Past Residents

Country
Year
Residency Program
Resident Type
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Canada

Past Resident
2024: Canada Council for the Arts, Toronto Arts Council

Artist

Timothy Manalo

Timothy Manalo approaches his work with a focus on representations of the body and place. Primarily working in sculpture, he explores the aesthetics of communal gatherings and the interactions between people, everyday objects, and the natural environment, creating new narratives and meanings. He views his work as an ongoing investigation into the visual languages that are built, transformed, and used to anchor people’s experiences with the physical world, impacting memory, identity, home, and movement.

Timothy Manalo has exhibited work at Canadian Sculpture Centre, Toronto; Franconia Sculpture Park, Minnesota; and Tufts University Art Galleries, Massachusetts, among others.

Events & Exhibitions

Artists at Work: Timothy Manalo in conversation with Iris Luo
September 24, 2024, 6:30–7:30pm
A multi-colored woven mat laid on a wood paneled floor with white plaster casts of fast-food items.
Timothy Manalo, Medriñaque and Ancestral Diet, 2018-19, polypropylene twine, gold foil fringe and sugar-plaster mix casts, 100 × 130 × 3 in. (254 × 330.2 × 7.62 cm)
Four orange-colored hand-held fans cast in papaya soap mounted on the wall, and in dark blue open frames.
Timothy Manalo, Phunkahwallah, 2021, cast papaya soap, wood and paint, 42 × 32 × 21/2 in. (106.68 × 81.28 × 6.35 cm)
A blue upholstered picnic table in an outdoor space with green grass and tress behind it. Three white ceramic plates are laid in a row on the ground in front of it.
Timothy Manalo, I've Seen The Elephant, 2021, marine vinyl, insulation foam, wood and ceramic, 53 × 84 × 100 in. (134.62 × 213.36 × 254 cm)
A brown colored sculpted hand with a square base posed in a slightly opened gesture with the index finger pointing up.
Timothy Manalo, Heavy Lifting Niño, 2022, wax and brown rice, 14 × 14 × 23 in. (35.56 × 35.56 × 58.42 cm)
A sculpture of an elephant made with a brown clay covered with patches of sand sits on base with three levels of drawers. The drawers are opened and peeking out are postcards with sandy landscape photos on them, and yellow booklets that are laid flat.
Timothy Manalo, Land Be Mine, 2023, locally foraged clay, sand, sandstone, postcards, stickers, magnifying lenses, wood, felt and found metal stand, 47 × 47 × 50 in. (119.38 × 119.38 × 127 cm)

Residents from Canada

Antonietta Grassi

Canada
Conseil des arts et des lettres du Québec
Studio #208

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
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
Canada

Past Resident
2024: Canada Council for the Arts

Artist

Gwenessa Lam

Working across drawing and painting, Lam’s research delves into ancient archaeological objects and their potential to disrupt cultural categorizations. Using historical fragments as a framework, she examines broken accounts of the past, both personal and collective. By unraveling the logic of comprehensive historical narratives, she creates patterns and new ancestral lineages that enliven these fragments and their unexpected fractures. The result is a speculative narrative that foregrounds the fragment as a record of rupture and erasure.

Gwenessa Lam has exhibited work at Galerie de l’UQAM, Quebec; Art Gallery of Alberta, Alberta; and Queens Museum, New York, among others.

Gwenessa Lam, Open Magic 1- Prospect, 2023, phosphorescent acrylic on canvas, 42 × 42 in. (106.68 × 106.68 cm)
Gwenessa Lam, Bronze Fragment 12, 2023, bronze, 6 × 4 in. (15.24 × 10.16 cm)
Gwenessa Lam, Bronze Fragment 10, 2023, bronze, 6 × 5 in. (15.24 × 12.7 cm)
Gwenessa Lam, Ghost Fragment B24 (Freer Study Collection), 2023, acrylic and graphite on paper, 20 × 20 in. (50.8 × 50.8 cm)
Gwenessa Lam, Ghost Fragment B52 (Freer Study Collection), 2023, bronze, 20 × 20 in. (50.8 × 50.8 cm)

Residents from Canada

Antonietta Grassi

Canada
Conseil des arts et des lettres du Québec
Studio #208

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
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
Slovakia, Czech Republic

Past Resident
2024: International Visegrad Fund

Artist

Adrián Kriška

Adrián Kriška (he/him) is a Prague-based interdisciplinary artist, mountaineer, chef, and music enthusiast. His primary medium is textile design, through which he explores themes such as neofolklore, nostalgia, queerness, and mythology. His work often intersects with anarchist and queer theory.

Adrián Kriška has exhibited work at Kunsthalle Bratislava, Slovakia; Lunchmeat Festival, Czech Republic; and Diera do Sveta, Slovakia, among others.

Stream of consciousness leather piece inspired by the wall in my favourite club Ankali in Prague.
Adrián Kriška, Untitled, 2024, leather, thread and wood, 35 × 45 in. (88.9 × 114.3 cm)
Embroidery made during my work at the bio farm researching on local traditions of Fuerteventura
Adrián Kriška, Majorero, 2024, textile embroidery, 40 × 66 in. (101.6 × 167.64 cm)
Feral Fauns is a part of my final school project; leather and wool tapestry portraying three masturbating fauns- half humans, half goats. Symbol of faun reffers and portrays a scene from an experimental film Nymphomania (1994) by Tessa Haughes Freeland — a feminist filmmaker and one of the artist behind Cinema of Transgression, underground film movement that emerged in 90s in the Lower East Side, NYC. In this case, the fauns are turned into homoerotic perspective. Another reference is
Adrián Kriška, Feral Fauns, 2023, leather tapestry
Slovak legend says that under the Satan peak in the Tatry, the chorts are gathering on the Saint John’s Eve.
Adrián Kriška, Chorts jerking off, 2022, leather tapestry
embroidery made during my artistic residency at Fuerteventura, Canary Islands.
Adrián Kriška, Devil’s, 2023, embroidery

Residents from Czech Republic

Nikola Ivanov

A man sitting in the gallery in front of an ellipse-shaped projection on a marble floor surrounded by a black ellipse-shaped carpet.
Czech Republic
International Visegrad Fund
2024

Ezra Šimek

Overhead shot of a trans* non-binary cowboy wearing a black binder, underwear and brown cowboy boots, lying on red satin and looking into the camera
Czech Republic
International Visegrad Fund
2023

Radek Brousil

Screenings: 68th International Short Film Festival Oberhausen, ELBE DOCK, 17th Athens Digital Arts Festival, PAF festival 2021
Czech Republic
International Visegrad Fund
2022