Past Residents

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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

Canada

Past Resident
2022: Alberta Foundation for the Arts

Artist

Taryn Kneteman

Taryn Kneteman documents moving bodies and changes of state with video, sculpture, and works on paper. Using tactile, process-intensive working methods that offer chances for unexpected intervention–from materials, weather, technological glitches, and feedback–she combines stretches of habitual routine with gestures of dream-like divergence. Her work considers the cyclical nature of seemingly permanent materials and reflects on the intricacies of their transitions.

Taryn Kneteman has exhibited at Walter Phillips Gallery, Banff; Art Gallery of Alberta and SNAP Gallery, both Edmonton, among others.

Events & Exhibitions

2022 Spring Open Studios

April 22–April 23, 2022

A charcoal bath bomb shaped like an anatomical heart is gently held by a gloved hand.

Taryn Kneteman, Bath bomb heart, 2020, 4k digital video with audio, 3:02 min

A hand reaches for a small bowl containing an egg yolk shaped like a human brain.

Taryn Kneteman, Egg yolk brain, 2020, HD digital video with audio, 3:12 min

A rectangular piece of paper pierced by many irregular shaped holes floats in front of a white wall.

Taryn Kneteman, Surf’s edge like pine needles, 2018, screen print, graphite ink and fluorescent acrylic on torn paper, 22 x 30 inches

Three oxidized foil sculptures sit centered on a light background.

Taryn Kneteman, Everyday Rituals (survival tactics), 2015, archival pigment print on metallic paper, 29 x 36 inches

The image is divided into four quadrants and each is a scene of a city street at night with bright streetlights.

Taryn Kneteman, Frequency Finding, 2021, HD digital video with audio, 2:00 min

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

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 Portugal

Henrique Pavão

BRONZE, IRON, STEEL, WOOD, 16MM FILM PROJECTOR, LOOPER, 16MM FILM (B/W, SILENT, 2’25”, LOOP) VARIABLE DIMENSIONS INSTALLATION VIEW, ‘SEA OF TRANQUILITY’, FRAME SECTION AT FRIEZE NY AT THE SHED, NEW YORK

Portugal

Luso-American Development Foundation (FLAD)

2022

Ana Manso

Portugal

Fundação Calouste Gulbenkian

2022

Claudia Ulisses

Portugal

Anonymous

2010