Past Residents
Past Resident2018: Canada Council for the Arts
Yann Pocreau
Yann Pocreau’s research has been focused on the narrative contributions suggested by light when it is staged in specific places. In his most recent projects, he puts forward traces of light and it’s presence as a subject. Though he works mostly with photography, Pocreau has experimented with other media, such as installation, animation, and sculpture, as he developed a series of interventions and works around artificial light, its materiality and its essential contribution to the artist’s photographic thought.
Yann Pocreau has exhibited work at the Musée d’art contemporain de Montreal; Le Fresnoy – Studio national des arts contemporains, Tourcoing, France; and Galerie de l’UQAM, Montreal, among others.
Yann Pocreau, Impermanence 1, 2017, digital proofs and photograms, 20 × 33 × 2 in. (50.8 × 83.82 × 5.08 cm).
Yann Pocreau, Answer to Painting 1, 2 and 3, 2017-18, digital proofs and photograms, 52 x 42 x 3 in. each.
Yann Pocreau, Archeology, 2017, bronze and steel, 111 × 92 × 110 in. (281.94 × 233.68 × 279.4 cm).
Yann Pocreau, The Light / The Time, 2016, 772 light bulbs found in a hospital and a controller system, dimensions variable.
Yann Pocreau, Catherdral, 2013, blue back paper, light system, and intervention, 152 × 552 in. (386.08 × 1402.08 cm).
Residents from Canada
Past Resident2018: The Adam Mickiewicz Institute
Tomasz Kowalski
Tomasz Kowalski is part of a movement of young Polish artists embracing a form of “new surrealism.” His interest lay in the discrete hauntological aspects of the everyday and a paranoia towards reality. He expresses this discrete sensibility through a mix of parallel narratives and biography, and often collaborates with his family to make objects using various mediums. In Kowalski’s paintings, drawings, installations and sound pieces, the everyday morphs into the tragicomic, lending his imagery an enigmatic and psychedelic quality.
Tomasz Kowalski has exhibited work at Centre Pompidou, Paris; mumok, Vienna, and Contemporary Art Museum St. Louis, among others.
Tomasz Kowalski, Untitled, 2018, oil on canvas, 65 × 45 in. (165.1 × 114.3 cm).
Tomasz Kowalski, Skarbiec (with Alicja Kowalska), 2018, tapestry, 76 × 51 in. (193.04 × 129.54 cm).
Tomasz Kowalski, Untitled, 2015, oil and acrylic on canvas, 55 × 47 in. (139.7 × 119.38 cm).
Tomasz Kowalski, Djinn, 2015, oil and acrylic on canvas, 63 × 51 in. (160.02 × 129.54 cm).
Tomasz Kowalski, exhibition view at Contemporary Art Museum St. Louis, 2014.
Past Resident2018: La Fondation pour l'Art Contemporain Claudine et Jean-Marc Salomon
Loup Sarion
Loup Sarion’s practice lies between painting and sculpture, where color is subsumed by material. The works’ overlapping textures relate to the slippery nature of language, specifically to the tongue—the organ of language. Sarion pays particular consideration to color, surface and texture, often echoing the phenomena of condensation, skin perspiration, and bodily fluids in his work.
Loup Sarion has exhibited work at C L E A R I N G, New York City; Berthold Pott, Cologne; and Formato Cómodo, Madrid, among others.
Events & Exhibitions
Fall Open Studios 2018
November 9–November 10, 2018
Loup Sarion, The Insomniac, 2018, fiberglass, linen, pigment, and acrylic, 44 × 44 × 14 in. (111.76 × 111.76 × 35.56 cm).
Loup Sarion, The Wet Dreamer & the Deep Breather, 2018, installation view of 'chapo' at C L E A R I N G, New York City.
Loup Sarion, The Anxious (Vicious), 2016, Belgian linen, dye, ink, fiberglass, epoxy, and coated steel, 78 × 31 × 18 in. (198.12 × 78.74 × 45.72 cm).
Loup Sarion, Nude (Dusty Rose), 2018, resin, fiberglass, and pigment, 26 × 14 × 12 in. (66.04 × 35.56 × 30.48 cm).
Loup Sarion, Smooth Like an Alibi, 2018, installation.
