Current Residents

List Grid

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

Studio #202

Brenda Mallory

Texture and rhythmic repetition are central to Brenda Mallory’s abstract compositions and installations. By ‘sewing’ together soft fabric forms—primarily reclaimed materials—with industrial hardware, she explores themes of dominion, disruption, repair, and the interconnections within long-established natural and human systems.

Brenda Mallory has exhibited work at Gorman Museum of Native Art, UC Davis, California; Heard Museum, Arizona; and Portland Art Museum, Portland, among others.

brendamallory.com

Brenda Mallory, Adaptive Connections, 2024, waxed cloth, nuts, bolts, and felt, 120 × 240 × 6 in. (304.8 × 609.6 × 15.24 cm). Photo by Mario Gallucci

Brenda Mallory, Old Homeplace, 2024, rice paper, cloth, encaustic and hog rings on panels, 135 × 180 × 2 in. (342.9 × 457.2 × 5.08 cm). Photo by Mario Gallucci

Brenda Mallory, Consensual Attachments, 2022, waxed cloth and hog rings, 60 × 37 × 2¹/₂ in. (152.4 × 93.98 × 6.35 cm). Photo by Mario Gallucci

Brenda Mallory, Precession, 2022, ceramic, wool felt, and linen thread on wood panel, 48 × 46 × 1 in. (121.92 × 116.84 × 2.54 cm). Photo by Eric Mellencamp

Brenda Mallory, Reformed Packings #24, 2022, honeycomb packing sheet, paint, and encaustic, 32 × 32 × 2¹/₂ in. (81.28 × 81.28 × 6.35 cm). Photo by Mario Gallucci

Residents from United States

Ina Gerken

Germany, United States

RYAN LEE Gallery

Studio #302

Alice Wang

United States, Canada

Canada Council for the Arts, Capsule Shanghai

Studio #213

Frank WANG Yefeng

United States, China

ISCP Alumni Fund

Studio #303

United States, Iran

Current Resident: Sep 1, 2024–Feb 28, 2025

Helen Frankenthaler Foundation Residency

Studio #203

Artist

S Emsaki

S Emsaki works to deconstruct and disorient East-West subject-object positionings through video, drawing, and multimedia installations incorporating found and provisional elements. Born and raised in Isfahan, Iran, Emsaki’s practice unsettles the legacies of petro-imperialism by engaging with marginalized archives and intimate histories of human and non-human subjects. Currently based in NYC, Emsaki is an alum of the Whitney Museum’s Independent Study Program and holds an MFA from Yale University and a BA from UC Berkeley.

S Emsaki has exhibited work at Westbeth Gallery, New York; San Francisco Arts Commission, San Francisco; and Provincetown Art Association and Museum (PAAM), Massachusetts, among others.

emsaki.com

Digitized VHS tape from the artist’s family archives, documenting first graders' inaugural school day in 1996 in an American-built suburb on the northern outskirts of Isfahan, Iran. Pathé Newsreel from National Archives Catalog, capturing British Petroleum’s first prosperous oil strike in the Middle East in Masjed Soleyman at the foothills of Zagros Mountains in 1908.

S Emsaki, crude education, 1908-ongoing, video (digitized film & VHS), 11 min

‘matter of time’ is produced with photographs of petroleum-based marine debris collected from the beaches of Cape Cod during my Fellowship at the Fine Arts Work Center that are UV-printed on Pleistocene clay, also foraged from the same region. I worked with the local geologist, Katie, Castagno, at the Center for Coastal Studies in Provincetown who helped date the clay to 18000 BC, a sedimentary deposition during the last glacial melt.

S Emsaki, matter of time, 2024, UV-cured inkjet print on foraged Pleistocene clay, repurposed cardboard, and plastic pallet, 37 × 37 × 12 in. (93.98 × 93.98 × 30.48 cm)

Impermanent drawings (part one of a two-part exhibition) at Hudson D. Walker Gallery in Provincetown, MA. The shadowy drawings of various found plastic objects are rendered directly on the gallery’s walls and floor, using squid ink I caught from the local harbor and processed in my studio. The marine plastic debris that gave form to the drawings were also collected from the local beaches during my daily walks, which became a studio ritual during my 7-month-long fellowship at the Fine Arts Work Center.

