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2014


THANK YOU.

Arteles would like to thank all the residents, collaborators

funders and supporters for their work, participation and activity.

This catalogue would be much emptier without you.

Best Regards,

Arteles Team

ARTELES

CREATIVE CENTER

Hahmajärventie 26

38490 Haukijärvi

Finland

+358 341 023 787

info@arteles.org

www.arteles.org

Design: Teemu Räsänen. All rights reserved. Arteles 2016


ABOUT

// //

This catalogue presents residency artists and their projects.

All the past residency program participants have been asked

to send information about their projects done in Arteles

Creative Center. Those who have given the information so far are

presented in this catalogue.

Arteles catalogue was published first time in the beginning of

2012 and it is updated frequently.

You can find the latest version of the Arteles Catalogue from

http://www.arteles.org/artists_projects.html

All rights reserved. Arteles 2016


FUNDERS

// //

ARTELES CREATIVE CENTER & RESIDENCY PROGRAM

_ ARTS PROMOTION CENTER FINLAND

_ SKR - FINNISH CULTURE FOUNDATION / PIRKANMAA REGIONAL FUND

_ HÄMEENKYRÖ

_ EUROPEAN UNION / JOUTSENTEN REITTI RY

OTHER

_ ARTS COUNCIL OF PIRKANMAA [7] [10]

_ FRAME [11]


COLLABORATIONS [in alphabetical order]

// //

_ ALLIANCE OF ARTIST COMMUNITIES

_ ARTS COUNCIL OF CENTRAL FINLAND [3]

_ BACKLIGHT PHOTO FESTIVAL [4]

_ CENTER OF CREATIVE PHOTOGRAPHY [3]

_ ESKARO [8]

_ CREATIVE SCOTLAND [2]

_ GALLERY 3H+K, PORI [6]

_ GALLERY ALKOVI, HELSINKI [6]

_ GALLERY RAJATILA [7]

_ HAUKIJÄRVELÄISET ASSOCIATION

_ HÄMEENKYRÖ BOROUGH [8]

_ INSTITUTO ITALIANO DI CULTURA FINLANDIA [2]

_ JYVÄSKYLÄ ART MUSEUM [3]

_ JYVÄSKYLÄ UNIVERSITY OF APPLIED SCIENCES [3]

_ KIASMA [1]

_ LIVE HERRING GROUP [3]

_ NÄKYMÄ PUBLIC ART SHOW 2011 [6]

_ MAKE 8ELIEVE

_ PIIPOO RY [12]

_ PORI ART MUSEUM [7]

_ PERFO! (CULTURAL CENTER TELAKKA TAMPERE) [6]

_ PISPALA CENTER FOR CONTEMPORARY ARTS [5] [6]

_ PTARMIGAN HELSINKI & TALLINN [6]

_ RAJATAIDE ASSOCIATION [5]

_ RED CROSS / REGIONAL DIVISION [13]

_ RECYCLING CENTER, HÄMEENKYRÖ [8]

_ TAMPERE UNIVERSITY OF APPLIED SCIENCES [3]

_ TAMPERE ARTIST ASSOCIATION [5] [9]

_ TAMPERE CITY / CULTURAL OFFICE [5] [12]

_ TAMPERE TRADE FAIR [9]

_ TUNTURI HELLBERG LTD

_ TEHDAS RY [7]

_ TIKKURILA [8]

_ TR1 KUNSTHALLE [7]

_ UNIVERSITY OF JYVÄSKYLÄ [3]

_ XL ART SPACE HELSINKI [6]

_ ORE.E REFINERIES [7]

