Past Residents

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Year
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Taiwan

Past Resident
2022: Ministry of Culture, Taiwan

Artist

Ying Chiun Lee

Ying Chiun Lee is a glass and film artist whose process-driven work investigates human sexuality. Her practice focuses on the subtle details and movements of glass during its making. By utilizing these observations, she creates glass sculptures, installations, performances, and videos that speak on the fantasy of intimacy.

Ying Chiun Lee has exhibited work at GMTF Film Festival, Lybster; City Art Space and Joy Gallery, both Rochester, among others. 

Events & Exhibitions

Artists at Work: Ying Chiun Lee with Junghyun Kim
July 28, 2022, 6–7pm
2022 Spring Open Studios
April 22–April 23, 2022
This piece of work portrays my experience of living through the pandemic as a foreigner in the US. The video consists of two scenes; The first scene is a view through the bottom of the glass tank. Catching the moment of molten glass dropped into the water and broke within several macro-explosions. The second part of the scene is an uranium glass object with gold leaf scattered on the top. Then two amorphous blobs of hot glass come into the frame. They dance around the object seductively. The audio is composed of a mixture of electronic sounds, news broadcasts regarding Covid, and cicada sounds from rural Taiwan.
Ying Chiun Lee, Home?, 2021, single-channel video, 1:32 min.
Ecstasy is a slow-motion video of molten glass. In the scene, the background is dark while the glass is illuminating the surrounding with heat. The molten glass on the end of a rod is turning slowly. The speed of the turning is not fast enough to keep the glass from falling. A wooden paddle comes into the frame from the left, slapping and pushing the glass from dropping. When the glass and wood meet, the heat burns the wood thus creating sparks. Sometimes the wooden pat stays longer on the glass, gently lifting the weight of the glass. As the two materials touch, the heat begins to light up the wooden paddle, creating a bigger flame than the sparks. The video is accompanied by the background sound of white waves crashing on shores.
Ying Chiun Lee, Ecstasy, 2020, single-channel video, 1:11 min.
Seduction is a short film. The video switches between two scenes. One scene focuses on the surface of the leaf while another focuses on the stem of the leaf. In both parts, a borosilicate glass lingers around the leaf, turning constantly from falling. When the glass gets closer to the subject, the heat dries out its moisture. During the interaction, the vapor process makes the leaf move up and down. This video comes with the background sounds of human breathing and bed sheet rustling.
Ying Chiun Lee, Seduction, 2021, single-channel video, 1 min.
The Teahouse is an installation with found objects, glass, and video projections. The piece is approximately the size of a three feet cube. It was set up in the City Art Space in downtown Rochester. On the site, the installation was surrounded by four layers of white sheers hanging down from the ceiling. On the white sheer fabric, a short film was projected. With the translucency of this material, the film projects through one fabric to the other side, casting a blurred image of the video. In between each fabric, there was a gap that allowed people to walk into the installation. Inside the white cube, there were nine white low pedestals. Eight of them had objects or words on them, and only the one in the middle remained empty. These were the objects that were shown in the video.
Ying Chiun Lee, The Tea House, 2021, mixed media, 42 × 42 × 42 in. (106.68 × 106.68 × 106.68 cm)
In this picture, a person is sitting on the toilet, hands holding a cell phone. A heavy glass object is rested on the gap between the two legs. This object has a rough texture on the outside that looks like rocks. On the inside, it seems smooth and glossy. The side that is facing up has an opening that shows the object is neither solid nor filled. The intimate connection between the object and skin is actually cold, heavy and rough.
Ying Chiun Lee, Living with a Hole , 2021, photographic print, 45 × 53 in. (114.3 × 134.62 cm)

Residents from Taiwan

Yen-Yi Lee

Taiwan
Ministry of Culture, Taiwan
Studio #302

Alice Nien-Pu Ko

Taiwan
Ministry of Culture, Taiwan
2022

Yi Kuo

Taiwan
Ministry of Culture, Taiwan
2022
Democratic Republic of the Congo, United States

Past Resident
2022: The New York Community Trust’s Edward and Sally Van Lier Fund

Artist

Maliyamungu Gift Muhande

Maliyamungu Gift Muhande is a non-fiction filmmaker and artist whose work explores the global history of the Black diaspora at the crossroads of anti-colonial change and personal creativity.

