Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
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

Hung-Yen Chang

Taiwan
Ministry of Culture, Taiwan
Studio #210

Yen-Yi Lee

Taiwan
Ministry of Culture, Taiwan
Studio #302

Alice Nien-Pu Ko

Taiwan
Ministry of Culture, Taiwan
2022
United States

Past Resident
2022: The Kettering Family Foundation

Artist

Sydney G. James

Sydney G. James’ work consists of figurative paintings and drawings on a multitude of surfaces of which are a direct reflection of her. Using paint, graphite, and in some cases actual footprints of viewers and passerby, the current and evolving body of work that she has created consists of images of “strong” black women in vulnerable scenarios that may be figurative or literal. These portraits and murals seek to reposition this narrative of the Black woman’s visibility.

Sydney G. James has exhibited work at Charles H. Wright Museum of African American History, Detroit; University of Michigan Institute for the Humanities, Ann Arbor; and M Contemporary Art, Ferndale, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
Vibrant Painting of a Black Woman relaxed while holding a Tea cup.
Sydney G. James, Serving Tee, 2021, mural, latex, and aerosol paint, 192 × 480 in. (487.68 × 1219.2 cm)
Vibrant Painting of a Black Woman in profile
Sydney G. James, I Am Efya, 2021, acrylic on canvas, 60 × 48 in. (152.4 × 121.92 cm)
Vibrant Painting of a Black Man in thought
Sydney G. James, The More it Glows, 2021, acrylic on canvas, 48 × 60 in. (121.92 × 152.4 cm)
Vibrant Painting of a Black Woman with her hands held high while holding paperwork blocking entry to red silhouetted people seemingly surrounding her,
Sydney G. James, You Shall Not Pass, 2021, acrylic on canvas, 53 × 60 in. (134.62 × 152.4 cm)
Vibrant portrait of a Black woman posed in the position of the classic
Sydney G. James, Girl with the D Earring, 2020, mural, latex, and aerosol paint, 1296 × 960 in. (3291.84 × 2438.4 cm)

Residents from United States

Kahori Kamiya

United States, Japan
The Puffin Foundation, Dimitri Offengenden, Artist Relief
Studio #201

Levon Kafafian

A hooded, cloaked figure stands ready for action in front of a burgundy backdrop, holding a forked wooden staff toward the viewer. The figure wears a handwoven cloak with a diamond weave pattern in a reddish-pruple and black textured patterning, with a bejeweled black clasp and a horizontal striped silk tunic in multiple hues of green and black, striped handwoven pants and waistband in black and green, with assorted woven patches at the waist. They also wear an iridescent leather fanny pack adorned with evil eye pendants and a bead-encrusted face veil with purple and green beaded fringe.
United States
The Kettering Family Foundation
Studio #211

Ruth Owens

United States
Joseph Robert Foundation, Sherrill Collection of American Art Foundation, South Arts
Studio #216
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

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

Miki Leal

Spain
Consulate General of Spain in New York
2021