EXPLANATIONS

// //

[1] Arteles Citywalks - URB - Urban Art Festival 2011

[2] Arteles Studios

[3] Artist Talks

[4] Backlight Sympsium

[5] CARE - Contemporary Art Residency and Exchange Program

[6] Direct use of Arteles network artists

[7] Satellite Platform - Lecture series

[8] Residency program’s material support

[9] Tampere Art Fair

[10] Art Dubai fair

[11] Istanbul Biennale

[12] Artisokka -project

[13] Art projects


RESIDENTS

Arteles Creative Residency Program, January - November 2014

Argentina

Australia

Belgium

ANA FANELLI // Photography, video

NICOLÁS MARTELLA // Photography, video

MICHAEL HENDERSON // Writer, painter, installation art

ALISA TANAKA-KING // Print-/bookmaking, Performance

RYAN LAUTENBACHER // Sound art & design, music, media

APRIL PHILLIPS // Design, sculpture, illustration

GRACE KINGSTON // Installation, photography, mixed-media

TOM HOGAN // Poetry, music

EMILY STEWART // Conceptual art, photography

NAOMI BISHOP // Painting, drawing

CLINTON CAWARD // Writing

BEN JULIEN // Writing

ARNAUD DE WOLF // Photography, Video, Installation

Poland

ALEKS SLOTA // Performance, video, sound

Portugal MARIANA PORTELA ECHEVERRI // Installation, Photography

Singapore

XI JIE NG // Performance, installation, film

JACQUELYN SOO // Installation, performance, drawing

South Africa

ANJA MARAIS // Photography, fiction writing

PAUL SENYOL // Painting, installation

PIERRE LE RICHE // Installation, Sculpture, Multimedia

South Korea

JIHYUN YOUN // Dance, theater, performing art

Spain

MARTA JIMÉNEZ // Photography

ALICIA RÍOS // Edible Art, Food Art

Brazil

Bulgaria

DIOGO BLANCO // Painting, Drawing, Calligraphy

ALESSANDRA FALBO // Photography, video, installation

NATALIYA PETKOVA // New media, sound art, performance

Switzerland

Taiwan

SONJA LOTTA // Photography, Mixed Media

TSAI CHIH-FEN // Installation, Photography, Video

REXY TSENG // Video, multimedia installation, performance

Canada

China

Denmark

France

Germany

Greece

JEAN MAILLOUX // Drawing, lithography, photography

SAM CORBIN // Performance, writing, installation

TROY HOURIE // Scenographer, installation, performance

CARA COLE // Photography, fiction writing

CARISSA BAKTAY // Interdisciplinary, Sculpture, Glass

PAT NAVARRO // Video, Installation, Photography

RUITONG ZHAO // Photography, Video, Conceptual

MARIE-LOUISE ANDERSSON // Multidisciplinary

ALEXANDRA PETRACCHI // Illustration, installation

BARTHÉLEMY ANTOINE-LOEFF // New media art, installation

JEAN-PHILIPPE LAMBERT // Sound, music

IRMI WAHL // Drawing

SOPHIA GUTTENHÖFER // Dance, performance

TANO // Painting, Drawing, Tattoo

Hong Kong

OSCAR CHAN YIK LONG // Mixed media

Ireland

CLAIRE FOX // Photography, Installation, Visual Art

Israel

MEYTAR MORAN // Photography, Installation, Poetry

Italy MAURO ARRIGHI // Sound design, new media art & aesthetics

Japan

AKI ITO // Music

Luxembourg

RAOUL RIES // Photography

Mexico

JULIO ORTA // Installation, Video, Performance

New Zealand

MATT SIWERSKI // Textiles, mixed media

REBECCA STEEDMAN // Installation, painting

UK

USA

NICOLA WILLIAMS // Painting

MEGAN TAYLOR // Illustration, installation, moving image

MAGGIE KELLY // Photography, installation, sculpture

ANNE BEAN // Art

EMILY BECKMANN // Textiles, collage, installation

BETH GIBBONS // Drawing, portraiture

RORY MCINTYRE // Music, Sound

KEHA MCILWAINE // Installation &bright and brief experience

LEIGH DIFULVIO // Installation, printmaking, fibers

ELISABETH HORAN // Collage, sculpture, street art

LISA RYBOVICH CRALLÉ // Sculpture, installation

LORI HEPNER // Photography, social media art, installation

JULIE ZHU // Painting, composition, performance

DAVID ORNETTE CHERRY // Composer, artist, writer

NATHALIE COLLINS // Painting, Drawing, Sculpture

AARON J. KIRSCHNER // Music theory, composition

CHIN CHIH YANG // Performance, new media, environmental art

BRETT SROKA // Music, Sound

ELLYCE MOSELLE // Photography, drawing, sculpture

KEVIN KANE // Dance, ensemble theatre, arts education

ADAM SETALA // Illustration, design

ALEXANDRIA CARRION // Sculptural Metalwork

JACOB RIDDLE // Metamedium

ANDREA MCGINTY // Video, text, drawing

SUSAN KLEIN // Painting

CHRISSY LUSH // Photography

DAVID BLOOM // Dance, choreography, video

ALEXIS COURTNEY // Photography, video, installation

DUSTY RABJOHN // Drawing, Painting

HOLLY KNOX RHAME // Mixed media

CARL GOMBERT // Drawing, Painting, Printmaking

LEA DEVON SORRENTINO // Multimedia, installation

ROBERT COLLIER BEAM // Photography, Installation

LESLIE LANXINGER // Charcoal, Mixed Media

BEN HERNSTROM // Digital Video, Photography


RESIDENTS

SILENCE . AWARENESS . EXISTENCE - Theme residency program, December 2014

Australia

YIORGOS ZAFIRIOU // Performance Art, asceticism

Brazil

LUIZA LACAVA // Photography, video, installation

Canada

ANNIE FRANCE NOËL // Photography, video/film

Poland

MALGORZATA ZURADA // Photography/video, metaphysics

South Korea

HEEJIN JANG // Video/film, sound, performance

YOONJUNG KIM // Sculpture, installation, performance

Spain

MIRIAM VARELA-QUINTERO // Dance

UK

EMILIE LINDSTEN // painting, photography, installation

USA

GABRIEL FORESTIERI // Dance, Environmental art

GIB EDLEMAN // Video/film, literature, research


RESIDENTS

Arteles Creative Residency Program, January - November 2013

Argentina

Australia

MARÍA EMILIA SILVETTI // Painting & poetry

NIZHA BUSTOS SALIM // Music

SIMON GARDAM // Media art

PILAR MATA DUPONT // Visual art

JODY QUACKENBUSH // Visual art

ANNIE NGUYEN // Visual art

ADAM GIBSON // Visual art & music

HENRY ANDERSEN // Sound & music

JACQUI MILLS // Visual art

Mexico

Netherlands

New Zealand

Norway

Poland

IVÁN KRASSOIEVITCH // Visual art

MAARTEN BOEKWEIT // Visual art

JOANNE DRAYTON // Visual art

SUZANNE VINCENT MARCHALL // Visual art

KRISTIN NANGO // Dance & performance

SENA WOLF // Visual art

Belgium

Brazil

Canada

Colombia

BEATA SZPARAGOWSKA // Visual art

BEATRIZ MOGADOURO CALIL // Visual art

VICTOR LEGUY // Visual art

CARLA CHAIM // Visual art

JORMA KUJALA // Visual art

NATASHA ALPHONSE // Visual art

DEVON MICHIGAN // Performance, occult, music

DANA BUZZEE // Installation & photography

PAOLO GRIFFIN // Music composition

DANIELLE BLEACKLEY // Sound, Ink,Textile

VANESSA VAUGHAN // Visual art

CHRISTIANA MYERS // Visual art

SYDNEY SOUTHAM // Visual art

JULIE PASILA // Visual art

JEAN PAUL GOMEZ // Photography, video, installation

LARRY MUÑOZ // Visual art

Spain

Sweden

Switzerland

Turkey

UK

GLÒRIA ESCALA VIDAL // Performance & installation

JOSE BAHAMONDE // Video, 3D, motion graphics

MYRIAM GUILLAMÓN // Video, 3D, motion graphics

JIMMY ALM // Visual art

MAURITZ TISTELÖ // Poetry & visual art

LILIAN BEIDLER // Visual art

CAROLINE VON GUNTEN // Drawing, Installation

SEZA BALI // Photography

ELIZABETH ARMOUR // Jewellery, craft, digital design

SOPHIE LEE // Photography, installation, artist books

EDWARD SANDERS // Painting

MARTHA JURKSAITIS // Visual art

KADIE SALMON // Visual art

JAMES GOW // Visual art

AMELIA CROUCH // Visual art

Denmark

Finland

France

Germany

Hong Kong

Iran

Ireland

Italy

IDA-ELISABETH LARSEN // Dance & performance

MARIE-LOUISE STENTEBJERG // Dance & performance

OLLI HORTANA // Film

VIRPI VELIN // Photography

KIA KUJALA // Mixed

RAILA KNUUTTILA // Visual art

EMILIE MCDERMOTT // Video, installation, performance

VERA HOFMANN // Visual art

SABINE SCHRÜNDER // Visual art

JACQUELINE HEN // Visual art

VIOLET SHUM // Visual art

SHOHREH GOLAZAD // Multimedia

IAN NOLAN // Painting, installation, intervention

PIERCE HEALY // Visual incongruities, storytelling, sound

MIRKO KANESI // Visual art

ARABELLA PIO // Visual art

BENEDETTA ALFIERI // Visual art

ALBERTO VENTURINI // Visual art

EMANUELE LOMBARDINI // Visual art

USA

CHAD MOUNT // Painting, video

NICOLE GRECO-LUCCHINA // Visual Arts, typography

AMBERA WELLMANN // Painting

STEPH ZIMMERMAN // Sculpture, photography, graphic

AMY JONHSON // installation, photography, performance

LYNDON BARROIS, JR // Painting & drawing

ADDOLEY DZEGEDE // Visual art

MATTHEW SCOTT GUALCO // Writing, texting, drawing

RYAN SOMERVILLE // Music

CATHERINE J. HOWARD // Visual art

SUSAN E. EVANS // Hybrid media & photography

BRENNA NOONAN // Music

AMBER DOE // Visual art

MAEGAN STRACY // Visual art

DUSTY RABJOHN // Visual art

KRISTY HEILENDAY // Visual art

AGNES FIELD // Visual art

ALISON CHEN // Visual art

SHELBY SEU // Visual art

JESSICA MILAZZO // Visual art

SHARON LACEY // Visual art

SALMA BRATT // Literature

COALFATHER INDUSTRIES // Visual art

HEATHER SINCAVAGE // Visual art


RESIDENTS

SILENCE . AWARENESS . EXISTENCE - Theme residency program, December 2013

Ellis Hutch // Installation, sound, drawing

Australia

Sasha Margolis // Sound art, installation, music

Australia

Sam Fagan // Visual art

Australia

Alexis Williams // Sound, installation, biology

Canada

David Boyce // Conceptual art, photography Hong Kong / New Zealand

Teresa Miró // Visual art

Spain

Simon Gerrard // Photography, installation, light

UK

Shawné Holloway // New media, sound

USA

Jessica Anderson // Sculpture, photography, installation USA

Matthew Clark // Visual art

USA

Birgit Larson // Performance, drawing

USA


RESIDENTS

2012

Australia

MICHELLE DICINOSKI // Media art

Russia

TATJANA GORBACHEWSKAJA // Visual art

RYAN McGENNISKEN // Visual art

HOLLIE KELLEY // Visual art

Slovenia

NATASA KOSMERL // Photography

GRACE KINGSTON // Visual art

GREGA LOŽ // Illustration

LAURA BATCH // Visual art

TOM HOGAN // Sound & Music

South Africa

LAUREN VON GOGH // Visual art

ADAM GIBSON // Sound & Music

ROBYN COOK // Visual art

JACQUI MILLS // Visual art

JENNA BURCHELL // Visual art

Bulgaria

IVAYLO GUEORGIEV // Visualart

South Korea

SAEBON KIM // Visual art

JI HYE YEOM // Visual art

Brazil

RENATA PADOVAN // Visual art

LARISSA PINHO ALVES RIBEIRO // Visual art

Spain

ALBERTO MARTÍNEZ CENTENERA // Visual art

STEFFANIA PAOLA ALBANEZ // Visual art

ANA GALAN // Visual art

Canada

JENNIFER PICKERING // Visual art

Switzerland

NATALIA COMANDARI // Visual art

VANESSA BRAZEAU // Visual art

ROMAIN LEGROS // Visual art

ELLA COLLIER // Visual art

SIBYLLE IRMA // Visual art

JULIE PASILA // Visual art

Chile

CARLOS LABBÉ JORQUERA // Literature

UK

LAURA CARLOTTA WRIGHT // Lense based arts

DAN COOPER // Sound & Music

MONICA RÍOS VASQUEZ // Literature

PATRICK LOAN // Visual art

ANNABELLE CRAVEN-JONES // Visual art

Finland

ANU TURUNEN // Visual art

EMMA REEVES // Visual art

CAMILLA EMSON // Visual arT

France

EMILIE COLLINS // Visual art

USA

MARY-ELLEN CAMPBELL // Visual art

Hungary

TAMAS SZVET // Visual art

GRACE NEEDLMAN // Visual art

CHRISTOPHER D WILLE // Media art

Israel

OFRI LAPID // Visual art

MARK WUNDERLICH // Poetry

DOROTHY K. MCCALL // Art history

Italy

SARAH EDITH LOMBROSO // Illustration

MARLENA MORRIS // Photography

ROBERTO PUGLIESE // Sound & Media art

PAUL ZMOLEK // Dance & Performance

JOSEPHINE A. GARIBALDI // Dance & Performance

Japan

MIKA MIZUNO // Photography

SUSAN EVANS // Visual art

AQUICO ONISHI // Visual art

JAMIE URETSKY // Visual art

TOSHIHIKO SUZUKI // Architecture

DELILAH JONES // Visual art

YUKI SUGIHARA // Design

JOHANNA BREIDING // Visual art

MARY RASMUSSEN // Visual art

Malaysia

VALERIE NG // Painting

MELANIE EDWARDS // Music

STEPHANIE CHAMBERS // Visual Art

Mexico

DANIEL ORLANDO LARA // Photography

JESSELISA MORETTI // Visual art

CARRIE NAUGHTON

// Literature

SIMEN JOACHIM HELSVIG // Visual art


RESIDENTS

2011

Argentina

Australia

Belgium

CAROLINA TRIGO // Media-art, Performance

THE MOTEL SISTERS // Action

PILAR MATA DUPONT // Video, performance

JENNA CORCORAN // Installation

KATHERINE SHRINER // Painting

JESSICA MONTFORT // Painting

JAN VERBRUGGEN // Sculpture, Painting

KAREL VERBUGGEN // Engineering

PIETER GYSELINCK // Sound

Italy

Japan

South Korea

Spain

HELENA HLADILOVA // Fine art

PAOLA RICCI // Sculpture

HANAE UTAMURA // Transart

HWAYOUN LEE // Drawing

HYOJUNG JUNG // Film, video

HYEKYONG YUN // Photography

VICTOR GONZALEZ CASTRILLO // Writer

MARIA SANCHEZ // Curator

Canada

Croatia

China

Finland

France

Germany

Greece

Honduras

ANDREANNE FOURNIER // Media art

AARON WELDON // Painting

JEANNE MARSHALL // Textile

RICHARD IBGHY // Conceptual art

MARILOU LEMMENS // Conceptual art

CHRISTIAN CHAPMAN // Painting

ANNE MARIE DUMOUCHEL // Performance

ANA GEZI // Painting

JOLENE MOK // Transdisciplinary

ULRICH HAAS-PURSIAINEN // Curator

OLLI HORTTANA // Photography

HÉLÈNE BARIL // House painter

JEANNE DE PETRICONI // Sculpture

SORAYA RHOFIR // Video art

BERENICE SCHRAMM // International Law

MARIE MONS // Design

SABINE SCHRÜNDER // Photography

VERA HOFMANN // Photography

NINA FARSEN // Design

GEORGIA KOTRETSOS // Conceptual art

ALEXIS AVLAMIS // Painting, Drawing

DINOS NIKOLAOU // Media Art

ALMA LEIVA // Transdisciplinary

Switzerland

Taiwan

Turkey

UK

USA

CETUSSS // Design, art, sound

JULIET FANG // Fine arts

DIDEM OZUBEK // Design

LUCY DRISCOLL // Illustration

LUCY BAKER // Fine art

EDWARD LAWRENSON // Painting

SAMANTHA EPPS // Fine art

HILJA ROIVAINEN // Painting

LAURA DONKERS // Conceptual art

MATT SHERIDAN // Media arts

SUSAN BERKOWITZ // Photography

LUCAS COOK // Photography

SHARI PIERCE // Fine art

KARIN HODGIN JONES // Installation

MONTANA TORREY // Videoart

DAN SPANGLER // Media Design

KATIE ZAZENSKI // Installation

TREVOR AMERY // Installation

GAYLORD BREWER // Poetry

ARIEL MITCHELL // Textile Art

GEORGIA ELROD // Painting

TRAVIS JANSSEN // Media-art

COLIN WOODFORD // Sound art

BRENDAN CARN // Music

KELLY MONICO // Video

MIKE KOFTINOW // Painting

EILIYAS // Sound art

GWYNETH ANDERSON // Animation

MARISSA GEORGIOU // Conceptual art


IN THE RESIDENCY

2010 June >

Australia

MICHAEL PULSFORD // Sound art

France

CAROL MÛLLER // Photography

HANNA TAI // Installation Art

MAXIME BONDU // Installation

SALLY DAVISON // Actor

NICOLAS CILINS // Installation

Brazil

LEANDRO LEITE // Choreographer

Israel

MAYA ARUSCH // Fine Arts

Canada

EMMA HOOPER // Research and music

Slovakia

EMESE HRUSKA // Research, music

ELIA ELIEV // Visual arts, research

JOHN LUI // Photography, design

The Netherlands

BREGTJE WOLTERS // Drawing

RICHARD IBGHY // Conceptual art

MARILOU LEMMENS // Conceptual art

USA

TAKESHI MORO // Photography, media art

CHARLIE WILLIAMS // Composer

Estonia

ANNA JAANISOO // Theater director

ALICIA VIANI // Research, Music

DEREK LARSON // Artist, Curator

Finland

EERO YLI-VAKKURI // Multidisciplinary art

INKA JURVANEN

// Drawing

Vatican City

STEPHANO SUH // Graphic design

EEVA TALVIKALLIO // Research

IIDA-MAARIA LINDSTEDT // Actor

PAULA LEHTONEN // Media-art


RESIDENTS + PROJECTS


IN THE RESIDENCY

December 2014

YOONJUNG KIM

South Korea

mail@yoonjungkim.com // www.yoonjungkim.com

Much of my practice involves making objects through repetitive

and labor intensive process applied to ubiquitous materials. This

has principally involved using manufactured materials and focuses

on the processes of making and unmaking. My work is a kind of

investigation into the materials (and the actions linked to them)

distilled into something resembling a pastiche of both manufacture

and use as well as artistic endeavour and research.

I mainly use manufactured materials that have clear and intended

functions and purpose - essentially their existence has meaning.

Through a time-consuming process of manipulation I physically

dissect or dismantle both the material and its function. What at

first might seem a mis-use ultimately generates its own rationale.

The only thing that remains as an archive is a residue of physical

labour and the passage of time.


FOUR 30 GRAMS SINKERS 30 GRAMS AND 60 GRAMS SINKERS

My main work turned out to be researching, creating and recording

of the ”Invocation of Sol”, a short performance in celebration of

the winter solstice. I set the date for the darkest day of the year,

December 21st, Sunday at noon (day and hour corresponding to

the Sun) and performed a piece loosely based on the ‘Lesser ritual

of the hexagram’. One of this ritual’s uses is to invoke planetary

and zodiacal forces (solar force in this case). My main aim was to

take it out of the magical circle and into the studio space to study

how the energy, voice and body movement change when given

another context. I ended up skipping some parts and adding new

ones, thus creating a coded, visual storyline told by gestures but

devoid of a vocal component of the original ritual.

My second work was an investigation into the nature of an

automated banishing. From twigs and rope I constructed an object

with a set purpose: to keep me from having nightmares and banish

all unwanted entities from my residency room and its vicinity.

The object was supposed to work as a reversed dreamcatcher,

dispersing nightmares rather than catching them. It acted as a

filter for dreams as well as a ghost repellent, and after hanging

above my bed for the duration of residency I burned it the last day,

upon my departure home.


IN THE RESIDENCY

December 2014

MIRIAM VARELA QUINTERO

Miriam_mlg@hotmail.com

Spain

I was born in Málaga Spain, I studied in the conservatory in

Málaga and later in Barcelona and also Madrid where I finished

my professional training. I worked with Sharon Friedman, Mónica

Runde, Pedro Verdaÿes, and others in Madrid. I am a Pilates

teacher and I practice aerial dance as well as hip hop and other

forms.

“Worlding, fully inhabitating body and

space while continuously refreshing all relationshiops

without naming any aspect of

experience as a means to share identity.”

GABRIEL FORESTIERI

USA

projectlimb@gmail.com // www.projectlimb.net

I have always been drawn to my body and the earth. There were

the places I found refuge from the madness of my emotions and

the ever changing nature of my life. As a child it was in wilderness,

physical activity, or discipline that I found silent spaces free

from the judgment I felt from myself and others. This pull

moved me from martial arts and theater into dance, and work

in environmental restoration and gardening. During this time I

received a BFA in Drama from Carnegie Mellon and a MFA in Dance

from NYU and studied various physical and meditative practices

such as Gyrokinesis, Aikido, Qi Gong, Breathing Coordination, and

Kinesiology/Functional Anatomy. I worked as a professional dancer

for many years in NYC, dancing with different choreographers and

creating my own work. As my work moved from the theater and

studio into the world I became fascinated with awareness and

experience. I began to develop a technique to include more, to

partner with the world, to participate instead of control. All of this

drew me into focusing on my own work and I know travel the world

creating site-specific dance in various cities with local dancers.


ENTRE LOS DOS

We filmed the second half of a dance film and then edited it

together during our residency. The first half was in Ibiza and was

all underwater footage. The contrast with the water and sun in

ibiza with the snow and darkness of finland in December made

from some strong images. It is a very personal work that was

nurtured by the creative space that is Arteles.


IN THE RESIDENCY

December 2014

MALGORZATA ZURADA

Poland

mzurada@gmail.com // www.mzurada.com

My area of interest revolves around the notion of meaning and

sense-making. I work across disciplines and my practice currently

includes photography, video, painting, performance and sound. I

am drawn to objects and situations whose meaning transcends

the physical reality - remnants, ruins, rubbish, experiences on

the verge of existence and oblivion. My works refer to broadly

understood metaphysics, myths and occultism and are heavily

informed by beliefs and rituals of past and present, from cultures

of the world as well as from Western esoteric tradition. I am

especially interested in visual languages connected with various

belief systems and means of coding esoteric knowledge.


SILENT INVOCATION, BANISHING BY MEANS OF PYRAMID-LIKE STRUCTURES

My main work turned out to be researching, creating and recording

of the “”Invocation of Sol””, a short performance in celebration of

the winter solstice. I set the date for the darkest day of the year,

December 21st, Sunday at noon (day and hour corresponding to

the Sun) and performed a piece loosely based on the ‘Lesser ritual

of the hexagram’. One of this ritual’s uses is to invoke planetary

and zodiacal forces (solar force in this case). My main aim was to

take it out of the magical circle and into the studio space to study

how the energy, voice and body movement change when given

another context. I ended up skipping some parts and adding new

ones, thus creating a coded, visual storyline told by gestures but

devoid of a vocal component of the original ritual.

My second work was an investigation into the nature of an

automated banishing. From twigs and rope I constructed an object

with a set purpose: to keep me from having nightmares and banish

all unwanted entities from my residency room and its vicinity.

The object was supposed to work as a reversed dreamcatcher,

dispersing nightmares rather than catching them. It acted as a

filter for dreams as well as a ghost repellent, and after hanging

above my bed for the duration of residency I burned it the last day,

upon my departure home.


IN THE RESIDENCY

December 2014

ANNIE FRANCE NOËL

Canada

anniefrancenoel@gmail.com // www.anniefrancenoel.com

Annie France Noël is an Acadian artist specializing in analog

photography.

She dedicates much of her practice questioning the physicality

of the medium and society’s relationship with the photographic

image.

Her works reveal discord and resolution between the dark and

immaculate. She is perpetually seeking to create a moment of

silence, a pause in one’s inner chaos or an exploration within.

Annie France is actively involved in the cultural scene in

Moncton where she lives, as a member and volunteer of various

organizations, and now as co-director of the Galerie Sans Nom.”


VISCERA ETCETERA

I came to Arteles to find silence and solace.

Without any preconceived ideas, I let myself be nurtured and inspired

by the gentle environment and people that graced the grounds.

During my residency I dove into the abstraction, ephemeral quality

and palpable potentials of the Polaroid film. The work birthed

embraces the deconstruction of the image and of self in order

to dive into unknown, ghostly landscapes found within. Stirring

stillness and silence take an important place in the essence of

my work while the photographs present a dualism between the

lightness and darkness of the intent and the content.


IN THE RESIDENCY

December 2014

“Performance through subtle

characteristics of existence”

YIORGOS ZAFIRIOU

Australia

yzafiriou@gmail.com // www.vimeo.com/76239893

Yiorgos Zafiriou is a cross disciplinary contemporary visual artist.

He maintains ongoing participation in exhibitions and regularly

undertakes performance. Using the disembodied experience

Yiorgos reframes the relationship his body has to ideas of what

constitutes an audience.

He periodically lectures at the University of New South Wales

(UNSW Art|Design), where he authored an online post graduate

course in performance art. He holds a Bachelor of Fine Arts

(UNSW), Bachelor of Design (UNSW), Master of Visual Art (USYD)

and is undertaking a PhD at the University of Sydney, Sydney

College of the Arts.

He is known as a conscientious maker and has established a

firm connection between the creation of art objects and his

performances. Yiorgos has participated in performance art

festivals in Australia and Thailand and undertaken further research

in sites across Europe and Asia. He is currently researching the

possibilities of undertaking performance without undertaking

performance.