Maliyamungu Gift Muhande has exhibited work at Sundance Film Festival, Park City; black beyond and art island, both New York City, among others.

Events & Exhibitions

Maliyamungu Gift Muhande and Evelyn Owen discuss ‘Kobikisa’
November 8, 2022, 6–7pm
Maliyamungu Gift Muhande: Kobikisa
September 2–December 2, 2022
2022 Spring Open Studios
April 22–April 23, 2022
‘Bursting Bubbles’ Film Premiere: Director Maliyamungu Gift Muhande Interviews Adjani Okpu-Egbe
February 25, 2022, 4–5pm
Maliyamungu Gift Muhande, Alive in Death, 2021, 16mm found footage, 5:45 min
This work is part of an Animation series made of found paper material scraps donated by interdisciplinary artist, Yannick Lowery. The synchronicity of leftover materials with my investigation of self, transcend the original form to liberate a sonic and dancing collage.
Maliyamungu Gift Muhande, Reform, 2021, animation collage, 0:30 min
Maliyamungu Gift Muhande, Nine Days a Week, 2020, digital video, 15:09 min
Maliyamungu Gift Muhande, Nine Days a Week, 2020, digital video, 15:09 min

Residents from United States

Dana Robinson

United States
Vision Fund
Studio #304

Shanekia McIntosh

text installation installed on decal on storefront
United States
Vision Fund
Studio #222

Nathaniel Donnett

United States
Vision Fund
Studio #303
Portugal, Spain

Past Resident
2022: Luso-American Development Foundation (FLAD)

Artist

AnaMary Bilbao

AnaMary Bilbao articulates documentation from photography, drawing, sound, and moving images. Through the combination of these elements and references, she seeks to start fictional narratives that put into question the idea of a single truth. As the artist states, “there is no truth beforehand, only connections, interruptions, and incompleteness – a piece can never end in itself.”

AnaMary Bilbao has exhibited at ARCOmadrid, Madrid; Museum of Art, Architecture and Technology and Leal Rios Foundation, both Lisbon, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
AnaMary Bilbao, Blast effects, 2021, 35 inkjet prints on cotton paper
AnaMary Bilbao, J’avale la vague qui me noie le soleil de midi Date: , 2021, inkjet prints, slide projections, and video
AnaMary Bilbao, Como interromper a eternidade? (Intervalos para a dúvida) [How to cease eternity? (Gaps for doubt)], 2019, 6 inkjet prints on cotton paper 320gr 16mm film, and sound, 2:53 min, loop
AnaMary Bilbao, Todas as formas sublimes são transitórias [All sublime forms are transitory], 2018, inkjet print on Japanese paper, 433/8 × 59 in. (110.24 × 149.86 cm) each
AnaMary Bilbao, Renascimento por transformação II (Rebirth through transformation), 2018, Inkjet print on Japanese paper, 65 × 433/8 in. (165.1 × 110.24 cm)

Residents from Portugal

Henrique Pavão

BRONZE, IRON, STEEL, WOOD, 16MM FILM PROJECTOR, LOOPER, 16MM FILM (B/W, SILENT, 2’25”, LOOP) VARIABLE DIMENSIONS INSTALLATION VIEW, ‘SEA OF TRANQUILITY’, FRAME SECTION AT FRIEZE NY AT THE SHED, NEW YORK
Portugal
Luso-American Development Foundation (FLAD)
2022

Ana Manso

Portugal
Fundação Calouste Gulbenkian
2022

Claudia Ulisses

Portugal
Anonymous
2010