Past Residents
Past Resident2024: Perrotin Gallery
Dora Jeridi
Dora Jeridi’s work is characterized by a dynamic, expressive painting style that fuses intense emotion with powerful physicality. Her practice often explores the tension between figuration and chaos, employing vivid color contrasts, bold brushstrokes, and diverse media like oil, charcoal, ballpoint pen, and spray paint. Jeridi’s paintings evoke a visceral, enigmatic narrative where autobiographical elements blend with broader societal crises, creating a distinct “atmosphere of crisis.”
Dora Jeridi has exhibited work at Musée d’Orsay, Paris; Perrotin Gallery, Paris; and Marianne Boesky Gallery, New York, among others.
Dora Jeridi, The Escape, 2024, oil, oil stick, acrylic, charcoal and ball-point pen on canvas, 169 × 78 in. (429.26 × 198.12 cm).
Dora Jeridi, Intoxicated Rest, 2024, oil, oil stick and charcoal on canvas, 70 × 82 in. (177.8 × 208.28 cm).
Dora Jeridi, MOUTH RAID, 2023, oil, oil stick, charcoal and spray paint on canvas, 82 × 98 in. (208.28 × 248.92 cm).
Dora Jeridi, The Conversation, 2024, oil and oil stick on canvas, 76 × 90 in. (193.04 × 228.6 cm).
Dora Jeridi, PONY CLUB (Guernica for Kids), 2023, oil, oil stick and charcoal on canvas, 157 × 82 in. (398.78 × 208.28 cm).
Residents from France
Past Resident2024: Canada Council for the Arts
Kara Springer
Kara Springer’s work centers on armature—the underlying structure that holds the body in place. Using photography, sculpture, and site-specific interventions, she explores systems of structural power and support. Her practice is deeply rooted in processes of care and attentiveness, focused on understanding the specificities of a given context and environment. This sensitivity allows her to consider how a structure might exist sustainably in relation to the world around it.
Kara Springer has exhibited work at Museum of Contemporary Art, Toronto; Art Gallery of Ontario, Toronto; and Institute of Contemporary Art, Boston, among others.
Kara Springer, The Shape of Mountains, 2023, double-sided inkjet prints on rice paper, poplar wood support structures, ceramic fragments, 72 × 120 in. (182.88 × 304.8 cm).
Kara Springer, Do I have to build you a fucking pyramid?, 2021, double-sided prints on dibond panels, poplar wood, dimensions variable.
Kara Springer, The Earth & All Its Inhabitants, 2019, double-sided light box, found materials, dimensions variable.
Residents from Canada
Past Resident2024: Conseil des arts et des lettres du Québec
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.