Photo: Annie France Noël

IN THE APPROACH TO SILENCE

A series of seemingly disconnected works and curious objects

arranged around the space. A live performance work where death

and nature collide. These aspects came together over four hours

in a pop up exhibition at Arteles to conclude a month of wearing

robes, communing with wood spirits and serious contemplative

discussions on silence, human existence and visibility.


IN THE RESIDENCY

December 2014

“a quiet noise monster!”

HEEJIN JANG

South Korea / USA

hjang0307@gmail.com // www.heejinjang.com

Heejin Jang’s practice manifests itself in the forms of sound

performances, and site-specific video installations. In the

performances, the interaction between machines and the

artist transforms ordinary portrait, landscape, and the noise

of daily routine into something unusual. The layered moments

demonstrate the way she interacts with the culture and place

she has been involved in. Jang currently lives and works in San

Francisco.


HEIKKI LAAKSONEN’S SILENT SYLLABLES. HD VIDEO 4:15”

Mister Heikki Laaksonen unfolds his travel diary that he wrote in

last December: a story of sweat, snow, steam, and silence.


IN THE RESIDENCY

December 2014

EMILIE LINDSTEN

UK

emilielindsten@hotmail.it // www.emilielindsten.com

Emilie Lindsten was born in Sweden in 1985 and currently lives in

London.

In 2006 she graduated from the European Institute of Design in

Fashion Design. After 4 years of working in London, she enrolled

at Goldsmith’s University where she studied a Masters degree

in Social Anthropology. She has a international background and

has traveled extensively throughout her life. With her work she

is interested in exploring narratives of the self and the subtle

definition of boundaries in space, across cultures as well as

personal relationships.


A DAILY PRACTICE

During my residency at Arteles I have been doing a daily practice

of drawing with watercolour and soft pastels as a means of self

inquiry and self reflection, this practice of introspection was also

inspired by the landscapes and scenarios of our surroundings. I

also started exploring ways in which to act in the landscape by

usign soft clay on trees and stones to explore a more sensual and

tactile connection with the land and its forms.


IN THE RESIDENCY

November 2014

LEIGH DIFULVIO

USA

kldifulvio@gmail.com // www.kldifulvio.com

My work explores the relationship between conscious actions and

subconscious emotions as a way to deepen my understanding of

the spectrum of human emotions. Behind each conscious artistic

action, an underlying language of subconscious emotion emerges

through my use of color, line, shape, and space. Each piece

becomes an honest visual description of my current state-of-being,

often before I am even aware of my thoughts, desires, or worries.

I use this underlying language to create visual environments of

emotion for the viewer to experience what I am feeling; inviting

them to discuss and reflect upon their own emotional awareness

and acceptance. Ultimately functioning as self-portraits, my art

practice has become a necessary step in transforming my untamed

emotion into self-acceptance, knowledge, and understanding.


ZONES

Much of my time at Arteles was spent reflecting on the self-imposed

limitations that define my “comfort zone.” I began to explore the

relationship between how far and quickly these boundaries can be

stretched to maximize the ability to learn, adapt, and adjust.


IN THE RESIDENCY

November 2014

ANJA MARAIS

South Africa / USA

art@anjamarais.com // www.anjamarais.com

My art projects are a hybrid of disciplines in moving images,

sculpture, photography and installation that creates environments

with a reference to nature and simultaneity. An assimilation of

visuals where all boundaries washes away: yesterday, today and

tomorrow becomes indistinguishable; dream and reality cannot be

told apart; the horizontal and the vertical merges in a perpetual

fugue. In an effort in my art practices to enter this motley world,

I myself cascaded into multiple reflections like the stars in the

galaxy that from high above looks down upon the solitary planet

that is me. For a very brief moment the see-er has become the

seen.

The Latin derived word, frangible, describes my interest in the

brittle and disintegrated nature of the substances in our world. My

sculptures are stitched together by hand, my videos are thousands

of still images stringed together, the textiles in my mixed media

molder – to emphasize the fractured and the fragile. I prefer to

work with natural materials with a transient spirit; paper, cotton,

sisal, jute, bamboo and rock. It sustains my interest in ritual, the

female form and of ancestors moving across the uncharted sea,

steppe, ice, desert and forest.


ONE THOUSAND FACES

I came to “ The Land of a Thousand Lakes” to study via Pixelation

Animation the journey of the self-proclaimed outcast. In this 5

minute visual animation poem we follow a self-exiled girl through

capricious snowy landscapes, unawares still carrying Spring with

her. As she moves through the landscape she leaves ‘breadcrumbs’

in the form of black ink imprints of her face. Each one of these

black facial mono prints resembles a fragment of herself and

collectively become a thousand faces. As a thousand lakes make

one country so a thousand faces become the girl.


IN THE RESIDENCY

November 2014

ELISABETH HORAN

USA

elisabethahoran@gmail.com // www.elisabethhoran.com

Elisabeth Horan received her Bachelors of Fine Art from the

University of South Florida in 2010. Since then she has been living

and working in Portland, Oregon.

Fear of the unknown is a common theme in life and in Horan’s

work. This existential dilemma is explored and expressed through

repetitive motions seen in the Circles series. The artist draws

influence from sand mandalas and illuminated manuscripts.

Each piece is composed with puerile mediums that add a layer of

playfulness while obscuring concepts of high and low art.

Horan is also drawn to markers found in daily transit and

construction sites. Her sculptures investigate direction, time and

purpose through the appropriation of these signs and symbols.

The pieces are recreated using mixed media and the scale and text

are altered to create an unreal reality.

Horan plans to build upon these concepts while in the cold, remote

and unknown location offered by Arteles Residency.

The artist is supported by a Career Opportunity Grant from the

Oregon Arts Commission.


CIRCLE SERIES

My current work explores the inner world of human existence in

Circle Series.

A circle represents a core, like the cross-section of a tree telling of

centuries past. A circle is also representative of a more fluid and

cyclical idea of time in which bad implies good and good implies bad.

A spectrum of emotions is explored during the meditative process

of each drawing. I come to appreciate subtle shifts by focusing on

the nuances of line and color. During my residency at Arteles I was

able to commit myself to the progression of this visual concept and

investigate new materials.


IN THE RESIDENCY

November 2014

JEAN MAILLOUX

Canada

jeancommejohnny@hotmail.com // www.flickr.com/photos/jeancommejohnny

I live and work in Montreal (Canada). I hold a bachelor’s degree

in Fine Arts from Concordia University. After participating in solo

and group exhibitions and receiving several prizes, I dedicated my

time to disseminating the work of other artists through artistrun

centres in Montreal and Quebec City. During those 15 years,

my activities included curating a number of video programs and

exhibitions in Montreal, Paris, Toulouse and Santiago. I returned to

my own artistic practice in 2007 concentrating on photo, drawing

and lithography.

Since then, my work has focused on the male body. I scrutinize people

and relationships between them with curiosity and sensitivity,

alternately revealing moments of intimacy, vulnerability, support,

tenderness and loneliness. Despite the familiarity of the situations

represented in my work, a touch of mystery and ambiguity is

maintained. This mystery draws the viewer to the heart of an open

scenario, one in which aesthetic aspects play an important role

My works often focus on one or a few characters who are grouped

in a way that excludes the viewer, who may be attracted by the

action and can follow it, but is unable to participate. This exclusion

is reinforced by the fact that the figures often appear introverted

and inward-looking, even when interacting with one another.

As a result, rather than bearing witness to daily life, my figures act

as signs, emblems and metaphors; they are a representation of

life. As in our own relationships, the moments depicted oscillate

between the banal and the sacred.


TARMARC + PHOTO NOIRE (WORKING TITLE)

Tarmac

Twenty years ago, my practice alternated between figuration and

abstraction. Having focussed on a rather “clean” and “sparse”

figurative art these last years, I felt the need to flirt again with

abstraction. In the first of my two main projects at Arteles, I

explore a theme that has been present for a while in my photo

work: airports. Inspired by some of these photographs, I draw

geometric and organic forms with acrylic paint on paper (about 1.5

x 1.5 m). Some paintings are geometric, others are more organic,

sometimes very abstract, but almost always with a figurative

connotation. Whether close-ups or larger views, generally of

tarmacs (aprons), the aesthetic aspects are very present too.

Despite the theme of airports, the treatment is consistent with my

recent drawings, lithographs, and photos: emptiness, ambiguity,

vulnerability, loneliness, and even relationships. The human

presence remains omnipresent. Even when human figures are not

present, the environment evoked is clearly the result of the human

hand. This series of paintings will be accompanied by some of my

airport photos.

Photo noire (working title)

My second project is a series of photos taken during the residency.

I focussed on darkness, a characteristic of the Northern climate in

November, which is central to works by authors such as Mankell

or Oksanen. In those photos, the situations might be familiar, but

they soak in an atmosphere of mystery and ambiguity. They create

a realistic, emotionally charged fiction that impels the viewers to

develop their own scenarios.


IN THE RESIDENCY

November 2014

MICHAEL HENDERSON

Australia

trappedinthebox@gmail.com // www.fortysevenperiodical.wordpress.com

My name is Michael Henderson. I live with my beautiful wife and

family in a gorgeous part of the world on the Northern Beaches of

Sydney, Australia.

I am a painter, a writer and an installation artist. My creative

pursuits give me space to be a seeker, a learner, a dissident. I

think I am by nature someone discontent with the status quo. I

love to study our world and reveal something about it: things that

inspire, trouble and challenge me.

My work emphasises my meditation on the relationship between

heaven and earth. I hope, without sounding to grand, to enable

the viewer to see more than just a physical representation of our

world, but to give them a glimpse of the divine qualities embedded

in and through nature (Christian Bible, Romans 1.20).

I am a huge fan of many creative people, but in particular artists

Anselm Kiefer, Lloyd Rees, Mark Rothko, and writers Victor Hugo,

Harper Lee and Markus Zusak.

My favourite thing outside of art is to gaze at overgrown lawns.

They make me smile. For me, they symbolise freedom in the

middle of a world that would love to keep everything bound, beaten

and under control.


WRITING AND SKETCHING

My work here focused on the first draft of a new novel, currently

with the working title, ”Fake Plastic Hearts”. Part of the reason for

working on it here, at Arteles in November, was for the dark and

cold environment and the impact of this on my writing. My novel is

partly set in a cold environment. Arteles and Finland proved truly

inspirational. Especially for gathering the detail that helps to avoid

poor cliches.

To break up the writing, I also worked on a series of sketches

inspired by the local environment. It helped me to spend time

focused on observation out on location. I especially concentrated

on the play of light between the land and lakes.

I came here to find my voice again, and I did. I have really loved my

time here, and I am very thankful to Arteles for this opportunity,

and for the other artists, and for the spaces provided for me to

work in.


IN THE RESIDENCY

November 2014

“Light and more light”

ANA FANELLI

Argentina

info@anafanelli.com // www.anafanelli.com, analaurasofia.tumblr.com

I was born in Buenos Aires. I studied Sound & Image design

at UBA. When I got my degree I was caught by photography.

Life took me to Madrid, city which gave me the chance

of assisting wonderful professionals such as Eugenio

Recuenco, Richard Ramos, Ouka Leele and Eduardo Momeñe.

Nowadays I run my photo studio in Buenos Aires where I want to

enjoy my profession, working hard and sharing time with people

who one can always learn.


AMNESIA

These pictures reflect the amnesia through overexposure and

underexposure images.


IN THE RESIDENCY

November 2014

“I am who am I”

ALEKS SLOTA

Poland / USA / Germany

aleks@aleksslota.com // www.aleksslota.com

Aleks Slota is an interdisciplinary artist working in performance,

photography, sound, video, and installation. His work reflects an

interest in the absurd, the interaction of fantasy and reality, and

the meaning of public/private space. Slota’s recent work focuses

on performance primarily in public spaces.


UNTITLED

My current work, at least what I have explored at Arteles, has taken

three distinct yet linked research paths.

Sound: durational and drone based as well as short and violent.

Performance: edited, distilled, and naked.

Photography: blacked out landscapes.


IN THE RESIDENCY

November 2014

NATALIYA PETKOVA

Bulgaria / Canada

hello@nataliyapetkova.com // www.nataliyapetkova.com

Nataliya Petkova leads a research on two main axes: first,

the begetting and the study of micro territories, as well as

the interrogation on the notion of cultural identity, and the

promotion of dynamic infracultures; and then, the process of

translation – from one language (medium) to another -, and all

the anomalies revealed as a consequence. Her work addresses

the heterogeneity of knowledge originating on the crossing point

between individual perceptive experience and the genesis of

natural occurrences, seemingly begotten as an exploratory act.

Established around curiosity and experimentation, her research

process underlines the necessity of tracing and inventing new

territories, subverting perceptive habits and imagining possible

encounters between the organic and the non-organic, the material

and the imaginary, thus generating modular geographies.

Born in Bulgaria, Nataliya Petkova is a graduate from École des

Beaux-Arts de Marseille (France), and Université Laval (Canada).

Her work freely takes hold of diverse medias, such as electronics,

sound art, software and open source, video, photography, text,

and performance. She has had the opportunity to present her

work within the framework of solo and collective exhibitions, as

well as performances and interventions, throughout Europe, USA,

Canada, and Africa.


INVERSIONS / PERVERSIONS & FIREFLIES

Articulated as an experimental technical and conceptual

laboratory, the residency offered a platform for developing the

onset of two new projects: inversions/perversions and fireflies.

Inversions/perversions is a series of unstable electronic circuits,

drawing life from electric current in order to beget sequential

sound modulations. Using basic electronic components, the

circuits feed direct voltage in a circular manner, where each

component loops and distorts an electric cue, thus producing an

ever changing set of signals. Those signals are, then, amplified and

manipulated in order to produce an improvised sound performance,

where the pure and raw sonority of electricity is put forward.

Fireflies is an ephemeral light installation where a miniature solar

cell is put in contact with a bright LED (light emitting diode) into

complete darkness. Both components epitomize their respective

action potential necessary to attain their technical purposes, but

they remain silent and inactive until an external stimuli comes into

play. At this point, as the potential is being fulfilled, a fugitive form

of existence emerges merely for a few seconds, and then fades

away.


IN THE RESIDENCY

October 2014

“I’ve been told that I take the ambiguity

of the universe very personally.”

SAM CORBIN

Canada

samanthalcorbin@gmail.com // www.samanthacorbin.com

My interest lies in the myriad gestures of language—most notably,

when those gestures begin to demand of their audiences a givingover

to the territory of NONSENSE. I believe that the irreverent,

unbounded imagination can yet find its way to symbol. In order to

find such symbols, my work often plumbs the inherent abstractions

of the metaphysical arena, playing upon reason (or lack thereof)

until it finds itself utterly afield.

Nothing lends itself to metaphor so keenly as Nature. As such, my

time in the bucolic recesses of Finland will be spent developing

site-responsive wordplay, composing expatriate parody and

translating the visual poetry of a landscape I have never known.

I relish this departure from cultural cliché. I intend to make new

meanings out of the strange humor that reveals itself abroad, and

commit myself to it like a patient to an asylum.

