Current Residents

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Canada, Barbados

Current Resident: Oct 1, 2024–Dec 31, 2024

Canada Council for the Arts

Studio #305

Artist

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.

karaspringer.ca
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.
Kara Springer, The Shape of Mountains, 2023, double-sided inkjet prints on rice paper, poplar wood support structures, ceramic fragments, 120 × 72 in. (304.8 × 182.88 cm)
A structure containing two light boxes, each featuring the same image of a woman whose face is partially obscured by a print of a ceramic scan. Wires descend from the light boxes and coil on the floor beneath.
Kara Springer, Judith Mae Part III, 2023, two double-sided lightboxes, dimming mechanism, arduino panels, power source units, wood support structure, dimensions variable
A skeletal pyramid like structure, one face contains a high resolution photograph of oil thickened into industrial grease. The print appears shimmering and purple as the images were taken at sunset with the light reflecting off of the sticky black oil
Kara Springer, Do I have to build you a fucking pyramid?, 2021, double-sided prints on dibond panels, poplar wood, dimensions variable
An industrial light box, 5 ft wide, features an image of a ladder protruding from the sea. The scene is idyllic with the bright blue sky, fluffy white clouds. The lightbox is held down on a rudimentary cart like structure on wheels with a ratchet strap.
Kara Springer, The Earth & All Its Inhabitants, 2019, double-sided light box, found materials, dimensions variable
Thirteen brightly colored light boxes mounted in a structure made of 1 x 1 planks of poplar wood. Cables descend from each box and wind their way to a central control panel which controls the luminosity of each box
Kara Springer, I / must be given words, 2022, twelve double-sided lightboxes, dimming mechanism, arduino panels, power source units, wood support structure, dimensions variable

Residents from Canada

Alice Wang

United States, Canada
Canada Council for the Arts
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
Israel

Current Resident: Dec 1, 2024–Jan 31, 2025

Artis

Studio #306

Artist

Nardeen Srouji

Nardeen Srouji’s work delves into the gaps between stability and instability, placement and displacement, familiarity and estrangement. Transitioning between sculpture and installation, she appropriates familiar objects, images, and sounds from her surroundings, transforming them into interventions that challenge viewers to reconfigure their understanding and relationship with the world. Recently, her focus has shifted to site-specific art, exploring how processes take form within the multilayered dynamics of the body in relation to place, space, and time.

Nardeen Srouji has exhibited work at A M Qattan Foundation; Haifa Museum of Art; and Tel Aviv Museum of Art, all in Israel, among others.

nardeensrouji.com
Nardeen Srouji, Columns, 2019, site-specific installation, 150 × 65 × 16 in. (381 × 165.1 × 40.64 cm)
Nardeen Srouji, Arches, 2019, sculpture, 16 × 11 × 8 in. (40.64 × 27.94 × 20.32 cm)
Nardeen Srouji, Momentum, 2020, mixed media installation, 150 × 90 × 60 in. (381 × 228.6 × 152.4 cm)
Nardeen Srouji, Level Up, 2022, video art installation, 2 min loop
Nardeen Srouji, Orange, 2024, sculpture, 120 × 40 × 40 in. (304.8 × 101.6 × 101.6 cm)

Residents from Israel

Ruthi Helbitz Cohen

Beloved women portraits, heroines such as poets, politicians, personal beloved ones, my mother, my daughter, paper works ink on paper, stains, coffee leftovers mixed with ink
Israel
Haaretz Art Collection
Studio #206

Merav Kamel & Halil Balabin

A black wolf sewn out of fabric stands on a cylindrical black base. It has human teeth in its mouth and a small woman wearing a red t-shirt in its belly.
Israel
Artis
2023

Ruth Patir

Israel, United States
Artis
2023
Iran, United States

Current Resident: Apr 1, 2023–Apr 30, 2025

Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation

Ground Floor

Artist

Azita Moradkhani

Azita Moradkhani’s practice is heavily influenced by Persian art, culture, and politics as a result of her upbringing in Tehran. Her work centers on the female body and its exposure to various social norms, examining the experience of personal insecurity and the sensitivity of the dynamics of vulnerability and violence.

Azita Moradkhani has exhibited work at Jane Lombard Gallery, New York; Museum of Contemporary Art, China; and Royal Academy of Arts, England, among others.

azitamora.com

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
Artists at Work: Azita Moradkhani in Conversation with William Chan
January 30, 2024, 6:30–7:30
2023 Fall Open Studios
November 10–November 11, 2023
2023 Spring Open Studios
April 21–April 22, 2023
The title refers to protestors who have lost their sights by the government in Iran over the past several months during the current revolution
Azita Moradkhani, Beautiful Eye, 2023, colored pencil, 40 × 26 in. (101.6 × 66.04 cm)
Inspired by nature and referring to the concept of nurturing through both mother earth and a woman breastfeeding, I have combined branch of a tree in this body cast. The body cycles here between the illusionary and the real, the artificial and natural, carrying its disruptive iconography along with it. The image drawn on the breast is based on a photograph of women’s march for their freedom after the 1979 Islamic revolution in Iran.
Azita Moradkhani, Cycle, 2018, paper clay, colored pencil, and tree branch, 14 × 10 × 4 in. (35.56 × 25.4 × 10.16 cm)
The image in this drawing is based on a photograph of people during the 1979 Islamic revolution in Iran.
Azita Moradkhani, The End, 2022, colored pencil, 24 × 19 in. (60.96 × 48.26 cm)
Azita Moradkhani, Her, 2022, colored pencil, 24 × 19 in. (60.96 × 48.26 cm)
The contrast between stereotypically feminine and masculine qualities in my work confronts the dualities of power and vulnerability, Orientalism and feminism, political rhetoric and actual lived experience. The drawing depicts a group of young boys playing and gambling on a bodysuit and it comes with this quote from me “These boys are too noisy and, secretly, betting on my lacy fabric. So I strangled them with pink ribbons and promised them a lollipop in exchange for their money.”
Azita Moradkhani, Pink Boys, 2021, colored pencil, 40 × 26 in. (101.6 × 66.04 cm)

Ground Floor Residents

Sarah Zapata

Large-scale installation compromised of textiles.
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Hartfield Foundation
Ground Floor

Sasha Wortzel

water meanders through a sawgrass marsh beneath a blue sky and clouds
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Brooklyn Borough President Antonio Reynoso
Ground Floor

Simon Liu

Hong Kong, United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Ground Floor

Past Residents

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