Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
United States

Past Resident
2019: Lenore G. Tawney Foundation

Artist

Sophy Naess

Sophy Naess is a multimedia artist based in New Haven who works with painting, printmaking, weaving, and writing.

Sophy Naess has exhibited work at 321 Gallery, Brooklyn; 17ESSEX, New York; and Växjö Konsthall, Sweden, among others. She is a lecturer in the Painting and Printmaking program at Yale University School of Art, and Director of Chateau d’Eau, an exhibition platform for artist designed fragrances. 
Sophy Naess, Untitled (To Plumb), 2017, handwoven cotton fiber, 68 × 96 in. (172.72 × 243.84 cm)
Sophy Naess, Slow Thing, 2018, handwoven silk and cotton fiber, 98 × 120 in. (248.92 × 304.8 cm)
Sophy Naess, Jämtlands Giverny, 2018, handwoven cotton fiber, 180 × 108 in. (457.2 × 274.32 cm)
Sophy Naess, All The Things You Are, 2017, oil, acrylic, gouache, and paper on canvas, 13 x 11 each
Sophy Naess, a Tergo, 2016, handwoven silk and cotton fiber, 130 × 96 in. (330.2 × 243.84 cm)

Residents from United States

Nikita Shokhov

DOK Leipzig film festival, Extended Reality: DOK Neuland. THX 4 Nothing, AR show at Museum of Fine Arts Leipzig, Germany
United States
ipureland
2023

Alicia Grullón

Grullón’s self-portrait series, “From March to June: At Home with Essential Workers” is a continuation of her process using visual and embodied performative practices to create alternatives in archiving history. These self-portraits were created in her home in New York City during the Covid-19 quarantine. In this body of work, she simultaneously documents her time at home and current affairs affecting the nation.The titles refer to dates the images were taken and news articles from that time regarding the treatment of essential workers and incarcerated people during the pandemic.
United States
Vision Fund
2023

Miatta Kawinzi

Four black-and-white photographic prints on fabric are hung from the ceiling; they show a Black figure in various poses of reaching.
United States
Vision Fund
2023
Canada

Past Resident
2019: Canada Council for the Arts

Artist

Matilda Aslizadeh

Matilda Aslizadeh deploys a dense visual language positioned between photography, video, sculpture and animation to evoke the complexity and saturation of contemporary media landscapes. Her video installations draw on a large array of visual influences – both esoteric and popular – to rethink narrative structures that persist in Western culture and its global impact. Her current project interrogates the agency of the economy under neoliberalism through the lens of a horror film.

Matilda Aslizadeh has exhibited work at Museum of Contemporary Art Toronto Canada; Art Souterrain, Montreal; and Taipei Golden Horse Film Festival and Awards.

Events & Exhibitions

Artists at Work: Matilda Aslizadeh and belit sağ
July 2, 2019, 6:30–8pm
Matilda Aslizadeh, Resort, 2016, video installation
Matilda Aslizadeh, Resort, 2016, video installation
Matilda Aslizadeh, Resort, 2016, video installation
Matilda Aslizadeh, Moly and Kassandra, 2018, video installation
Matilda Aslizadeh, Moly and Kassandra, 2018, video installation

Residents from Canada

Ella den Elzen

A backlit image of a still-life composed of pineapple, aloe vera, sugar cane, coconut milk, mango, clementines, lemons, lime, and books on a neon green backdrop. The image, which appears to be computer generated, is created through a 3D scanning process.
Canada
Conseil des arts et des lettres du Québec
Studio #222

Sukaina Kubba

This is a line drawing of an intricate carpet design done in black plastic filament, with a white background.
Iraq, Canada
Canada Council for the Arts
2022

Mandy Espezel

Canada
Alberta Foundation for the Arts
2023
Turkey, The Netherlands

Past Resident
2019: ISCP ​Alumni Fund
2016: SAHA Association

Artist

belit sağ

belit sağ’s ongoing artistic and moving image practice largely focuses on the role of visual representations in the experience and perception of political conflicts and violence in Turkey, Germany, and the Netherlands. Recent works include a video piece that centers around the concepts and practices of conserving, conversing, absences and re-enactment.

belit sağ’swork has been exhibited in international art spaces including PEER UK and LUX, London; EYE Film Museum, Amsterdam; and documenta 14, Kassel, among others. 

Events & Exhibitions

Artists at Work: Matilda Aslizadeh and belit sağ
July 2, 2019, 6:30–8pm
belit sağ, Tomáš Rafa and Siddhartha Mitter on Concrete Truth: Art and the Documentary
January 23, 2018, 6:30–8pm
Concrete Truth: Art and the Documentary
October 24, 2017–February 16, 2018
Spring Open Studios 2016
April 29–April 30, 2016
belit sağ, cut-out, 2018, video, 4 min
belit sağ, what remains, 2018, video, 7:10 min
belit sağ, (Against) Randomness, 2017, video, 2:20 min
belit sağ, disruption, 2016, video, 5 min
belit sağ, Ayhan and me, 2016, video, 14:30

Residents from The Netherlands

Ginta Tinte Vasermane

Latvia, The Netherlands
Amsterdams Fonds voor de Kunst, Stichting Stokroos
2022

Nika Schmitt

rotating satelite dishes changing the self-generated feedback frequencies within the interior space. Four speakers and four different microphones picking up and playing live the changing sounds from different angles of the space.
Luxembourg, The Netherlands
Edward Steichen Award Luxembourg
Studio #217

Coralie Vogelaar

This interactive installation examines our urge to exert control over our body, the uncontrollable nature of the conditions that influence how we feel, and the data systems that analyze our state of wellbeing. Visitors are invited to take a seat and place a sensor on their earlobe. Their heart rate variability (HRV), the period between heartbeats, will immediately become audible as the sound of ticking metal friction on ceramics, and squeaking polysterene. Changes in HRV directly impact on the sound composition by Sjoerd Leijten and vice versa. The sensors register all the irregularities of the heartbeat, which fluctuates in response to physical and emotional factors. Because of the complexities involved in identifying the cause of individual fluctuations, science often dismisses small variations as irrelevant, and only average readings are used for examinations. Coralie Vogelaar explores the “noise” that is ususally filtered out in this hybrid cross of technological research and fine art - the installation exudes the atmosphere of a test environment, with its aluminium tubing, visible cables, and the inbuilt and pre-programmed conditional rules. Vogelaar demonstrates that our mood states are more complex than would be suggested by an averaged out measurement. She embraces this complexity by combining data-sampling systems with the physical experience of sound, rather than imposing any scientific framework or delimitation
The Netherlands
Mondriaan Fund
Studio #219