a deliberate gesture of unification. This gourd reminds us that the construction of Caribbean identity is based on the interrelation of different cultures and various events, unlike atavistic cultures, thus named by Glissant, where identities are rooted in a specific territory and culture and anchored by founding myths. On the contrary, Caribbean identity is rhizomatic as it draws from various sources during its evolution.

Stanley Wany, Chaosmos, 2023, acrylic paint and found objects on gourds, 15 × 100 in. (38.1 × 254 cm)

Stanley Wany, L’Odysseyium and Transmissionology, 2023, graphite on rice paper, jute, canvas, rope, thread, lambi conch shell and hair of Afrodescendants, Eurodescendants and Creoles / Sugar cane paper, coffee, indigo, molasses transfer on rice paper and ink on wood panels

Residents from Canada

Antonietta Grassi

Canada

Conseil des arts et des lettres du Québec

Studio #208

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

2024

United States

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

Artis

Studio #301

Artist

Efrat Hakimi

Efrat Hakimi is a multidisciplinary artist who blends digital and traditional techniques to study and interpret images, objects, narratives, and sites. Her work spans photography, printmaking, video installation, and sculpture, focusing on the relationship between bodies and cultural artifacts, particularly those connected to the female body. By viewing tools and objects as entry points into rituals, ideologies, and vernacular design, she explores themes such as medical procedures, pilgrimage, atonement, and spiritual practices in her art.

Efrat Hakimi has exhibited work at Tel Aviv Museum of Art, Tel Aviv; The Israel Museum, Jerusalem; and Hyde Park Art Center, Chicago, among others.

efrathakimi.com

A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.

Efrat Hakimi, Yad, 2024, mixed media installation, 55 × 31 in. (139.7 × 78.74 cm)

A photographic collage of cutout images - of objects from Morocco, held together to the wall with blue tape

Efrat Hakimi, Protective amulet against miscarriage (I), 2021, archival pigment print, 31 × 37 in. (78.74 × 93.98 cm)

Installation view of museum gallery space with a large wood sculpture- a ramp elevated by two small boats - in the center and works (photographs) in the background - of the Frena, a bread baking oven, and a photographic collage of an amulet.

Efrat Hakimi, Looking for a Village, 2022, installation view

Photograph of a bread baking oven, made of mortar

Efrat Hakimi, Frena, 2021, archival pigment print, 157 × 118 in. (398.78 × 299.72 cm)

Still image from video, showing two screens with close up images of two people singing

Efrat Hakimi, Jerusalem, 2022, two channel video, 4:09 min

Residents from United States

Frank WANG Yefeng

United States, China

ISCP Alumni Fund

Studio #303

Bryan Fernandez

United States

The New York Community Trust’s Edward and Sally Van Lier Fund

Studio #216

Brenda Mallory

United States

Leon Polk Smith Foundation

Studio #202

Ireland

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

Temple Bar Gallery + Studios, Dublin, Arts Council of Ireland

Studio #302

Artist

Sonia Shiel

Sonia Shiel’s paintings take the shape of terrains, portals, pageants, and props. Her exhibitions have a multi-dimensional quality that transcends their material form, creating dynamic opportunities for performance where the audience often becomes entwined in a shared folie à deux. In these otherworldly realms, humans, animals, plants, gods, and ‘artists’ coexist non-hierarchically with cosmological and enchanted phenomena. Drawing inspiration from art history, theater, mythology, and literary fiction, Shiel delves into our capacity for self-determination, love, autonomy, and courage.

Sonia Shiel has exhibited work at VISUAL Centre for Contemporary Art; Kunstverein Aughrim; and Void Art Centre, all in Ireland, among others.

soniashiel.com

Past Residencies

2013–2014
Arts Council of Ireland

One irregularly shaped painting hangs on a white wall. It has botanical qualities, with a dark green vertical section splitting in two, and bordering a burst of yellow. Inside the yellow section are spiraling spurts of seed-like red and orange, and fringed with a green frill.

Sonia Shiel, Dirty-Wow-Sun / The bud, 2024, oil on canvas, and wooden lapel frame, 31 × 23 in. (78.74 × 58.42 cm)

Two paintings which appear to be free standing are at either end of a large brightly-lit white gallery space. On the left, at the far end of the room one of the large paintings stands in two pieces each the mirror image of the other, the joining middle section is hinged open. Its irregular shape is characteristic of a butterfly, and is pink and green. The imagery includes golden reptilian scales, and white wing-shaped clouds, four triangular teeth, foliage, and branches. On both sides the clouds form crescent shapes and arms with gloved hands emerge wearing elaborate yellow sleeves with yellow and black yarn tassels. One arm holds a fan. In the foreground, the second painting occupies half the frame. This circular-shaped work displays elements of a shell. Slabs of blue and green animal print border the same motif in a white and blue crescent hinge, with translucent tones, wherever they merge.

Sonia Shiel, Medusa In Pieces / Installation Shot, 2023, oil on canvas, on wood, dimensions variable

One painting appears to be free standing in the centre of a wide brightly-lit white gallery space. It stands in two pieces each the mirror image of the other, the joining middle section is hinged open with two further sections closed over, creating a slight gap, like two saloon doors flapping. Its irregular shape is characteristic of a butterfly, and is pink, green, with vertical shafts of blue. The imagery includes golden tails, that curl like coils of hair, and white fan-shaped wedge-like flowers, leafy foliage, and branches. On the top two golden claws reach to meet each other over the middle and form an arch. In the foreground, brightly colored fabric sleeves and gloves, in pink and yellow, with yellow and black yarn tassels, sits in a pile like a discarded animal skin.

Sonia Shiel, Medusa In Pieces / Act 2 Break Fall, 2023, oil on canvas, on wood, with fabric sleeves on stool in foreground, 390 × 350 in. (990.6 × 889 cm)

One painting, in three rounded parts, with two capsule shaped lapels, is attached to a set of large swing doors, dividing a sun-lit room. The painting has geometric and symmetrical values, with red, blue and white motifs, and two yellow horizontal lines. Small bone-shaped fragments, made of clay, appear attached to the surface of the painting like four ribbons, and together form a double-helix-like shape. At each end the final bone is shaped into a foot and at the centre the final bone is shaped like a hand. The painting is interrupted by a large natural granite rock, over which the two hinged sections meet. On the rock appears to be a stick of incense, burning within a pile of leaves, also made with clay. On the floor a circular groove is embedded into the concrete and extends in a half semi-circle from the centre of the painting, towards the bottom left frame of the image.

Sonia Shiel, Supernatural Bureau / The bones, 2023, oil on canvas, on wood, attached to revolving door structure. With natural granite rock and insence, 82 × 203 in. (208.28 × 515.62 cm)