Current Residents

List Grid

Current Resident: Aug 1, 2024–Sep 30, 2024

Studio #222

Shir Handelsman

Shir Handelsman explores into the interruptions, emotional discord, and idiosyncrasies of human relationships through his multifaceted art practice, which includes video and film, sculpture, drawing, music, and sound. By situating everyday scenarios within artificial environments, he creates a surreal parallel existence where autobiography, historical myths, and psychedelic fantasies converge. His works possess a performative quality, characterized by complex choreographies and musical compositions. By exploring the interplay between sound installations, large-scale video projections, and kinetic sculptures, Handelsman’s art often embraces a grand, operatic scale.

Shir Handelsman has exhibited work at Herzliya Museum of Contemporary Art, Israel; Gyeonggi Museum of Modern Art, South Korea; and Kunsthal Charlottenborg, Denmark, among others.

shirhandelsman.com

A short video work, which presents an opera singer, standing on a lifted platform and singing a Martyr's wish for redemption.

Shir Handelsman, Recitative, 2019, video, 5 min

MX lost his ability to visually imagine. An annual blood test marks the beginning of a psychedelic journey, in which he experiences a cognitive reversal: from a state of complete inability to imagine, to a wild and uninhibited hyper-imagination.

Shir Handelsman, NO MORE CANDY FOR YOU, 2022, video, 13 min

An installation consisting of two parallel mechanisms that work simultaneously in a space: A kinetic sculpture which concentrates its efforts on the slow and continuous breaking of a 200kg limestone, and an intimate video diary of an isolated man, who struggles with miraculous, metaphysical and surrealistic invasions of nature into his domestic space. Each of the works presents a lonely mechanism doomed to fail, from which a world of fantasy is born.

Shir Handelsman, Born, Never Asked, 2021, installation, video, limestone, wood, hammers, aluminum and motors, 8:45 min

Shir Handelsman, Born, Never Asked, 2021, limestone, wood, hammers, aluminum and motors, 39 × 47 × 39 in. (99.06 × 119.38 × 99.06 cm)

A two-channel installation, presenting two testimonies of a random encounter between a former couple, the divorced parents of the artist. The former couple, who had been married for twenty years, now meet accidentally at a gas station, after they had not spoken or seen each other for over six years.

Shir Handelsman, Morendo, 2018, two-channel video installation, 6:45 min

Residents from Belgium

Eva L’Hoest

Belgium

Edward Steichen Award Luxembourg

2023

Felix Kindermann

Germany, Belgium

Ministry of Culture of the Flemish Community Visual Arts Department, Tony & Sissi Moens

2023

Kristian Nemeth

Crystal glass is known for its fragility. By layering crystal glass objects I multiply the feeling of fragility. Individual crystal glass objects are not glued together and as such may break by simple sound waves produced by passer-by.

Belgium, Slovakia

International Visegrad Fund

2022

Ireland

Current Resident: Sep 1, 2024–Nov 30, 2024

Temple Bar Gallery + Studios, Dublin

Studio #302

Artist

Sonia Shiel

Sonia Shiel’s paintings take the shape of terrains, portals, pageants, and props. Her exhibitions have a multi-dimensional quality that transcends their material form, creating dynamic opportunities for performance where the audience often becomes entwined in a shared folie à deux. In these otherworldly realms, humans, animals, plants, gods, and ‘artists’ coexist non-hierarchically with cosmological and enchanted phenomena. Drawing inspiration from art history, theater, mythology, and literary fiction, Shiel delves into our capacity for self-determination, love, autonomy, and courage.

Sonia Shiel has exhibited work at VISUAL Centre for Contemporary Art; Kunstverein Aughrim; and Void Art Centre, all in Ireland, among others.

soniashiel.com

Past Residencies

2013–2014
Arts Council of Ireland

One irregularly shaped painting hangs on a white wall. It has botanical qualities, with a dark green vertical section splitting in two, and bordering a burst of yellow. Inside the yellow section are spiraling spurts of seed-like red and orange, and fringed with a green frill.

