Past Residents

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Year
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Taiwan

Past Resident
2022: Ministry of Culture, Taiwan

Artist

Ying Chiun Lee

Ying Chiun Lee is a glass and film artist whose process-driven work investigates human sexuality. Her practice focuses on the subtle details and movements of glass during its making. By utilizing these observations, she creates glass sculptures, installations, performances, and videos that speak on the fantasy of intimacy.

Ying Chiun Lee has exhibited work at GMTF Film Festival, Lybster; City Art Space and Joy Gallery, both Rochester, among others. 

Events & Exhibitions

Artists at Work: Ying Chiun Lee with Junghyun Kim
July 28, 2022, 6–7pm
2022 Spring Open Studios
April 22–April 23, 2022
This piece of work portrays my experience of living through the pandemic as a foreigner in the US. The video consists of two scenes; The first scene is a view through the bottom of the glass tank. Catching the moment of molten glass dropped into the water and broke within several macro-explosions. The second part of the scene is an uranium glass object with gold leaf scattered on the top. Then two amorphous blobs of hot glass come into the frame. They dance around the object seductively. The audio is composed of a mixture of electronic sounds, news broadcasts regarding Covid, and cicada sounds from rural Taiwan.
Ying Chiun Lee, Home?, 2021, single-channel video, 1:32 min.
Ecstasy is a slow-motion video of molten glass. In the scene, the background is dark while the glass is illuminating the surrounding with heat. The molten glass on the end of a rod is turning slowly. The speed of the turning is not fast enough to keep the glass from falling. A wooden paddle comes into the frame from the left, slapping and pushing the glass from dropping. When the glass and wood meet, the heat burns the wood thus creating sparks. Sometimes the wooden pat stays longer on the glass, gently lifting the weight of the glass. As the two materials touch, the heat begins to light up the wooden paddle, creating a bigger flame than the sparks. The video is accompanied by the background sound of white waves crashing on shores.
Ying Chiun Lee, Ecstasy, 2020, single-channel video, 1:11 min.
Seduction is a short film. The video switches between two scenes. One scene focuses on the surface of the leaf while another focuses on the stem of the leaf. In both parts, a borosilicate glass lingers around the leaf, turning constantly from falling. When the glass gets closer to the subject, the heat dries out its moisture. During the interaction, the vapor process makes the leaf move up and down. This video comes with the background sounds of human breathing and bed sheet rustling.
Ying Chiun Lee, Seduction, 2021, single-channel video, 1 min.
The Teahouse is an installation with found objects, glass, and video projections. The piece is approximately the size of a three feet cube. It was set up in the City Art Space in downtown Rochester. On the site, the installation was surrounded by four layers of white sheers hanging down from the ceiling. On the white sheer fabric, a short film was projected. With the translucency of this material, the film projects through one fabric to the other side, casting a blurred image of the video. In between each fabric, there was a gap that allowed people to walk into the installation. Inside the white cube, there were nine white low pedestals. Eight of them had objects or words on them, and only the one in the middle remained empty. These were the objects that were shown in the video.
Ying Chiun Lee, The Tea House, 2021, mixed media, 42 × 42 × 42 in. (106.68 × 106.68 × 106.68 cm)
In this picture, a person is sitting on the toilet, hands holding a cell phone. A heavy glass object is rested on the gap between the two legs. This object has a rough texture on the outside that looks like rocks. On the inside, it seems smooth and glossy. The side that is facing up has an opening that shows the object is neither solid nor filled. The intimate connection between the object and skin is actually cold, heavy and rough.
Ying Chiun Lee, Living with a Hole , 2021, photographic print, 45 × 53 in. (114.3 × 134.62 cm)

Residents from Taiwan

Huang I-Hsiang

A Practice of Silence begins with a vague visual impression, the administrative figure of the Absolute Space, a silent presence always sitting in the corner of the exhibition venue. Her work is a series of interpretations, empathy, and understanding. She is always there, yet hard to notice. She is the caretaker of the venue, and I want to depict such a character. My curiosity lies in her physical and psychological relationship with the venue; my curiosity wonders why she is here and whether she has ever thought about leaving. In short, everything related to this job, including emotions and circumstances. During the exhibition, I invited theater practitioner Tseng Jing-Wen, who is dedicated to promoting People's Theatre, along with former administrative staff from Absolute Space who worked here at different times, to conduct a body workshop. My basic idea is, the arrival of newcomers marks the departure of the old, and the interchange between new and old forms the life of a character. These participants, through shared memories, will engage in a self- dialogue belonging to this character during the workshop. Finally, on the last day of the exhibition, we held a screening event showcasing the workshop's video documentation at the venue.
Taiwan
Ministry of Culture, Taiwan
2024

Feng-Yi Chu

Taiwan
Ministry of Culture, Taiwan
2024

Hung-Yen Chang

Taiwan
Ministry of Culture, Taiwan
2023
United States

Past Resident
2022: The New York Community Trust’s Edward and Sally Van Lier Fund

Artist

Steven Anthony Johnson II

Steven Anthony Johnson II uses the language of drawing, animation, and photography to make peace between the religious, intellectual, and humanistic ideals in relation to “Otherness” and Blackness. The artist attempts to create a modern sense of realism by utilizing traditional techniques with abstracted senses of temperature and value.