And finally, an ode in the third-person singular:

Sam Corbin is a force of whimsy. A multi-hyphenate arts pioneer

born in Canada and based in Brooklyn, she holds her B.F.A in

Acting from NYU’s Tisch School of the Arts, via the Experimental

Theatre Wing. Sam’s creative work focuses on deepening our

human relationship to infinity, nonsense and the dreaming brain.

Her original plays, compositions and comedic ceremonies have

been presented around New York City and Brooklyn. Sam is

currently developing a play that rests entirely on Wit and Nonsense,

as a playwright with Fresh Ground Pepper’s 2014 Playground

Playgroup. She is a member of Theater Reconstruction Ensemble

(TRE).


WHICH THEREFORE ADDS MUCH THAT CANNOT BE NAMED

Over the course of my time at the Arteles residency, I composed

a series of textual oddities inspired by Susan Stewart’s booklength

essay, “”Nonsense””. These oddities range from short

stories about the origins of language to phonological nonsense

poems, and other deviant operations which task themselves

with the undercutting of assumptions about discourse.

My small collection holds a dual address at the crossroads

between literature and performance. As I continue with this

body of work beyond the residency, I hope to find further

incarnations for its use both on the page and the stage.

A Stewartism to live by: “Where there is a common sense, there

will be a common nonsense.” I say we could all use a great deal

more nonsense in our lives: we’d certainly have much more fun

than we are having now. The road makes no promises, but then

again, our mischief has never needed a tangible guarantee in

order to take flight. O, that way madness lies!


IN THE RESIDENCY

October 2014

NICOLA WILLIAMS

UK

nicolawilliams709@gmail.com // www.nicolawilliams.net

I was brought up in Aberdeenshire, Scotland and I studied for my

MA in Painting at the Royal College of Art in London from 2004-06.

Recent exhibitions include a solo show at New Court gallery,

Derbyshire, Beep Wales 2014 International Painting Prize, and

Transition gallery, London.

I was brought up on a farm in the rural North East of Scotland

and this has provided me with a rich source of imagery, juxtaposed

with found images taken from storybooks and tabloid newspapers,

horror films and tales of playing children drowning in slurry pits.

The use of household gloss paint in saccharine bright colours and

‘Humbrol’ enamels normally associated with little boys painting

‘Airfix’ models belies the darker tone of the work, just as the layers

wrinkle and drip from the canvas.

My recent paintings are informed by the Public Information

Films of the 1970’s with particular focus on the film ‘Apaches’

(1977). ‘Apaches’ was produced to warn children of the dangers of

playing on farms and rural areas. It was shown in schools all over

Britain and other countries, it had a lasting effect on the mindset

of the children who viewed them. This terrified a generation of

schoolchildren at the time including myself.


IN THE MUD ON YOUR KNEES

During my time at Arteles it was the perfect opportunity to go

on phantasmagorical drifts through the Finnish landscape and

woodlands.

While on these walks I noted the landscape with photos and

drawings, building up reference material and looking at structures

within these spaces, I created a series of watercolours and pen

drawings as studies and finished works, the bright colours and

neon pens create a heightened sense of reality, particularly with

the use of contrasting colours to the natural landscape to create a

colonised version of the area while looking at the psyche which is

superimposed on to the landscape with other figures drifting in to

these works unobserved like narrators of there own cryptic world.

The reference material I gathered while in Finland will have

an indelible effect on future works especially the otherworldly

landscape.


IN THE RESIDENCY

October 2014

RYAN LAUTENBACHER

Australia

ryan.lautenbacher@gmail.com // www.ryanlautenbacher.com.au

I am principally a sound artist, though my arts practice explores

a broad and diverse range of artistic practices which incorporate

sound as a medium for creative expression. This includes sound,

multimedia and installation art, immersive environments,

experimental music production, live performance and sound

design. My interest in sound and it’s aesthetic value stems from

sounds ability to have profound affect on an individual or collective

group of people, on a spiritual, emotional and neurological level.

My practice is strongly influenced by research into perception,

phenomenology and embodiment and their relationship to sound,

immersive and new media art. I am also inspired by ancient and

indigenous cultures, modern design aesthetics, landscape and

nature. I seek to explore the juxtapositions and intersections

between technology and nature, the intellectual and the spiritual,

and philosophy and science through my work.

I have exhibited and performed works within Australia and abroad

at venues and events such as: The Design Research Institute

(Melbourne), Federation Square (Melbourne), Melbourne

Town Hall (Melbourne), 7th Annual Streaming Festival (The

Netherlands), Gallery One Three (Melbourne), Rainbow Serpent

Festival (Melbourne), Earth Frequency Festival (Brisbane)

and The Solar Eclipse Festival (Far North Queensland).

I have also worked as sound artist/designer on inter-modal

installations, films, animations and performances and produces

music under variety of alias’s. I also recently completed a Bachelor

of Fine Arts at RMIT, Melbourne where I graduated with distinction.


MÄYÄ

Human beings are constantly distracted and misled by the chaos of

the mundane world and the multiplicity of phenomena, mistaking

the impermanent as if it were lasting, and confusing illusion with

reality.

Mäyä is an inter-modal installation based on the ancient traditions

of the Mandala. The work reinterprets the symbolism of the Mandala

and fuses ancient forms, symbols, sounds and mythologies with

current technologies. Through projection mapping, video art and

sound design Mäya evolves and transforms - moving through

geometric symmetry and ancient sonic entities - into hyper-real

abstraction and granular forms.

Objective thought is unaware of the subject of perception.This

is because it provides itself with a world ready made” (Merleau

Ponty)”


IN THE RESIDENCY

October-November 2014

TANO

Greece

tano_papas@yahoo.gr // www.tano.gr

Since i was young, i wondered what was it that mad Fine Arts,

especially painting, so important. Why certain paintings have the

aura of the sublime. After years of pondering with the question i

made some observations. It was not about the idea. It was never

about the concept. The aura, the actual impact that a painting has,

comes from the metaphysical properties of it. The detectable and

the undetectable vibrations of the artwork. The effect that it has

on the viewers soul. Regardless of the subject of the painting,

be it religious, abstract, landscape, there are artworks that have

these properties and affect people throughout history regardless

of ones cultural background and personal preferences. I came to

realize that paintings that actually have metaphysical properties

should be considered Icons. These paintings are religious icons of

a crosspieces, DNA coded,global religion. An uncharted, dogma

dismissive, primitive religion. The artist is the Shaman of this

religion. He is the medium through which images from other

planes of existence come and appear in our dimension. There is

a variety of planes that human beings are connected with. The

collective subconscious, the collective unconscious and other more

elusive ones described by spiritual traditions. The better trained,

the better the “cable” the artist is, the better the transmission,

the artwork, should be. That exactly is the supreme task of the

artist. To train himself like a monk. Become a better receiver. Be a

spiritual figure in a cynical, profit driven, scientifically defined, age.


RESEARCH ON THE METAPHYSICAL PROPERTIES OF WATERCOLOR PAINTING

Materials used: Egg yolk and Acacia gum as binders, color

pigments, Hahhnemuhle bamboo paper 265grams, Sennelier

paper 340 grams, Fabriano paper 165grams. A solution of Chios

mastic gum on pure alcohol has been used partially.

Primary importance has the actual matter of the artwork. The

powder, the grains of color, the subtle changes in the reflection of

light, the changes in transparency. The matter is directly relevant

to the metaphysical properties of the image. We tend to forget that

what we perceive as the psyche, “higher” dimensions and other

beings, are not separated from the “heavier” matter but linked and

quite often exist as one and the same (being).

The organizing, the harmony, the chaotic flow, the fractals that

formulate the artworks are subject to the subconscious and

the unconscious mind of the artist.. Those are connected to

the collective subconscious and the collective unconscious of

humanity. It is intended to explore fields common to all humans

that can be visited through artistic practice. Serious effort has

been made so that the effect of the conscious mind was kept under

a certain threshold. The conscious part of the mind is responsible

for the orchestration of the artworks but the key to investigate the

psychical potentials of an artwork is a different state of mind. A

kind of empathy to the visual stimulus. The process is dynamic and

very hard to put into words. It is not even a process in the common

meaning of the word. The “How” is part of the research.


IN THE RESIDENCY

October 2014

ALISA TANAKA-KING

Australia

alisatanakaking@gmail.com // www.alisatanakaking@jux.com

Alisa is a Melbourne-based visual artist and theatre maker. A

graduate of the University of Melbourne’s Victorian College of

the Arts, Alisa has had exhibitions and performances across

Australia. Alisa prints at the Australian Print Workshop access

studio and has been represented by Hawthorn Studio and Gallery

since 2010. As a theatre maker, Alisa has had work in Melbourne

Fringe Festival, Midsumma Festival, and St Martins Theatre.

Alisa is particularly passionate about combining picture making

with performance to tell stories and create magical and innovative

worlds.


FOREST [JOURNEY]

There is always a forest.

From the very beginning fairytales teach us the ever important

basics:

- The number 3 is supreme.

- Magic is real, and available to those who seek it

- Enter the forest and you will probably get lost, but come out the

other side, beat all odds, and you will find your place in the world,

come into your own.

In fairytales you enter the forest, come out the other side, and it all

makes sense.

But what if the forest consumes you?

If fairy tales (and the forests in them) are about BECOMING, what

happens when the forest, growing wild and rampant, is your

UN-BECOMING?


IN THE RESIDENCY

September-October 2014

“Be happy, be creative, smile, enjoy life”

ALEXANDRA PETRACCHI

France

faitetrit@gmail.com // www.alexandrapetracchi.com

Once upon a time was Alexandra Petracchi. Telling her story

without starting with “”once upon a time”” would mislead us away

from her world.

When she’s old enough to choose her own path, she decides to

express herself, by whatever mean, as long as it is full of wonder

and magic. She’s wearing several hats and she loves that.

She becomes officially illustrator for kids. But don’t be fooled.

Behind princesses and fairies in honey sweet colours, clouds are

gathering, shadows are leaning from the borders of the woods,

and the whole scene starts getting strange.

She pauses sometimes from illustration and drawings to explore

her own universe, scratching into the dark corners that marks a

thin line between the strange and the scary. Using metamorphosis

as a tool she calls nature spirits to fill the blank pages, creating

mythologies of vivid fantasy woven of thousand dreams and

nightmares, all together blended into the unearthed realms

hidden deep inside our selves. She cuts them out with a pencil thin

razor to pry them free of our twisted imagination.

She has been invited to show her work in various galleries in

France and around the world.

Member of the collective Iduun (digital art and performing arts)

she cocreated the shows » Kadambini » and « Sol ».

In parallel, she collaborates with Barthelemy Antoine-loeff on

the photo project “Jörd Andi”, and is looking forward to develop

new projects : interactive and immersives installations, writing,

drawing for adults books.


LUONNOTAR

Intéractive sculpture installation.

Intéraction work Barthelemy Antoine

Sound design Brett Stroka

Fairy tales into the woods .. A story of tears, beast, blood ... Luonnotar

is an encounter between strange things. One must approch the

black boxes up close, establishing an intimate connection, in order

to discover the spirits lurking within. The installations are activated

by sensors that detect the viewer’s movements.

I explore my universe, scratching into the dark corners that mark

a thin line between the strange and the scary. Using metaphorsis

as a tool i call nature spirits to fill the blank pages, créating

vivid fantasies woven of a thousand dreams and nightmares, all

together blended into the unearthead realms hidden deep inside

ourselves. I cut them out with a pencil thin razor to pry them free

of our twisted imagination.


IN THE RESIDENCY

September-October 2014

“Synchronisation is the key”

BARTHÉLEMY ANTOINE-LŒFF

bartantoine@gmail.com // www.ibal.tv

France

Barthélemy Antoine-Loeff is a french director and a digital artist,

member of the digital and stage art collective iduun - www.iduun.

com -. He works with pictures as a raw material, as a starting point

to explore some new narrative forms, complex, free, sometimes

interactives, for performances or installations. His poetic universe

deals with « unsaid » and (distorted) reality.

In 2003, he began to create visuals for bands. This proximity with

the musicians allows him to refine the visuals: he uses videos as

a real music instrument, able to follow and improvise with the

musicians on stage.

When he co-funded iduun in 2007, he was focused on create video

in realtime. The performances he creates are using sounds to

express the unshowable, and minimalistic images to bring the

audience in a world that need to be filled using its imagination.

In 2010, he creates with the collective iduun the audiovisual and

cinema show « Kadâmbini », a flavorous mix of serial images,

instrumental instability, invisible technology, a “Total Show” in

which stage and screen are one, a cross-disciplinary performance

designed as many doors to the world of nightmares.

In continuity of these performances, he wants to create some

digital and lights installations. “Ljos” is the first one to be exhibited

in China.

In parallel, he collaborates with Alexandra Petracchi on the photo

project “Jörd Andi” - www.injordwetrust.com - and few other

interactive and immersive installations.


STJÖRNUR

Audiovidual and videomapping installation ”in situ”, combination

of paper, light radiance and equilibrium.

The lights wake up in front of us; the crackle of the lights fluctuates

up to create a balance between the prisms of paper floating in the

air...


IN THE RESIDENCY

September 2014

JULIE ZHU

USA

julie.j.zhu@gmail.com // www.julie-zhu.com

I am interested in the intersection of mathematics, music, and

the artist’s hand. This exploration is infinite, with innumerable

physical and imaginary representations, but so far has manifested

in a series of music compositions called “Circle in Square” that use

a simple algorithm to choose notes at the intersection of a circle

inscribed in a square, and long scrolls of scores that were created

from the memory of specific pieces of music.

I am currently thinking about decalcomania, the fractal pattern

that results from peeling two sheets of paper apart with paint in

the middle, and learning about signal processing in order to mourn

the morning: to transform the image of a sunrise from a bell tower

into a series of notes, dynamically, to be performed in time on

the bells. The bells in a tower make up an instrument called the

carillon, which I play.

I graduated from Yale University in mathematics and art in 2012,

and from the Royal Carillon School in carillon performance in 2013.

I spent last year working in economic consulting, giving carillon

recitals, and performing short theatre pieces on randomness and

music, and in 2015, I will start an MFA in painting at Hunter College

in New York City. In the summer, I teach various 2D arts at the

Sitka Fine Arts Camp in Alaska.


MEETING LEAVINGS / THE SWAN OF TUONELA

Meeting Leavings is a series of paintings inspired by decalcomania,

a technique used to transfer one image to another, leaving a fractal

pattern on both surfaces whose degree of recursion depends on

the viscosity and type of paint.

For me, the printed and the printer tell a story of coming/going,

equal/opposite. Compounded with layers of these connections

and disconnections, the pair of perfect squares provides a still

contemplation of relationships between two people or any two

things/ideas that have the ability to be changed. In a meaningful

connection, souls touch, and as in decalcomania, they come away

with halves of a splash common to only the two. Although souls

may (inevitably) separate, one can trace the ghosts of when they

were once together—like lovers who have left each other but who

have molded the other and become something else. The paintings

are a simply a moment in that creation, with the potential for future

transformation or regression from symmetry.