Sonia Shiel, Dirty-Wow-Sun / The bud, 2024, oil on canvas, and wooden lapel frame, 31 × 23 in. (78.74 × 58.42 cm)

Two paintings which appear to be free standing are at either end of a large brightly-lit white gallery space. On the left, at the far end of the room one of the large paintings stands in two pieces each the mirror image of the other, the joining middle section is hinged open. Its irregular shape is characteristic of a butterfly, and is pink and green. The imagery includes golden reptilian scales, and white wing-shaped clouds, four triangular teeth, foliage, and branches. On both sides the clouds form crescent shapes and arms with gloved hands emerge wearing elaborate yellow sleeves with yellow and black yarn tassels. One arm holds a fan. In the foreground, the second painting occupies half the frame. This circular-shaped work displays elements of a shell. Slabs of blue and green animal print border the same motif in a white and blue crescent hinge, with translucent tones, wherever they merge.

Sonia Shiel, Medusa In Pieces / Installation Shot, 2023, oil on canvas, on wood, dimensions variable

One painting appears to be free standing in the centre of a wide brightly-lit white gallery space. It stands in two pieces each the mirror image of the other, the joining middle section is hinged open with two further sections closed over, creating a slight gap, like two saloon doors flapping. Its irregular shape is characteristic of a butterfly, and is pink, green, with vertical shafts of blue. The imagery includes golden tails, that curl like coils of hair, and white fan-shaped wedge-like flowers, leafy foliage, and branches. On the top two golden claws reach to meet each other over the middle and form an arch. In the foreground, brightly colored fabric sleeves and gloves, in pink and yellow, with yellow and black yarn tassels, sits in a pile like a discarded animal skin.

Sonia Shiel, Medusa In Pieces / Act 2 Break Fall, 2023, oil on canvas, on wood, with fabric sleeves on stool in foreground, 390 × 350 in. (990.6 × 889 cm)

One painting, in three rounded parts, with two capsule shaped lapels, is attached to a set of large swing doors, dividing a sun-lit room. The painting has geometric and symmetrical values, with red, blue and white motifs, and two yellow horizontal lines. Small bone-shaped fragments, made of clay, appear attached to the surface of the painting like four ribbons, and together form a double-helix-like shape. At each end the final bone is shaped into a foot and at the centre the final bone is shaped like a hand. The painting is interrupted by a large natural granite rock, over which the two hinged sections meet. On the rock appears to be a stick of incense, burning within a pile of leaves, also made with clay. On the floor a circular groove is embedded into the concrete and extends in a half semi-circle from the centre of the painting, towards the bottom left frame of the image.

Sonia Shiel, Supernatural Bureau / The bones, 2023, oil on canvas, on wood, attached to revolving door structure. With natural granite rock and insence, 82 × 203 in. (208.28 × 515.62 cm)

A figure is seated under a spotlight, in a large red velvet chair within a blackened room. The figure’s legs, in black, are crossed with one bent knee perched on the seat. The figure is wrapped in a deep saffron yellow silk cape, with yellow yarn tassels fading into black towards the ground. Pink ruffled fabric forms a flower on the figure’s lap, and the figure wears a blue glove which holds a microphone, while the other hand falls over the figure’s knee in a gold and black glittered glove.

Sonia Shiel, Pulse Event - an event of the heart, 2023, video documentary and performance, 5:39 min

Residents from Ireland

Aileen Murphy

Ireland

Temple Bar Gallery + Studios, Dublin

2023

Celina Muldoon

live performance, moving image and installation

Ireland

Arts Council of Ireland

2023

Aideen Barry

Ireland

Temple Bar Gallery + Studios, Dublin

2023

Canada

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

Canada Council for the Arts

Studio #304

Artist

Xiaojing Yan

Xiaojing Yan’s art reflects her cultural journey, culminating in a distinct personal vocabulary. Her unique perspective bridges past and present, exploring themes of identity, nature, and transcendence. Drawing on ancient Chinese traditions, rituals, and materials, Yan uses natural elements to evoke mystical and philosophical reflections on life, death, and humanity’s connection to the natural world. Her work is rich with symbolism that remains as relevant today as it was historically, engaging with issues such as environmental sustainability.

