Past Residents

List Grid

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

Alice Wang

United States, Canada

Canada Council for the Arts, Capsule Shanghai

Studio #213

Antonietta Grassi

Canada

Conseil des arts et des lettres du Québec

2024

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

Poland

Past Resident
2024: International Visegrad Fund

Artist

Magdalena Ciemierkiewicz

Magdalena Ciemierkiewicz studied at the Academy of Fine Arts in Warsaw, where she is currently a PhD candidate. Hailing from the Polish-Ukrainian borderland, she addresses the region’s unique culture and often repressed histories. Her work explores themes such as multidimensional identity, women’s stories, and the intersection of various forms of spirituality. Incorporating video, sound, textiles, and installations, she integrates authentic traditional patterns and objects into a contemporary context.

Magdalena Ciemierkiewicz has exhibited work at Manifesta 14 Prishtina Biennial, Kosovo; Galeria Biała, Poland; and SONIAKH, Poland, among others.

Magdalena Ciemierkiewicz, Flag of the Borderlands (Stare Oleszyce), 2023, textile, and video

Magdalena Ciemierkiewicz, Flag of the Borderlands (Stare Oleszyce), 2023, hand weaving, 62 × 94 in. (157.48 × 238.76 cm)

Magdalena Ciemierkiewicz, Ghost-Forms, 2024, video

Magdalena Ciemierkiewicz, Chernozem, 2022, textile and installation, 157 × 196 in. (398.78 × 497.84 cm)

Magdalena Ciemierkiewicz, The Veil, 2016-22, textile (embroidery), 62 × 94 in. (157.48 × 238.76 cm)

Residents from Poland

Nadia Markiewicz

The image presents an interior with white walls and a gray terrazzo floor. On the wall on the right there are two white, closed doors. on the left hand side is a window. Towards the middle of the image, and room, are four objects. Starting from the left, on the wall next to the set of doors, in the distance, is a small box covered in a dark red, metallic festive garland. Right about above it, and crossing the room in half, facing the camera, is a white rippled curtain. A arch-like shape has been cut out in the curtain, making it possible to pass through. The arch is not in the middle of the square-shaped curtain, but a bit to the left of it, asymmetrically. In front of the curtain, diagonally cutting through the space and resting with its red, boxy arrowhead on the floor is a giant, wooden cupid's arrow. It has a light colored wood shaft and the feathers are a white wooden cut-out. Above the arrow, a bit to the right and overlapping the window, is a stained glass in the shape and colors of a dart board - beige, black, red and green.

Poland

International Visegrad Fund

2023

Maess Anand

Poland, Germany

Polish Cultural Institute New York, The Adam Mickiewicz Institute, Krupa Gallery

2023

Marta Krześlak

The tornado over the chamomile box house is a mobile with spinning objects from my garage. You could say that a storm is a permanent state, but often invisible. I am interested in movements that cannot be seen. The movement of particles when you move or the passage of time – but also things and phenomena that we notice from a certain perspective because their reference point has changed.

Poland

International Visegrad Fund

2022

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.