Current Resident: Oct 1, 2024–Dec 31, 2024
Leon Polk Smith Foundation
Studio #202
Artist
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
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
S Emsaki, crude education, 1908-ongoing, video (digitized film & VHS), 11 min
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)
S Emsaki, some things last a long time, 2022, wild-caught squid ink on existing architecture, dimensions variable
S Emsaki, Oct 22 - Race Point, 2022, graphite and wild-caught squid ink on paper, 22 × 30 in. (55.88 × 76.2 cm)
S Emsaki, divided sea, 2020, (etching) ink on Kitakata paper, 211/2 × 171/2 in. (54.61 × 44.45 cm)
Residents from Iran
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
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)
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)
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)
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)
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)