Xiaojing Yan has exhibited work at Suzhou Museum, China; Royal Ontario Museum, Canada; and Sharjah Art Museum, United Arab Emirates, among others.

yanxiaojing.com

I'm fascinated by how technological advancements give humans the illusion of power over nature. I explore this through collaborations between human and natural elements, designing controlled environments that give way to organic processes. For my lingzhi sculptures, I put woodchips and lingzhi spore mixtures into molds, controlling humidity, temperature, and light. Once the mycelium binds the woodchips, I remove the mold and place the mixture in a greenhouse to grow. This process creates transformative sculptures, covered in delicate brown spores. My female bust series extends this concept, highlighting the lingzhi mushroom's properties and its role in environmental sustainability and contemporary art.

Xiaojing Yan, Lingzhi Girl #10, 2017, lingzhi mushroom, mycelium and woodchips, 18 × 16 × 18 in. (45.72 × 40.64 × 45.72 cm)

Spirit Cloud is a hanging work made of over 33,000 freshwater pearls suspended by clear filaments, forming a three-dimensional pointillist painting. Inspired by Chinese garden stones and auspicious clouds, the curvilinear form symbolizes the fusion of water, air, sky, and earth. In Chinese mythology, gods and immortals ride on clouds, which also serve as signs of weather changes. The pearls mimic the structure of a cloud, creating the illusion of a solid form and capturing a moment of its shifting nature, evoking continuous energy and movement. This work also highlights the impact of environmental change on natural elements.

Xiaojing Yan, Spirit Cloud, 2017, Medium: fresh water pearls, filament and aluminum, 118 × 128 × 528 in. (299.72 × 325.12 × 1341.12 cm)

I'm fascinated by how technological advancements give humans the illusion of power over nature. My lingzhi sculptures explore collaborations between human and natural elements, starting with woodchips and lingzhi spore mixtures in a mold. Controlled humidity, temperature, and light allow the mycelium to grow and bind the woodchips, which are then placed in a greenhouse to develop into transformative sculptures covered in delicate brown spores. This hybrid science/art experiment highlights the properties of the lingzhi mushroom, such as adaptation and self-healing, while addressing themes of environmental sustainability. My work evokes traditional Chinese medicine, mythology, and religion.

Xiaojing Yan, Far from where you divined, 2017, mycelium, cultivated lingzhi mushrooms, wood chips and wood, dimensions variable

Inspired by volcanic eruptions and cosmic explosions, I suspend thousands of lava stone beads on golden thread to capture the universe's beauty and power. These natural phenomena symbolize creation and destruction, with lava beads representing past eruptions and explosions, and golden thread embodying the energy that holds everything together. My installation evokes the mystery and wonder of the cosmos, illustrating how volcanic activity and astronomical events create new possibilities. It reminds viewers of the interconnectedness of all things, highlighting how our actions ripple through the world, shaping our environment and future.

Xiaojing Yan, Nebula, 2019, lava stone beads and golden thread, 236 × 157 × 157 in. (599.44 × 398.78 × 398.78 cm)

In this project, I use tens of thousands of artificial flower stamens to create a satellite image of a storm, representing the effects of climate change. The stamen, a flower's male reproductive part, is essential for plant growth, and here, artificial stamens symbolize human intervention in nature. This artwork highlights how climate change impacts pollinators and plant populations, similar to the butterfly effect. The storm cloud imagery and an olfactory component, emitting the scent of rain, remind viewers of climate change's power and potential consequences, blending synthetic materials with natural elements to reflect humanity's attempts to control and preserve nature.

Xiaojing Yan, Stamen, 2023, wax and cotton thread, 108 × 144 in. (274.32 × 365.76 cm)

Residents from Canada

Amy Ching-Yan Lam

Photo of a USB key in the shape of the Rosetta Stone, on a miniature plinth

Canada

Canada Council for the Arts

Studio #201

Timothy Manalo

A multi-colored woven mat laid on a wood paneled floor with white plaster casts of fast-food items.

Canada

Canada Council for the Arts, Toronto Arts Council

Studio #305

Gwenessa Lam

Canada

Canada Council for the Arts

2024

Past Residents

List Grid

Residents Map