The Swan of Tuonela is a lyrical allegory with playful sensibility

through performance and brushwork. Inspired by the Finnish

landscape and drawing upon the Finnish Kalevala myth of the birth

of the moon as well as Pierrot’s timeless role, the stop-motion

animation is set to Sibelius’s mystical classical piece of the same

title. A deletion of one’s creation as self-confrontation is a lesson

in responsibility and acceptance of loss in the natural cycle of life.


IN THE RESIDENCY

September 2014

“the cosmos waits for you”

XI JIE NG

Singapore

galaxyladybird@gmail.com // www.saltythunder.net

Xi Jie works mainly with film, performance, installation and

socially engaged art from the little island metropolis of Singapore.

She leans towards the cosmic, intimate, primal, eccentric, lonely

and commonplace, navigating our relationships with each other,

and that with the universe as a spiritual infinity. At Arteles, she

will continue an ongoing exploration into the modern role of

Clown as it relates to identity and a truth in the world today, with a

series of curious and dark images in the Finnish forest combining

performance and installation.

Her history includes performative-installation/performances

exploring the human relationship with the cosmos (also as

Clown) at the Singapore Arts Festival 2011 and Singapore Night

Festival 2013 (as one half of performing duo Singapierrot,

commissioned by the National Heritage Board), as well as short

films about elderly love and the universe of elderly women (latter

commissioned by the National Arts Council). She has developed

arts programming for seniors at the National Arts Council, co-runs

the Museum of Things I Want to Forget (thingsiwanttoforget.com),

and is currently working on a feature documentary about busking

(singaporeminstrel.com).


LINTUKOTO & THE SWAN OF TUONELA

In Arteles, I continued my exploration into the modern role of

Clown. The Pierrot I resurrect is a melancholic and disillusioned

but ultimately hopeful being, a counterpoint to the harsh realities

of a modern world, of which it questions authenticity and return

to a truth via a spiritual journey in nature – a nature that seems at

once rosy, dark and embracing.

In Lintukoto (a warm, peaceful place in Finnish), a clown from an

affluent, modern city represented by Singapore -my home country

conflicted by disturbingly fast progress, and which was ranked the

most emotionless society- visits a misty Finnish forest where it

embarks on a journey of self-confrontation and transformation.

Combining performance and installation, whimsical and dark

interactions with real and constructed landscapes play out lyrically.

The images paint an ambiguous narrative of identity, calling upon

the modern and mystic, ending in cosmic metamorphosis. Collaged

with glossy Singapore postcards, decaying forest matter and

Pierrot’s scribblings, Lintukoto is a tactile, hand bound book that

becomes a sensorial palimpsest examining a modern spirituality.

The Swan of Tuonela is a lyrical allegory with playful sensibility

through performance and brushwork. Inspired by the Finnish

landscape and drawing upon the Finnish Kalevala myth of the birth

of the moon as well as Pierrot’s timeless role, the stop-motion

animation is set to Sibelius’s mystical classical piece of the same

title. A deletion of one’s creation as self-confrontation is a lesson

in responsibility and acceptance of loss in the natural cycle of life.”


IN THE RESIDENCY

September 2014

“OK!”

LISA RYBOVICH CRALLÉ

USA

lisaRcralle@gmail.com // www.lisaRcralle.com

Lisa Rybovich Crallé is a multidisciplinary artist living in the San

Francisco Bay Area. Lisa received an MFA from the University of

California, Davis in 2011 and a BA from Sarah Lawrence College

in 2004, after also studying at the San Francisco Art Institute

and the New York Studio School. Her work has been exhibited

in the US and abroad, including the Yerba Buena Center for the

Arts (San Francisco), Weekend (LA), Field Projects (NYC), Roots

& Culture (Chicago) and the Dublin City Gallery (Ireland). She is

the recipient of the Robert Arneson Fellowship and has been an

Artist in Residence at Ox-Bow (Michigan), ART342 (Ft Collins), the

Studios of Key West (FL), and the People’s Gallery (San Francisco).

For more info visit: www.lisaRcralle.com.


LANDSCAPING THE LANDSCAPE

My dream is to live inside the collapsed, colorful world of a

painting. But since I exist in three-dimensions, my work is painting

masquerading as sculpture. While at Arteles I am creating

environments that pull painting into the physical world—giving

dimension to colorful contours and silhouettes. I am fascinated by

the discrepancy between our tangible spatial world and the illusory,

poetic nature of perception. I’ve read that some people who are born

blind but gain sight later in life find it impossible to reconcile visual

shapes and colors with the sensory understanding of space they

developed before sight. Shadows, for instance, appear to be dark

‘objects’ presumed to contain the same mass as the forms that have

cast them. Likewise, the illusion of objects shrinking in perspective

is a perplexing optical puzzle. With this in mind, I construct visual

experiences to explore the strange splendor of perception.

The installations I’ve been working on at Arteles incorporate

painting, sculpture, and performance to establish habitats where

spatial awareness is distorted. Working directly within the natural

world, I’ve been wrapping the landscape with long rolls of paper

I paint in advance, and then staging the other Arteles residents

within the painted environments. From a distance, my installations

may appear to be large canvases suspended in the landscape,

but upon closer inspection their three-dimensionality becomes

apparent. I like to think of this process as “landscaping the

landscape.” The process is sculptural, the approach painterly, the

product photographic and the experience immersive.


IN THE RESIDENCY

September-October 2014

“Troy is a scenographer and installation

artist whose work revolves around the

themes of wonder, immersion,

spectatorship and intermediality.”

TROY HOURIE

CANADA

troyhourie@gmail.com // www.troyhourie.com

Troy is a scenographer, continuing to blend performance design

with installation art. Trained in art history, architecture and theatre

design, he has merged these disciplines to an artistic practice

that focuses on the relationship of the body to three-dimensional

space as it interacts with technology. His current work revolves

around the themes of wonder, immersion, spectatorship and

intermediality. In search of building a visceral experience for the

viewer, the work speculates that evoking elements of wonder,

chance and discovery in the creative process can lead to an

engaged and thoughtful participation by its viewer. Scenographic

space has always embraced the notion of ‘constructed realities’,

whether it is a maquette for theatre, a cabinet of wonder or a

gallery installation. The layering of physical and digital spaces with

the body works like a three-dimensional collage to immerse the

spectator into a reflective position where the mind is more receptive

to abstract thought and experiences. Much of his work captures

moments from his own dreams and nightmares or is inspired by

images in texts and music that evoke a strong emotive response.

Because his work is a reflection of his own preoccupations, he

consciously attempts to insert himself as the creator in some form

into the process. The convoluted nature of imagination permits a

process of image building where narratives are not formed in a

linear fashion but through an organic exploration. Images are first

created, then deconstructed and rebuilt aspiring to conjure unique

contemplation for the spectator from what remains.


APPARITIONS

This is an intermedial immersive art installation. During my

residency at Arteles Creative Centre, I continue to develop a

artwork I began investigating during my residency at Augmented

Stage in the Netherlands in 2012 and in Toronto at Artscape

Gibralter in 2013.

It explores the idea of designing for wonder by exploring the

esoteric nature of the opera Turn of the Screw. The immersion

will be build in three parts. In Toronto, I explored the role of the

spectator as they embody Miles’ nightmare as he lays in bed. They

were immersed in projected images from the mind of the boy Miles

as he dreamed of toys, a carousel and Quint’s ghost. In Finland I

am concentrating on creating a cabinet of wonder in a victorian

writing box which will be like a pop up book with projections and an

attic installation filled with the childrens toys that Quint has built

as a homage to the children evoking the creepy, yet endearing

relationship to Miles and his sister Flora.

This initial exhibition is a work in progress that will preview initial

ideas for the final installation in late October.


IN THE RESIDENCY

September-October 2014

“I’m obsessed with codes and patterns

forming in our digital lives.”

LORI HEPNER

USA

lori.hepner@gmail.com // www.lorihepner.com

I am an interdisciplinary artist working primarily in conceptually

based photography and photographic installations and have an

ongoing interest in exploring how digital technology is impacting

individuals and the physical world around them. This a theme that

I will be expanding upon to focus on climate change in the personal

landscape, which will use social media as a connecting resource

to elicit content for experimental photographic processes.

I am interested in developing an imagined futurism in my

photographed landscapes that will overlay what the next generation

of screen-based innovations might add to our personal views of the

world. The photographs will visualize social media as light painted

text into imagined personal landscapes as they become adapted to

future landscapes transported to the arctic from personal images

recollecting the years before warming accelerated. I hope to affect

the personal politics of climate change, rather than the executive

voice of Science.


#CROWDSOURCED #LANDSCAPES

I used my time at Arteles working on what the “experimental

landscape” part of my project would look like. The original thought

was to do light painting in the landscape, but I wasn’t happy with

the outcome. A shift was made to the studio where photographs

of the landscape were loaded onto LEDs to use the landscapes’

images as the light painting. Mixing abstract light and swatches of

photographs is an aesthetic move that follows on the footsteps of

8 years where complete abstraction reigned in my work. This led

to an aesthetic that I will continue to experiment with as the social

media elements of the #Crowdsourced #Landscapes project grow.


IN THE RESIDENCY

September-October 2014

“Believing in nothing is like walking

around freshly skinned.”

CARA COLE

Canada

caraleacole@hotmail.com // www.caracoleart.com

Once I set my heart on a thing, I bite down, and the world narrows

to that bright point. The dying animal pounds and thrashes and

moans as life and death mingle in the body. This mingling is visible

and insubstantial as a rainbow, as smoke. The animal collapses,

shivers and stills. Live flesh, responsive, intelligent flesh has

become dead meat. Inert matter. Watching this is like being ripped

apart and put back together. I wipe my face and look at my stained

hands. I’ve been dressed in blood.

For fifteen years I have researched and documented blood sacrifice

rituals throughout the globe. I am often asked why I choose to

focus my photography and my first novel on such seemingly grim

subject matter. There are anthropological reasons. The rituals

themselves are changing. They will die. But much of what drives

me is personal. Participating in these extraordinary ceremonies

count among my most profound encounters with mortality. The

sacrifice rituals are intoxicating. I have been swept into the river of

religious transportment.

And I have been hurled out of that river. I admit to conflicting

desires. I wish I could do more than photograph, do more than

place my hands in those secret rich places where memory and

desire—a life—dwelled. I examine the interiors of bodies and wish

I could perform my own miracles upon the flesh. I wish I could

reverse the tide of time and bring the dead back to life, to make

blood rush into the body instead of out, to inflate collapsed lungs

with fresh breath, to seal gaping wounds neat and invisible, as

though they were never there at all.


CHAPTER 1 - KATHMANDU - REVELATION AND DISASTER

“Once I set my heart on a thing, I bite down, and the world narrows

to that bright point. The dying animal pounds and thrashes and

moans as life and death mingle in the body. This mingling is visible

and insubstantial as a rainbow, as smoke. The animal collapses,

shivers and stills. Live flesh, responsive, intelligent flesh has

become dead meat. Inert matter. Watching this is being ripped

apart and put back together. I wipe my face and look at my stained

hands. He’s dressed me in blood.”

Cecilia is the enigmatic and provocative protagonist who chases

down blood sacrifice ceremonies around the globe. In this vivid and

visceral novel, we move through rich and ominous psychological

territory as Cecilia seeks redemption through sacrifice in the

politically volatile countries of Nepal, Indonesia, and Mongolia. Her

obsession with bridging the gap between life and death, the foreign

and the familiar, leads to a catastrophic climax.

This dreamlike novel explores themes of death, fear, religion, god,

salvation, filling up, emptying out, foreignism, and the endless

search.


IN THE RESIDENCY

September 2014

“When we talk about Jazz,

we are talking about experimenters.

Once the experimenting stops,

the music gets stagnant”

DAVID ORNETTE CHERRY

USA

davidornettecherry@earthlink.net // www.davidornettecherry.com

My music career and education have thrust me into a variety of

musical expressions that I call my “mosaic of sound.” I have been

influenced by music of the world - the music of the spirit created

from a powerful tapestry of rhythms and sensual melodies. Yet I

am also influenced by the infusion of modern technology into that

sound - I am a mix of world and jazz idioms.


SUBJECT OBJECT

I am composing and painting, experimenting with both the creation

of new music and visual scores that reflect the work. Coming to

Finland gives me time, space and possibility of collaborating with

other energetic, international artists.

I am interested in the intersection between music and painting. I

have been composing for theatre and spoken word poetry for the

past seven years, integrating music compositions with words and

visual theatre. Being at Arteles Creative Center is allowing me the

space to create music scores and painting, visual compositions

that can be stand alone works of art, and/or be part of multimedia

video and performance.

I have been on an organic journey doing art for a long time, and

the one thing I learned from my teachers, mentors, and elders is

that we need to stop sometimes and breathe, see where we are,

and where we want to go as an artist. The world today is marked

by a complexity of ever-changing events – unfortunately not all

pleasant. As an artist there is always the need to take some time

to look within and allow the creativity to guide the process and the

flow, without concerns. I have been taught that when we make a

positive change within, then we can take this out to the community

and the world.


IN THE RESIDENCY

August 2014

“Make it Happen”

APRIL PHILLIPS

Australia

thelastlibrary@gmail.com // www.april-phillips.com

April Phillips is an Australian artist who lives & works from a

seaside village in the Mid North Coast region of NSW, Australia.

After completion of study in Sculpture at RMIT University

Melbourne, April expanded her skills with a two year footwear

design course. April has pursued many residencies, internships,

mentorships & formal study opportunities to develop her technical

skills & expand creative outcomes.

April chooses to work across mediums in order to develop ideas,

which often explore part of a whole story. These stories are directly

related to historical events, places, eras, people or imagined

scenarios.

During August 2014 this residency period at Arteles will be

an opportunity for April to explore ideas related to her recent

fascination: The imminent ‘End of Days’. Her recent visual

interpretations related to death, growth, transition, connection &

loss will be the point of departure for this new body of work.

This dark theme will be approached with a light contrast of

optimism, humour and delight.

Please follow her blog to check in with the progress of her

residency at Arteles:

www.aprilphillipsfootwear.com


END OF DAYS

During the last two weeks of August 2014 April Phillips spent

time as part of the summer residency program at Arteles. This

was an opportunity for April to explore ideas related to her recent

fascination: The imminent ‘End of Days’.

Her recent visual interpretations are directly related to life, death,

growth, transition, connection & loss. These starting points are the

point of departure for this new body of work.

Working within a portable studio practice of two-dimensions

April experimented with water colour, paper surface treatments

and collage to form workable outcomes for her current ideas.

The end of human life as we know it is increasingly becoming a

doomed state we all face. Pregnancy for April has expanded

this reflection, whereby a sense of optimism and hope for life

is necessary to be a strong mother to be. There is a consolation

in that perhaps the human being will not survive but traces of

ourselves will be held tightly in the bounds of the natural world. A

world that will thrive in the absence of our extinction.

This dark theme has been approached with a light contrast of

optimism, humour and delight.