Steven Anthony Johnson II has exhibited work at Field Projects, New York; Inbreak, Los Angeles; and Notre Dame of Maryland University, Baltimore, among others.

Events & Exhibitions

Steven Anthony Johnson II in Conversation with Re’al Christian and TK Smith
August 16, 2022, 6–7pm
Steven Anthony Johnson II: Getting Blood from Stone
June 10–August 19, 2022
2022 Spring Open Studios
April 22–April 23, 2022
this drawing depicts the Artist Grandmother, Annie Mae around the age 76. She is wearing a church hat and gown with a single gloved hand on her hip.
Steven Anthony Johnson II, Annie Mae, 2021, charcoal and graphite on mounted paper, 7 × 5 in. (17.78 × 12.7 cm)
this drawing depicts the artist nephew, Noah, between 9 and 11 months old bathing in a large stationary tub.
Steven Anthony Johnson II, Had I dreams anymore they would be of a world I hope you would possess, 2021, charcoal, graphite, and watercolor on mounted paper, 12 × 9 in. (30.48 × 22.86 cm)
this drawing depicts the artist nephew, Noah, between 12-16 months old sitting at a dinning table with a rubber baby bib frowning. He has a blank a sad and blank look on his face. There is a reflection of a little black sambo in the reflection.
Steven Anthony Johnson II, Weeping May Endureth For a Night, 2021, charcoal, graphite, and watercolor on mounted paper, 9 × 12 in. (22.86 × 30.48 cm)
this drawing depicts the artist at age three, smiling for a photo during a birthday party. The eyes are blocked out with a black bar.
Steven Anthony Johnson II, Three, 2020, ballpoint and ink on paper, 4 × 6 in. (10.16 × 15.24 cm)
This drawing depicts a multiple exposures of the same dinner scene. Here the artist Mother and Nephew are having dinner while moving through multiple versions of the same actions. eating, arguing, and several facial expressions.
Steven Anthony Johnson II, One, 2021, charcoal, graphite, and wax pencil on mounted paper, 18 × 24 in. (45.72 × 60.96 cm)

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
Portugal, Spain

Past Resident
2022: Luso-American Development Foundation (FLAD)

Artist

AnaMary Bilbao

AnaMary Bilbao articulates documentation from photography, drawing, sound, and moving images. Through the combination of these elements and references, she seeks to start fictional narratives that put into question the idea of a single truth. As the artist states, “there is no truth beforehand, only connections, interruptions, and incompleteness – a piece can never end in itself.”

AnaMary Bilbao has exhibited at ARCOmadrid, Madrid; Museum of Art, Architecture and Technology and Leal Rios Foundation, both Lisbon, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
AnaMary Bilbao, Blast effects, 2021, 35 inkjet prints on cotton paper
AnaMary Bilbao, J’avale la vague qui me noie le soleil de midi Date: , 2021, inkjet prints, slide projections, and video
AnaMary Bilbao, Como interromper a eternidade? (Intervalos para a dúvida) [How to cease eternity? (Gaps for doubt)], 2019, 6 inkjet prints on cotton paper 320gr 16mm film, and sound, 2:53 min, loop
AnaMary Bilbao, Todas as formas sublimes são transitórias [All sublime forms are transitory], 2018, inkjet print on Japanese paper, 433/8 × 59 in. (110.24 × 149.86 cm) each
AnaMary Bilbao, Renascimento por transformação II (Rebirth through transformation), 2018, Inkjet print on Japanese paper, 65 × 433/8 in. (165.1 × 110.24 cm)

Residents from Spain

Bianca Argimón

This triptych depicts my vision of wars essentially throughout the XX & XXI st century with analogies to popular culture.
Spain, France
La Fondation pour l'Art Contemporain Claudine et Jean-Marc Salomon
2024

Martinka Bobrikova & Oscar de Carmen

Gathering in front of parlament of Oslo, as protest, assembly, practicing collective nap.
Norway, Slovakia, Spain
Oslo Kommune Internasjonalt
2022

Xavier Acarín Wieland

Exhibition Collections Macba and La Caixa Foundation
Spain, United States
Artis
2022