Past Residents

List Grid

Past Resident
2018: Manitoba Arts Council, Canada Council for the Arts

Artist

Ufuk Gueray

Ufuk Gueray is interested in how cultural and political context can shape the understanding of art. Although primarily a painter, his current work uses sound, installation and relational processes in a project dealing with memories of his late uncle’s mirror shop in Izmir, Turkey.

Ufuk Gueray (born in Herrenberg, Germany), is an artist of Turkish background who has lived and worked in Canada, Germany and the United Kingdom. His work has been featured in group and solo exhibitions in Canada, Germany and the United Kingdom.

Events & Exhibitions

Spring Open Studios 2018

April 27–April 28, 2018

Ufuk Gueray, Atilla's Mirror Shop, 2018, mirrors, photographs, soccer flag, leather jacket, and various other objects, installation view at ISCP

Ufuk Gueray, Untitled, 2018, giclée print, mounted on dibond, 8 × 10 in. (20.32 × 25.4 cm). In collaboration with Erica Mendritzki

Ufuk Gueray, Untitled, 2018, giclée print, mounted on dibond, 8 × 10 in. (20.32 × 25.4 cm)

Ufuk Gueray, Research Image: Kapilar neighborhood of Izmir, late 1980s, digitized image

Ufuk Gueray, Atilla's Mirror Shop, 2018, mirror and Turkish tea kettle, installation view at ISCP

Residents from Canada

Antonietta Grassi

Canada

Conseil des arts et des lettres du Québec

Studio #208

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

Kara Springer

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.

Canada, Barbados

Canada Council for the Arts

Studio #305

United States

Past Resident
2018: The New York Community Trust’s Edward and Sally Van Lier Fund

Artist

Sonia Louise Davis

Sonia Louise Davis engages improvisation across installation, writing, weaving and performance. In her practice, Davis creates experimental scores using an invented graphic notation. Her work is deeply informed by critical race and feminist theory as well as her training as a jazz vocalist.

Sonia Louise Davis was born and raised in New York City. In September 2016 her large-scale collaborative performance shake the stars with your song premiered at the Whitney Museum of American Art. She has exhibited work at Visitor Welcome Center, Los Angeles; Elizabeth Foundation for the Arts Project Space, New York City; and the Bronx Museum of the Arts. This past spring her writing was published in Women & Performance: a journal of feminist theory. An honors graduate of Wesleyan University and alumna of the Whitney Independent Study Program, Sonia lives and works in Harlem.

Events & Exhibitions

Sonia Louise Davis: Sound Gestures

May 22–July 31, 2018

Spring Open Studios 2018

April 27–April 28, 2018

Brooklyn Commons: Suzanne McClelland and Sonia Louise Davis

April 3, 2018, 6:30–8pm

Leaps and Bounds

March 6–April 28, 2018

Sonia Louise Davis, a score to keep time / a score to lose time / but never yourself, in it, 2017, installation with wall drawing, and hand-woven tapestry, dimensions variable

Sonia Louise Davis, blue nile (for alice), detail, 2017, hand-woven textile, natural and synthetic fibers, electroluminescent wires, and battery packs, 22 × 72 × 2 in. (55.88 × 182.88 × 5.08 cm)

Sonia Louise Davis, blue black twill, 2017, hand-woven textile, natural and synthetic fibers, electroluminescent wire, and battery pack, 20 × 16 × 2 in. (50.8 × 40.64 × 5.08 cm)

Sonia Louise Davis, color is the sound an object makes when light strikes, 2016, installation, gloss enamel and liquid watercolor on glass, neon tubes, and transformers, dimensions variable

Sonia Louise Davis, duet blue + green, grid; black solo, journal, 2015, 2016, liquid watercolor on cold press paper; liquid watercolor in soft bound notebook, 11x15 in. each and 144 pages

Residents from United States

Frank WANG Yefeng

United States, China

ISCP Alumni Fund

Studio #303

Efrat Hakimi

A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.

United States

Artis

Studio #301

Bryan Fernandez

United States

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

Studio #216

Austria

Past Resident
2018: Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Curator

Bettina Brunner

Bettina Brunner is a curator, art critic and academic focusing on avantgarde film and contemporary moving image practices.

Bettina Brunner has an MA in Art History and recently completed her PhD at the Academy of Fine Arts Vienna. As an independent curator she has organized film screenings and exhibitions at mumok kino, Vienna; das weisse haus, Vienna, and Auto Italia South East, London. She has previously worked at Thyssen-Bornemisza Art Contemporary, Vienna; British Film Institute, London; and Cubitt Artists, London.