IN THE RESIDENCY

August 2014

“I love to play piano and cook for

the people I like the most”

MAURO ARRIGHI

Italy

mauro.arrighi@me.com // www.linkedin.com/in/mauroarrighi

I compose electronic music and “do” computer-aided

performances; enthusiast of being on stage playing electric guitar

and piano. As for my artistic achievements: I performed at the Ars

Electronica Festival (Linz - Austria), at the Biennales of Art and of

Architecture (Venice - Italy) and at the Pantaloon Gallery (Osaka -

Japan), just to name a few.

I have been lucky enough of having being trained at “Interface

Cultures” at The University of Art and Design of Linz in Austria and

at IAMAS in Japan.

Now, I am lecturing at the Academy of Fine Arts of Bologna in

Italy while conducting doctoral studies at Solent Southampton in

England.

I am definitely a Japanophile: my PhD is about current new-media

art ecosphere of Japan.

Concerning my recent artistic production as music composer,

please refer to:

https://itunes.apple.com/us/artist/mauro-arrighi/id591240910

https://soundcloud.com/mauro-arrighi

… as essayist:

http://amazon.com/author/mauro.arrighi

http://www.digicult.it/authors/mauro-arrighi/

I enjoy working in an international environment, always willing to

work overseas and open to collaborations with other musicians,

artists, moviemakers, fashion designers, directors, games and

apps developers.

Photo by: Masahiro Nakata http://ph.mn78.net/


REALITY BONSAI

As a bonsai is a metaphor for Nature itself as a selfcontained

universe controlled by Humans, these images

stand for the city as a “second nature” for humankind.

“Reality Bonsai” is an audio-video computer-aided performance

where I mix 3D landscapes and my original music.

In this work, I aim to tell a story where images of real people and a

fake digital representation of the place where they live are shown;

even nature is an abstraction. Being “escapism” one of the themes

of my present theoretical enquire, I believe that this experiment

would function as a tool to explore visually and auditory what I am

putting down in words.


IN THE RESIDENCY

August-September 2014

BRETT SROKA

USA

brett@brettsroka.com // www.brettsroka.com

Brett Sroka is a composer, musician and sound artist for film, dance,

installation and has released five records with his electro-acoustic

ensembles, Ergo and Cherubim, on Cuneiform Records, Fresh

Sound - New Talent, and Zeromoon, collaborating with musicians

such as Jason Moran, Mary Halvorson and Avishai Cohen. He has

performed at the Sonic Circuits Festival, the Guggenheim Museum

and Risonanze in Venice, Italy, received awards from the Queens

Council on the Arts, the I-Park Foundation, and been a visiting

artist at the University of Pennsylvania, the Institute of Electronic

Arts at Alfred University and the Vilnius Academy of Art. In 2014 he

premiered his performance-installation, Sine Qua Non at Roulette

in Brooklyn, and will be an artist-in-residency at Ptarmigan in

Estonia and the Arteles Creative Center in Finland this summer.


SYLLABLE FROM SOUND

“Syllable from Sound” is a sound installation that integrates

the voices of it’s visitors into a modular music composition.

In an installation space, a speaker is placed in each of the four

corners, with a microphone in the center. Visitors are invited to

speak, sing, whistle, etcetera, into the microphone, which will

activate a Max/MSP software patch to record it as a new element

of the piece. Those voices are transformed into a tapestry of dense

and pulsating rhythms, processed through envelope filters, pitch

shifting, splicing/sequencing and spatialization techniques, still

recognizable, but only barely. Each time a new voice is added

it replaces a previous one, and the generative programming

advances that channel to a new phase of the piece. Therefore,

each of the four channels develops at its own pace, creating a new

relationships to one another with each visitor interaction.


IN THE RESIDENCY

August 2014

NATHALIE COLLINS

USA

nathalie.collins25@gmail.com // www.nathaliecollins.us

I am originally from Anchorage, Alaska, currently living in

Brooklyn. Growing up in an environment that was wild, where

everything was extreme had a huge impact on my work. My work

has a fragility and a physicality that evokes the rugged but subtly

formed and changing mountains, tundra, and glaciers of Alaska. I

have a BFA from the School of the Art Institute of Chicago and an

MFA from Pratt. The rigor of both these programs, and being with

communities dedicated to creative work nurtured me as an artist.

Since school I have mostly lived in New York, where I share a

studio and belong to a cooperative gallery. In addition to making

work, my life focuses on community building and spending time

feeling my way into the visual arts culture of this time and place.


DRAWINGS / COLLAGES

My time at Arteles has been spent drawing on silver photo paper

that I found in the storage cabinet. The drawings have been

influenced by walks in the forest noticing different shapes of bark

on the birch trees, delicate/ hard textures, moss, shapes of rocks,

ant hills, the way the sunlight dances on the lake making patterns.

The drawings come alive when sunlight hits the silver paper where

painted line and light collide.


IN THE RESIDENCY

August 2014

AARON J. KIRSCHNER

USA

aaron@aaronkirschner.com // www.aaronkirschner.com

Aaron J. Kirschner (b. 1988) is a composer, theorist, clarinetist,

and conductor currently residing in Salt Lake City. Mr. Kirschner’s

music has been performed throughout the United States and Italy

by members of the American Modern Ensemble, DuoSolo, Corky

has a Band, the Fireworks New Music Ensemble, the Boston New

Music Initiative, and the Des Moines Symphony Orchestra, among

others. In August of 2014, Mr. Kirschner will be an Artist-in-

Residence at the Arteles Creative Institute in Haukijärvi, Finland.

Also active as a theorist, Mr. Kirschner has received invitations to

present his research at the 2014 annual meeting of the Society for

Music Theory, the 2013 Harvard Bach Colloquium, the West Coast

Conference of Music Theory and Analysis, the Rocky Mountain

regional SMT meeting, and the SUNY Buffalo Music Graduate

Symposium. As a performer, Mr. Kirschner is strong advocate

for new music and performs regularly as a clarinetist and bass

clarinet specialist. Since making his soloist debut in 2010, he

has premiered dozens of new works throughout the country. Mr

Kirschner holds a Bachelor of Music in clarinet performance from

the University of Iowa and a Masters of Music in composition from

Boston University. He is currently completing his Ph.D. at the

University of Utah, where he also serves as a graduate professor

of Theory and Musicianship. Mr Kirschner has studied composition

with Steve Roens, Ketty Nez, John H. Wallace, David Gompper,

and John Eaton, as well as studying clarinet with Maurita Murphy

Mead.


STRING TRIO N O 1: “WHOOSH—CLICK—FLOAT

THE SOLITUDE OF INTIMACY, FOR SOLO GUITAR

String Trio N o 1: “whoosh—click—float” is a 23 minute work

for strings, exploring alternative tunings and techniques. For

the entire work, the performers fingers never touch the body of

the instruments—all sounds are made from lightly touching the

strings and/or different bowing techniques. In addition, the strings

are retuned, in just intervals to the lowest of the violoncello strings.

This removes traditional concepts of pitch relations, and the many

new intervals created by this tuning are explored. The subtitle refers

to the three main types of sounds created by the new techniques.

The Solitude of Intimacy is a short work for solo guitar, reflecting

on the interpersonal boundaries created by romantic intimacy.

There is a constant conflict between the initial improvisatory

material, and the rigid control of the rest of the work.”


IN THE RESIDENCY

August 2014

“I feel that my responsibility as an artist

to touch the human heart and prevent

this world from careening totally

out of control.”

CHIN CHIH YANG

USA

chinchihyang@gmail.com // www.chinchihyang.com

The Internet, news programs, conversations with friends and

strangers, my whole environment serves as the raw material for

the creation of my work. Insofar as I believe I may have answers

for a more interconnected lifestyle, I feel it’s my responsibility

as an artist to develop, and hopefully realize, instruments, tools,

methods or techniques, to improve human communications,

making our personalities visible to one another.

The greatest excitement for me lies in solving problems associated

with the execution of a particular idea. Finding the right information,

images, and selecting the most suitable technique for representing

my thoughts is what gives my day it’s meaning. Would it be more

effective to use humor, satire or shock to illustrate my thinking?

What is the best way to communicate and attract attention in our

global society?


TRASH KING

I collected the daily trash, such as milk containers, soft drinks,

beer cans, consumer product packaging, and the like. I did this over

the course of my month-long residency at Arteles Creative center. With

only the weather, rain or shine, to clean my materials, I then used

all the trash to create a coat: a windbreaker/trench coat. I will wear

the trash coat and use hand-held projectors to interact with trees in

the residency’s park, while also interacting with an audience.

This is about how, in as little as one month, a single artist was able

to pollute our natural environment. It also shows how human beings

conflict with the natural environment around them.


IN THE RESIDENCY

August 2014

JACQUELYN SOO

Singapore

jpadifields@gmail.com // www.jacquelynsoo.4ormat.com

“I think about ‘blindness’ in my work.

‘Blindness’ in regard to the diverse

identities, landscape and social

functions in society. ”

BIOGRAPHY

Jacquelyn Soo (b. 1981) is a Degree (Hons) Fine Art graduate from

LASALLE College of the Arts, Singapore. She received a bursary

award and a travel grant to Hong Kong in 2006 to create a project

about cultural identity. She has been inspired to create and discuss

works about the differences in cultural practices.

Soo has presented drawings, photos, installation and performance

art works in Southeast Asia, America and Europe.

Her first artist-in-residency was in Jatiwangi, Indonesia where she

stayed in the village of Burujulwetan working with the villagers

to create Community Art Project. She has since had residencies

with NAFAS: Yogyakarta, The Artists Village Singapore: Pulau Ubin

Residency Programme and with Arteles Creative Centre in Finland.

Soo represented Singapore for the 1st Jakarta Triennale in

November 2013 at Nasional Gallerie, Jakarta.


CODE IN THE MICRO (SERIES) LH + RH COLLECTED SPECIMEN & FINGERPRINTING 2014

ARTIST STATEMENT

I think about ‘blindness’ in my work. ‘Blindness’ with regards to

the diverse identities and social functions in society. Since 2013,

my work has developed to explore the concept of blindness in the

environment.

A project ‘Code in the Micro’ was realised in August 2014 at Arteles

Creative Centre. The project highlighted the similarity in the unique

identity of the natural world with the homosapien.

In this series, I use my fingerprints as a focal point to discuss

the position of the unique identification of the human body with

the equally unique identity of the land. A relationship of the two

encourages discussion of equality in both worlds.


IN THE RESIDENCY

August 2014

MEGAN TAYLOR

UK

megantaylor1989@googlemail.com // www.meganelizabethtaylor.com

Megan is a visual artist and illustrator based in Glasgow, Scotland.

She graduated from Glasgow School of Art in 2012 where she

studied Communication Design.

Megan’s practice encompasses a wide range of disciplines, with

projects ranging from experimental drawing and illustration to

sculptural installation and immersive environments. Most recently,

her work explores the possibility of Architectural Absurdities,

where ideas appear impossible and illogical. Her approach often

includes large scale drawing, complex layering, cutting and

projection techniques in a variety of materials. A recurring theme

is the psychological distortion of structure, narrative and human

perception.

Megan’s interests lie in themes of imagined territories and

potential futures loosely translated as picture lands of film

space narrative, which sees the convergence of objects and

images that together build up fragments of a fantastical vision

of a misremembered world. She aims to unfold the narratives

of film landscapes through the act of delaying cinema. Through

drawing and installation, this project explores spatial delineation

using a language of two dimensional and three dimensional linear

elements which reference both organic and geometric systems

and structures within film space, inviting the viewer to experience

fragile and temporal experiences of visuospatial perception.


WEE BITS AT A TIME

Rules

Week 1 = 1 second a day

Week 2 = 2 seconds a day

Week 3 = 3 seconds a day

Week 4 = 4 seconds a da

I have used my time here to learn the process of hand drawn

animation. What started out as quick observational sketchbook

drawings of my surroundings, turned into moving images

and sequences as part of an on-going animated collection.

Each new second communicates a time or place, a feeling,

an event, or simply a diary in motion of my time at Arteles.

Sound has been collected throughout the duration of the residency

and will be added in retrospect, reflecting on the experience as a

whole, which in turn will help the film feel more cohesive.


IN THE RESIDENCY

July 2014

“Building the House without Exit”

ELLYCE MOSELLE

USA/UK

ellyce.m@gmail.com // www.ellycemoselle.com

Ellyce Moselle works primarily with drawing, photography and

sculpture to look at a human history of consciousness. She is

particularly interested in how we shape images of ourselves, and

what the boundaries of human are. This leads her to research

everything from contemporary medicine to mystical illustrations

of the universe.


NOTHING: A SERIES OF PHOTOGRAPHS AND A WORKING TITLE

Ellyce Moselle spent her time at Arteles working on two projects.

The first was a completely new endeavour; she concentrated on

teaching herself the basics of 3D modelling, using the program

Blender. Moselle hopes to use this media in the future for some

planned animations and video work. The second project was

the continued pursuit of a long standing photo project, currently

untitled, where she takes images with the goal of creating a

meditative non-space. These images strive to be empty, sometimes

through baroque density; they strive to have no subject but the

light that makes them and at the same time avoid a collapse

into decoration. This work has been driven by Moselle’s reading

in Zen and phenomenology. She started taking these images,

unknowingly, in 2008 and has only recently started to approach

them with specific intent.


IN THE RESIDENCY

July 2014

ADAM SETALA

USA

adamsetala@gmail.com // www.adamsetala.com

Adam Setala is a Milwaukee based illustrator, designer, visual

artist and teacher. He has a bachelor’s degree from The Milwaukee

Institute of Art & Design with an emphasis in illustration. He also

has his MFA from the Minneapolis College of Art & Design. His work

has been featured in both national and international publications,

and has been exhibited in shows from Los Angeles to New York,

and a bunch of places in between. He enjoys bad 1980’s horror

movies, his dog named Boy, fly fishing, and baseball. Currently

Adam is a professor of design and illustration at The Milwaukee

Institute of Art & Design.


PAPPALAND

My time at Arteles has been spent creating a series of illustrations,

drawings, paintings, and designs dedicated to exploring the link

between my family’s Finnish history, and my current trajectory

as an American maker of things. I have also been examining,

and attempting to comment on my connection (or lack thereof) to

Finland’s rich mythological lore. My practice is very research heavy,

so in addition to this work, I have been coupling my physical, pen

on paper process with constant exploration, reading, and writing,

so that I may better take this experience with me when I leave.


IN THE RESIDENCY

July 2014

“The limits of material and physical

construction are surpassed by examining

the physicality of virtual construction.”

JACOB RIDDLE

USA

thisisjacobriddle@gmail.com // www.thisisjacobriddle.com

Tools and materials of a carpenter viewed through the mixed

reality lens of Photography and 3D Rendering are used to critically

examine the constructed nature of a photograph. The limits of

material and physical construction are surpassed by examining

the physicality of virtual construction. Presenting itself through

photographs of a mixed reality neither wholly physical or virtual

both drawing attention to the differences between the physical and

virtual and presenting them laterally.


PERFECTION GREY

Perfection Grey is a body of work that I have been working on for the

past six months. I have used my time here at Arteles to work in a more

free and focused manor than I am typically able to. I have freely moved

between reading and writing about the work and actually producing

the work without the pressure of deadlines or expectations.