S Emsaki, some things last a long time, 2022, wild-caught squid ink on existing architecture, dimensions variable

Observational drawings of a collection of plastic debris found during daily walks on Cape Cod beaches and rendered with squid ink that I sourced from the local harbor.

S Emsaki, Oct 22 - Race Point, 2022, graphite and wild-caught squid ink on paper, 22 × 30 in. (55.88 × 76.2 cm)

This etching illustrates the Caspian Sea’s agreed-upon maritime boundaries based on a treaty that was signed in 2018 between the leaders of the five countries that surround the sea. In the treaty, the sea and its resources (notably oil and natural gas) are divided into five pieces, shared amongst Azerbaijan, Russia, Kazakhstan, Turkmenistan, and Iran. In this etching, the national borders are removed and the theoretical boundaries on the body of water are rendered in stitches.

S Emsaki, divided sea, 2020, (etching) ink on Kitakata paper, 21¹/₂ × 17¹/₂ in. (54.61 × 44.45 cm)

Residents from Iran

Farkhondeh Shahroudi

Iran, Germany

Goethe-Institut New York

2024

Bita Razavi

Finland, Estonia, Iran

Uniarts Helsinki's Academy of Fine Arts and Saastamoinen Foundation, Uniarts Helsinki's Academy of Fine Arts and Saastamoinen Foundation.

2017

Zeinab Shahidi Marnani

Iran

Edge of Arabia and Art Jameel

2015

United States

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

The New York Community Trust’s Edward and Sally Van Lier Fund

Studio #204

Artist

Amy Bravo

Amy Bravo blends icons from Cuban religious culture with hyper-personal stories to create a queer afterlife universe in the rough shape of the island of Cuba. Her collaged canvases feature irregular forms where she combines graphite drawings with painterly techniques. These drawings evolve into paintings, embroidery, and assemblage sculptures. This unique mix of techniques helps recompose a family lineage disrupted by exile, engage with her ancestors, and outline a mythical world.

Amy Bravo has exhibited work at Semiose Gallery, Paris; Swivel Gallery, New York; and SESC Pompéia, São Paulo, among others.

amybravo.com

A found object sculpture of a woman holding a black dog.

Amy Bravo, The Black Dog, Again, 2023, acrylic, lace, plaster, extensions, sewing needles, mannequin arms and found objects, 44 × 34 × 12 in. (111.76 × 86.36 × 30.48 cm)

A found object sculpture using household objects to depict a girl who is morphing into the shape of a bull.

Amy Bravo, Automaton 3.0 (Bull), 2024, foam, acrylic, wood, epoxy, lace, candles, synthetic hair, cow bones and found objects, 41 × 21¹/₂ × 47 in. (104.14 × 54.61 × 119.38 cm)

A painting depicting figures in various forms of transformation into a snake, with a sculptural snake wrapping around it's base.

Amy Bravo, The 750 Mile Snake, 2024, graphite, wax pastel, acrylic, rubber and embroidery on canvas, 74 × 100 × 3 in. (187.96 × 254 × 7.62 cm)

A sculpture made from a China cabinet with found objects and sculptural additions, including boxing gloves and a bull's head.

Amy Bravo, Automaton 4.0 (Bull-Remastered), 2024, found cabinet, foam, acrylic, wood, epoxy, plaster, thread, boxing gloves, christmas lights, synthetic hair, cow bones and found objects, 81 × 52 × 52 in. (205.74 × 132.08 × 132.08 cm)

An irregularly shaped painting depicting two conjoined figures, with one's head wrapped in flames, over a coffin.

Amy Bravo, The Automaton Springs Out Fully Formed!, 2024, graphite, wax pastel, acrylic, lace, photograph and embroidery on canvas, 80 × 68 in. (203.2 × 172.72 cm)