Tools and materials of a carpenter viewed through the mixed

reality lens of Photography and 3D Rendering are used to critically

examine the constructed nature of a photograph. The limits of

material and physical construction are surpassed by examining

the physicality of virtual construction. Instead of juxtaposing or

completely integrating the virtual and the physical I am exploring

the space between juxtaposition and complete integration. By

creating a sort of hybrid reality I strive to create something more

than the sum of the virtual and physical.


IN THE RESIDENCY

July 2014

ALEXANDRIA CARRION

alexandria.carrion@gmail.com

USA

Capturing the essence of a detail interests me. I study

intersections of moments within the landscape: exposure of

edges stripped bare from erosion, fissures from compression,

cracks of pressure, furrows on roads, profiles of trees, and

architectural interruptions. My practice observes the minutiae

of what could be considered banal, and renders it into considered

forms with articulated surfaces, sculptural meditations.


FROM BEDROCK TO BOULDERS, BACK TO MAQUETTES

My project at Arteles has been rooted in the observance of

Finland’s geology. The terrain serves as a source of inspiration for

sculptural forms. As a result of studying the local bedrock, I have

been working on a series of maquettes made from sheet metal and

duct tape. By exploring the tangible nature of model making, and

utilizing the immediate landscape as a source, I am attempting to

generate small sculptural works that explore the ideas of tension,

compression, and intersections.


IN THE RESIDENCY

July 2014

“I want my art to smell like me, and be

full of energy, joy, and contradictions.”

TOM HOGAN

Australia

tommehhogan@gmail.com // www.tomhogan.com.au

Tom Hogan is a composer and sound artist, writing and performing

music for theatre, film, dance, and for bands that don’t exist. He

mysteriously moonlights as performance poet Scott Sandwich, but

it’s getting a bit out of hand now.

He is in an ongoing internal battle with himself, about his artistic

sensibilities and identity. However, it’s much less intense than you

think. His ambient music requires time, patience and subtlety,

while his poetry is like a jet-powered bulldozer... and never the

twain shall meet.

He works fast and fun. He juggles multiple projects – using one

idea to take time off from the others. He tries new things, loves

to collaborate, and makes sure his works captures a sense of joy

and energy.

In his second visit to Finland, he will be developing a collection

of large-scale poetry works. Each work will be a representation

of a major composition by Jean Sibelius. This project is based

on a quote from Sibelius: “Music begins where the possibilities

of language end.” The final product will be a response to this

challenge, a celebration of Sibelius’ personality and musical

intuition, and a showcase of the power of words that sit behind

everything we do, even when nothing needs to be said.


MUSIC BEGINS WHERE THE POSSIBILITIES OF LANGUAGE END

I created a collection of large-scale visual poetry works.

Each work is a representation or translation of a musical

composition by Finnish composer Jean Sibelius. The project

responds to a quote and challenge from Sibelius himself:

“Music begins where the possibilities of language end.”

Inspired by Modernist writing that developed in Sibelius’ time,

each work is made up of at least three layers of poetry. They

feature the voice of the music, the voice of the composer, the

voice of musical critics, analysts and biographers, as well as

my own voice in dealing with the complexities or failures of

impossible translations. The voices respond to each other, often

contradicting, disagreeing, or misunderstanding. These layers

are then printed on a large scale, presenting a text-based form

as a visual artwork with their own shape, colour and composition.

The form of each poem is inspired by musical structures,

shapes and movements within each composition, but still

concede to the limitations of reading and writing text. The

poems both glorify and humanise the figure of Sibelius,

and are all affected by my own context and personality.

Works such as “Symphony No. 1 in E minor (Op. 36)” contain

cohesive structures to provide an attempt to translate the

energy of a vibrant musical work, while “Finlandia (Op. 26)” is an

onslaught of text and footnotes, providing an impossible task of

summarising such a grand musical and nationalistic statement.

The overall collection is a humorous and energetic take on the

limitations of language, the problems of translating media,

embracing cultural differences and subjective viewpoints through

poetry, as well as a celebration of Sibelius’ personality and musical

intuition, and a showcase of the storm of words that sit behind

everything we do, even when nothing needs to be said.


IN THE RESIDENCY

July 2014

MARIE-LOUISE ANDERSSON

Denmark

mmarieland@gmail.com // www.youtube.com/watch?v=R4Tb6ezpIuw

Marie-Louise Andersson is currently working on a series of

drawings, performances, and audio.

Geometry of Language is a piece based on a series of drawings in a

diagrammatic sense along with an audio walk, and performances.

Marie-Louise Andersson fascination of plan drawings of places

is the idea of representation of place, since the diagrams are

able to combine spatial and non-spatial ideas. To present

a real and an imagined world, abstract ideas and concrete

proposals. Diagrams or plan drawings are all seeing but also

deceptive and illusory - it hides not only the third dimension but

as well the dynamics, temporal and sensual qualities of place.

In renaissance Italy they shaped the so called ideal cities on

abstract rules of proportion and symmetry shaped spaces as an

imaging serene of unpopulated spaces.

By the work Geometry of Language, I intend to draw on principles

in geometry. Playing with references as the ideal renaissance cities

and the pineapple’s symmetry as shape and its cultural history - as

both an esthetic constellation and as a growing syntactic structure

for language, to create an imaginary place out of time and out of

any real place.

The pineapple spread from South America to its coast and

north to the islands of the Caribbean and European continent

with its gardens and hothouses to mimic the tropics in the

temperate zone and created artificial places to make it grow

and bloom on the Europeans idea and fascination of the exotics.

It became the beginning of a European spinning love affair with

the princess of fruits, its precious shape and complex beauty

originated from the tropics made it popular but difficult to cultivate

in Europe. The cultivation of the pineapple disappeared throughout

Europe and finally back to plantations in the tropics as Europeans

colonized and import slightly changed in society. Into modern

time the export and sale of the pineapple got labeled as comfort

of sun-kissed lands, ocean breeze, sensuality and a sweet scent

of paradise.


PINEAPPLE WARRIOR

The Pineapple Warrior costume is a part of a performance that

plays a central role in the piece Geometry of Language. Geometry

of Language is a body of work including performances, costumes,

props, paperwork and sound. The overall piece is for a performance

exhibition taking place in Parc de la Ciutadella, Barcelona.

The Pineapple Warrior costume is made up of enlarged fragments,

ordered as a suit of body armour made of paper, textiles, and

rubber.


IN THE RESIDENCY

July 2014

KEVIN KANE

USA

kevinkane311@gmail.com // www.kevinkaneonline.com

Knowing how essential the performing arts were to his own

personal development and education, Kevin has dedicated

his career to working primarily with youth ensembles in the

fields of dance, theatre, and interdisciplinary performing arts.

His main interest in both his scholarly and creative work is

creating/ devising progressive, inclusive, intercultural, and

interdisciplinary ensemble performance projects that explore

personal and social identity within a wide range of socially relevant

topics, allowing many voices and perspectives to be heard.

Kevin holds a BFA degree in Theatre Arts; an MFA degree in Dance;

and a PhD in Cultural Studies, with an emphasis on community

arts, arts education, and culture & performance. As a twentyyear

resident of Los Angeles, Kevin has worked extensively as

a high school and university level dance, theater, movement,

and arts education instructor and director-choreographer. To

address issues of access, Kevin has formed his own non-profit

organization to assist low-income youth to participate in the

arts. He will soon take on the position of Associate Director of

the Visual and Performing Arts Education program at UCLA. He

also has an impressive and varied resume as a performer and is

currently invested in creating his own solo, autobiographical multidisciplinary

performance projects.


PHOTOS OF A GOOD BOY: REFLECTIONS AND REGRETS ...AND OTHER THINGS

I came to Arteles to rest, read, research, and write. I wished to

start to write a book proposal and complete a few scholarly feature

articles to be published in arts education journals.

Beyond those pursuits, I came here to return to an embodied

practice, to dance and move. I came here to explore dance as

memory, prayer, and meditation; dance as something that can be

psychologically, intellectually, physically, and spiritually curative.

I wanted to explore the deep meanings of gestures and mudras

and how they can help describe or define us without words.

Likewise, I have always felt that pictures and photographic images

can sometimes speak better than (differently than) words, just

as movement does. I came here, therefore, to contemplate how

photographs help us tell our stories, recall and articulate the past,

and make sense of personal events that are troubling and uplifting,

mysterious and defining. I drew inspiration from many songs,

tunes, melodies, and lyrics to connect me to deep and genuine

feeling. Putting this all together, I sought to explore text and

movement, dance, memoir, music, and memory… investigating

how it might be shaped into a solo dance-theatre performance.


IN THE RESIDENCY

July 2014

“Nothing matters more than

what never happened”

SONJA LOTTA

Switzerland

sonja@sonjalotta.com // www.sonjalotta.com

I am a Swiss Artist with a BFA in Photography from The University

of the Arts in Philadelphia, USA and an MFA from the Glasgow

School of Art, Scotland. I have been working and living in Zürich,

Switzerland since 2007. My work is strongly inspired by everyday

life, which I document and transform by distancing. The details in

daily life fascinate and animate me to view life from different angles.

Playfully I add some narrative levels which go beyond the daily

routine. The idea of identiy apprears in various positions (identity

formation, search for identity, identity escape); it constitutes a

common thread that connects all my work. The presentation and

installation in the room is part of the work.


WENN DU ALLES VERLASSEN HAST, KOMMT DIE EINSAMKEIT

[IF YOU LEFT IT ALL, THE LONELINESS FALLOWS]

My current work is based on the theme of frustration from the

book “Missing Out” by Adam Phillips. I have been working on four

different projects since the beginning of 2014. Here in Finland I

started and finished the last part of the work: the frustration of

being deprived of something one has had. I chose the feeling of

loneliness and the role it plays everybody’s life, as well as in mine.


IN THE RESIDENCY

July 2014

“Grace Kingston is the child

of an Ancient Historian and

an Economist; born in 1987”

GRACE KINGSTON

Australia

gracekingston@gmail.com // www.gracekingston.com

I am a multidisciplinary artist whose work is primarily concerned

with technology and it’s intervention on our body, identity and

everyday life. I conduct research in the fields of social media,

digital culture, bodymod, networks, environments and spatialcontextual

awareness.

These themes have been employed through meticulously

constructed scenes that have been networked and suspended by

rope. In addition to working with the body as a site, object making,

photography, drawing and semi-permanent impositions on the

natural environment. I enjoy making and documenting scenes that

are unusual in their execution, yet surprising in their familiarity.

I often create works that use the data and symbols of our

online lives in the real world to consider how our identities and

interactions are evolving as technology becomes more prevalent,

and more personal. I am interested in Sherry Turkles notion of

being ‘alone together’ with technology, and where that might

lead in terms of privacy and intimacy. As the global community

grows closer, devices mediate more of our dealings with each

other and our opportunities for play and experimentation are

vastly increased. It is for this reason that my area of research is so

exciting and unpredictable.


SOLUS / ABSENCE

During the month of August I have explored the notions of space

between bodies and the environment. I have created a number

of experimental interdisciplinary projects, photography, sitespecific

installation and soft sculpture. Many of these projects are

“prototypes” building towards a larger exhibition in Sydney later

in the year. Language has informed the works, in particular the

latin word “solus” as the root word for both “alone” and “only” - a

reflection of the intimate rural environment of Arteles.


IN THE RESIDENCY

June-July2014

OSCAR CHAN YIK LONG

Hong Kong

coscar1013@gmail.com // www.oscarchan.com

I am a Hong Kong based artist (1988). My creative approach explores

personal experiences whilst embracing different media and their

properties including installation, ceramics, and illustration. Some

of my artwork are site-specific, enabling viewers to contextualise

personal experiences into a wider context of collective relationship.

Based on these very real personal experiences, I explore how

individuals associate themselves with others.


WHAT (DEVIL) BABIES DO

This project is based on a belief that babies are born ‘a

piece of paper’. They turn out to become a good or bad

person as a result of their environment and education.

Through the process of drawing different devils or bad behaviour

monsters from different mythologies, I try to find out see if there

any similarities and reasons how the bad personality created and

twisted from a neutral baby to scary devils.


IN THE RESIDENCY

June 2014

“What you see is not what it is”

JIHYUN YOUN

South Korea

buffaloo11@gmail.com // www.facebook.com/jihyun.youn.54?ref=tn_tnmn

Born and grow up in South Korea and lives in Amsterdam.

Since young age I trained classic ballet and Korean traditional

dance techniques. In 1999, I came to Netherlands to study new

dance techniques and choreography at EDDC (European dance

development center) in Arnhem and after the graduate I continued

my study at DasArts (Master in Theater) in Amsterdam.

I work as freelance artist and create projects in collaboration with

different discipline artists and giving workshops in Europe, Korea,

Mexico and Brazil.

My inspiration start with observes ‘body’ as a complex object in

itself and relation with characteristics of ‘Time’. As a strategy,

I like to see the passive object flip into active manly by one’s

‘observation’ or ‘intention’. And sharing or witnessing that flip

experience together is the purpose of performance for me. I am

also interested in uncertainty of structure or pattern in relation

with emotions.


SUBJECT OBJECT

Visual Artist Maggie Kelly and I found common ground in our

interest of exploring the human ‘body’ as a material object and so

began playing with the passive body in space. Our collaborative

exploration naturally surfaced in the form of performance and

photography, through which we gradually shift to the use of daily

objects as a substitute to the human body. By using objects we

begin exploring the word ‘body’ in a wider context in order to lose

any associations connected to the passive body, such as the weight

of death. Ironically in doing so, this weight is regained, exposing

our inescapable attachment to death, bringing us full circle.


IN THE RESIDENCY

June 2014

MAGGIE KELLY

m.kelly.2705@gmail.com

UK

If you see the human condition as being mind internalised within

a body and the status of our built environment as buildings that

contain bodies, then what is the nature of human nature immersed

in this secondary body of architecture? What does it mean that

the human animal chooses to live within this second body?”

-Antony Gormley

Interested in the interdependent connections and boundaries

between mind, body and environment and increasingly driven by

the personal process of self-observation, navigation and reflection,

my practice aims to explore the meaning of ‘inside’ and ‘outside’

both as state and concept, as well as question what constitutes

a human habitat. I’m very much interested in the concept of the

body as an environment itself; our primary location; a mobile and

impermanent environment, acting as an archival container in

which we as sensual, social, emotional and psychological beings

inhabit.


EXPLORING ”NATURE”

Feeling wrapped up in the boundless blanket of countryside

landscapes at Arteles, I primarily began to absorb the immense

beauty of nature and naturally started to consider themes

concerned with the human condition and our relationship to the

natural and built environment. With the use of latex I began to create

small replicas of natural habitats, documenting my experiences

of texture, colour and location. By replicating parts of the natural

landscape in which my body inhabited and by removing them from

their original context to be displayed in a constructed order, I begin

to question the status of each environment and the perceptions

of ‘self’ within the natural world. This documentative process was

merely a starting point before entry into a collaboration with fellow

resident JiHyun Youn, a Korean dancer and performance artist.

JiHyun Youn and I found common ground in our interest of exploring

the human ‘body’ as a material object and so began playing with

the passive body in space. Our collaborative exploration naturally

surfaced in the form of performance and photography, through

which we gradually shift to the use of daily objects as a substitute

to the human body. By using objects we begin exploring the word

‘body’ in a wider context in order to lose any associations connected

to the passive body, such as the weight of death. Ironically in doing

so, this weight is regained, exposing our inescapable attachment

to death, bringing us full circle.


IN THE RESIDENCY

June 2014

ANDREA MCGINTY

USA

andreamcginty@gmail.com // www.andreamcgintyart.com

Andrea McGinty is a multimedia artist working primarily in video,

text, and drawing. Her work focuses on how language can subtly

express agency, power, guilt, and shame when filtered through our

personal relationships.


NONE OF IT

Provocative text flashes across the screen as intimate relationships

and private admissions are recounted unapologetically in my

videos. Casual, conversational discussions of personal narrative

reveal underlying notions of agency, power, guilt, and shame

that stem from our cultural norms. The way we use and misuse

language creates meaning, and that meaning reflects our cultural

experience. Language provides, at best, an imperfect expression.

My work translates the imperfections of communication in search

of greater understanding.

I am interested in the way language can subtly reflect our societal

conditions when filtered through intimate relationships. My concern

isn’t with bold statements or generalizations, but in the slightness

of personal experience. The way we interact in our relationships

reflects our cultural framing and the expectations and limitations

of our socially prescribed roles. The way we communicate reflects

the contradiction and confusion embedded in our understanding

of gender identity and sexuality. With a narrowed definition of sex

professed as universal truth anything that falls outside of that

reductive definition is relegated to perversions. This makes our

true desires difficult to confront. Navigating difficult emotional

territory, the prose walks a fine line between sincere and absurd

building into itself a level of precariousness. As I try to recall my

own history, fabrication and truth are entangled. I become an

unreliable narrator and it becomes unclear where fact ends and

fiction begins.


IN THE RESIDENCY

June 2014

SUSAN KLEIN

USA

sklein79@gmail.com // www.susankleinart.com

My paintings and drawings begin from the direct experience of

walking through the landscape. I use digital photography as a way to

record my visual passage through space. The photographs become

source imagery for both paintings and drawings. The work deals

with the particular: the tension between two shapes, the quality

of the color, the fact that the paintings all evolve from specific

visual situations that I observe, whether bucolic landscapes of

sheep or urban construction sites. They retain a strong relation

to perception- the process of seeing and structuring spatial

relationships. Traces of hiding and revelation remain and the

surfaces of the paintings show wear and tear. Irregular surfaces,

architecture, botany, gnarly branches, fences, piles of bricks – they

swim together to create a dense visual obstacle course.


WALKING, STACKING, DRAWING

During my time at Arteles, I made a habit of taking long daily walks.

I documented these walks with photographs. Patterns began

to emerge from the photographs: wood stacks, piles, ordering,

repetition. The drawings created here use this imagery - they are

a record of time, space, and human organization (my own and that

of the neighborhood residents).


IN THE RESIDENCY

June 2014

“My current work focuses heavily on shape,

line, form, composition and colour”

PAUL SENYOL

South Africa

thesenyol@gmail.com // www.senyol.blogspot.com

Born 25 October 1980 in Cape Town, South Africa.

I have been drawing and painting since my early high school years,

however never pursuing any form of artistic or graphic training.

At 16, I discovered the freedom of skateboarding and punk rock

music in the beautiful suburb of Welgemoed, where I grew up.

This naturally became a key influence in my early drawings,

sketches and paintings. Skateboard graphics, album covers,

magazine layouts and illustrations played a role in developing my

aesthetic eye. Around the same time, I also became exposed to

the creativity of graffiti and street artists such as Marc Gonzales,

Ed Templeton, and Barry McGee - all of this forming part of my

early ‘art education’. I was later introduced and moved by the

creative thought and artistic genius of Jean-Michel Basquiat, Andy

Warhol, and Cy Twombly. My lack of formal training and schooling

has given me the freedom to break away from traditional notions

of painting, to explore genres and styles, and to meld mediums,

allowing myself creative freedom to flow through my works.

My art lingers gracefully and intentionally between beauty and

honesty and brings a surreal, yet abstract world into being. My

current work focuses heavily on shape, line, form, composition

and colour. Each faint line. Bold brushstroke and shape carefully

composed to breathe life into it’s environment, reflecting something

of light, experience and thought. My finished work seeks to engage

the viewer through translating my own experiences to canvas,

allowing an open discussion and translation of the work.

I have exhibited extensively throughout South Africa and abroad.

I currently live and work from a studio in Woodstock, Cape Town.


NO MAN’S LAND

During my stay at Arteles I set out to create a series of five

artworks, each roughly the same size as each other. They form

part of a year-long theme to my work, culminating in an exhibition

with previous artist-in-residence Pierre le Riche (South Africa). We

will be showing work from during our residency, as well as post

residency at Salon91 Gallery in Cape Town, South Africa. During

my time at the residency my paintings focused on explorations with

color, compositions, linework, textures and new mediums. These

artworks will also be shown at a group show at CircleCulture

Gallery in Berlin during July.


IN THE RESIDENCY

May-June 2014

ALEXIS COURTNEY

USA

alexis@alexiscourtney.com // www.alexiscourtney.com

My work is a systematic investigation into the way human

beings interact/react to themselves and their surroundings.

By using daily life as a stand in for material and source, I draw

parallels between process and experience, self and the other.

Repetition, deconstruction, humor and vulnerability are methods

I use to challenge social structure by way of deprogramming and

mimicking day-to-day interactions. The reversal of pattern, the

influence of balance, and the mirroring of an opposing force are

reoccurring themes that explore the innate need for connection to

others and to the physical world.


UNTITLED

A holding pattern recreated using five men and a red ball,

Facebook conversations deconstructed to only include affirmative

or negative phrases, the artists relationship to their art mimicked

by way of tripping on something invisible, a figure running through

the woods wearing neon orange in an effort to be caught but not

seen. I drew inspiration from both my physical surroundings and

the other residents at Arteles for these video pieces. They are

each a meditation on what it feels like to be in a foreign place with

strangers and friends, physically and mentally.


IN THE RESIDENCY

May 2014

DUSTY RABJOHN

USA

drabjohn@gmail.com // www.dustyrabjohn.com

I am a Chicago-based artist and teacher. My work is predominantly

motivated by sociopolitical concerns. I try to create simple but

provoking images that ask questions of the viewer. I’m interested

in realism, but I want to render images that give a vague and

incomplete result, encouraging viewer participation. I operate

under the assumption that art is a democratic form and should

therefore be accessible and productive, reflecting themes of

contemporary relevance.


EXPLORING ”NATURE”

I purposefully came to Arteles with no ideas in mind. It’s my second

residence here and the previous time I rushed to produce a lot of

work that I was only partially satisfied with in the end. This time I

wanted to be open to more exploration in materials, techniques,

and subject matter. The content of my work remains focused on

human nature, and the inherent beauty and cruelty of the natural

world.


IN THE RESIDENCY

May-June 2014

HOLLY KNOX RHAME

USA

hkrhame@gmail.com // www.hkrhamefineart.com/blog

My practice is an attempt to reclaim my own history by providing

a container for that history. The paintings function as mirrors

for myself and present as landscapes in an attempt to locate my

origin within culture as well as unpack a fundamental relationship

between trauma, the body (archive) and the landscape (container).


PROCESS; THE ACQUISITION OF LANGUAGE // EXPERIMENTS

I propose a three room show that viewers can traverse in

the shape of a circle. The purpose of the three rooms are to

mimic the process of bringing the unconscious into language.

The first room would be painted completely black with a glow in

the dark x on the floor for orientation. The viewer would be given

a flashlight to view 50 - 75 7 x 5 black on black panel paintings.

The intention behind the work is to engage with prelinguistic

/ unconscious imagery in a way that mimics the brain’s natural

process of dissociation. I intend to highlight the biological reality of

the lacuna or blind spot through the use of flashlights and darkness.

The second room will contain approximately 20 - 30 white on black

paintings and will be traditionally lit. These paintings engage with

the imagery previously seen in the dark but will further articulate

the development of personal schematic mythology and move the

viewer from a pre language state to a preconscious state. The

final room will contain black on white dictionary paintings to be

displayed in a grid pattern. These paintings will directly define the

images used throughout the two previous rooms encouraging the

viewer to revisit the previous work with a newly acquired language.

In my second month of the residency I experimented with block

printing and made a series for the Field Projects Gallery Flat File

that will debut this August.


IN THE RESIDENCY

May-June 2014

JULIO ORTA

Mexico

julio_ortav@hotmail.com // www.julio-orta.com

I use a wide variety of media to produce my works. My work is

conceptual; it’s everyday life woven together with the absurd and

the playful. The environment is often a staring point for me with

high focus on the playful all the way into the paradoxical, it ranges

from the obvious poetry of human drama to the unseen absurdities

of life that go unspoken for.

In my work, I seek to exploit the aesthetics of balance while

highlighting trivial moments that would otherwise go unnoticed in

their original context. And then there are other facets of my work

that come with an intense political charge; specifically dealing

with the cancellation or the misplacement of a fixed identity “I”

(historical or social), so that time and space converge in a spoken

text and fictionalized story line that emerges little by little but with

a haunting crescendo that reaches for total awareness juxtapose

self-awareness.

The work is intended to challenge and invite introspection beyond

one’s own subjective boundaries and is a residual invitation for

one to destroy and rebuild the relationship between “I”, “the

other”, “the entity”, “cannibal”, and “civilized”. Aesthetically, this

is the cordial marriage of extremes, of seemingly incompatible

worlds: the Avant-garde and the postcolonial theory or democratic

movement from a left late, as a form of artistic resistance against

the suppressive logic of capitalism.


SOMETHINGS ARE JUST VERY DIFFICULT

These puzzles are based in pictures of the Russia/Ukraine problem

there its so hard whos wrong and whos right everybody has their

opinions, its it as difficult as a puzzle this is mages are 256 pieces,

people who wanna use the piece are asked to paint their fingers

red before trying to use it. At the end they puzzle pieces are gonna

be covered in red simbolizing the blood that has been spilt on these

2014 problems as more and more people try to solved the jigsaw

puzzle, doing the puzzle becomes more and more difficult as the

pieces at the end are just gonna be red and you would not be able

to see the images on the puzzle pieces no more.


IN THE RESIDENCY

May 2014

“We were born naked.

The rest is drag” - RuPaul

DAVID BLOOM

USA

david@davidbloom.info // www.davidbloom.info

I mostly make dance pieces. I also enjoy teaching, dancing in

other folks’ projects, giving bodywork, telling fortunes, & making

music. Last year i made the world’s first pornographic dance film.

My work generally explores transcendence, community, intuition,

spirituality, ecstatic states, parallel universes, and the role of the

body in an increasingly virtual world.


THE INTUITIVE BODY - RESEARCH FOR UPCOMING DANCE PIECE ”THE UNIVERSE PROJECT”

My current work is heavily influenced by the Chinese philosophical

concept of Wu Wei, usually translated as non-action or doing

without doing. In artistic practice, this doesn’t mean doing nothing,

but rather creating a set of conditions that allows the work to not

be produced, but rather to emerge from what is already there.

During my stay at Arteles, my intention was to write and develop

body practices to share with my collaborators for an upcoming

larger dance piece in Berlin next year, The Universe Project.

It deals with the fact that bodies are simultaneously separate and

inseparable from their environment. I believe that intuition and

energetic work can be “improved” and sharpened through practice

like anything else. The Finnish countryside experience of the body

allowed The Divine to manifest within/without the body/universe/

nature. A lot of time was spent looking at the sky. I also bought an

axe made by a local blacksmith.


IN THE RESIDENCY

May-June 2014

“We shall not cease from exploration

And the end of all our exploring Will be

to arrive where we started And know the

place for the first time.” - T.S. Eliot

MEYTAR MORAN

Israel

meytar.m@gmail.com // www.meytarmoran.com

I am an Israeli artists (1986) with a BFA in Photography from

Bezalel Academy of Arts and Design, Jerusalem. Photography

is usually the core and starting point of my projects. My method

of working includes an integration of original work with foundfootages

and readymades, with an approach of a fictitious-didactic

state of mind and all means acceptable.

Traveling and exploring somewhat-desolated landscapes, is a

crucial element to the subjects and issues I engage in.

In our perception of the world it is always laid out before us,

breached to our satisfaction – in the ease of a flight and the speed

of a mouse click we have access to all places.

In an era where everything is familiar, known, saturated with

information, I strive to re-introduce the unfamiliar, raise the

possibility of mystery, and the projections it lays on us.


”BLACK MAGIC”

The work ”Black Magic” (temporary title) deals in a playful way

with aspects in the landscape that hold dark perceptions to them

and a supernatural feel. The imaginative aspect of culture that we

all draw from is what allows for the mystery to exist in the work. It

is what I am attempting to disassemble and reassemble in various

ways.

I have been manipulating ready-made hand drawn maps found

online, some of which are old Finnish maps from the 1700-1800

Century and some are imaginary, taken from a fictional book

series. The maps are processed in a way that no text is visible and

mirrored into a rorschach style image.

Beside the maps are original film photographs, taken in the

surrounding landscape. Some of which are also manipulated in

various ways, creating a tension between the two dimensions of

the photographs and the sculptural quality of the maps.


IN THE RESIDENCY

May 2014

CHRISSY LUSH

USA

lush.chrissy@gmail.com // www.chrissylush.com

My images depict my desire to make connections and explore the

ways we communicate with ourselves and our environment. How

we become aware of our internal desires and fears through our

own actions, as well as how the environment can also determine

these fears and actions. There are degrees of vulnerability that

arise from the different interactions whether it internal, with our

environment or with others. The images are about the types of

connections that result from these vulnerabilities and how that

creates the structure of our personal realties.


UNTITLED (PROJECTIONS)

Projecting images of nature on a wall I placed my body within

the scene to explore how it can interact with the imagery. I then

re-photographed the image as it is projected onto my body, creating

a relationship with the landscape one of distortion and harmony.

My images depict my desire to make connections and explore

the ways we communicate with ourselves and our environment.

How we become aware of our internal desires and fears through

our own actions, as well as how the environment can determine

our emotional landscape. There are degrees of vulnerability that

arise from the different interactions whether it internal, with our

environment or with others. The images are about the types of

connections that result from these vulnerabilities and how that

creates the structure of our personal realties.


IN THE RESIDENCY

May 2014

PIERRE LE RICHE

South Africa

info@pierreleriche.co.za // www.pierreleriche.co.za

I am a visual artist who works with concepts surrounding identity,

particularly focusing on issues pertaining to sexuality, gender,

politics and cultural heritage. I find the identity of the Afrikaner

male in the post-apartheid climate of South Africa especially

appealing.

I translate my explorations into multimedia and sculptural works,

as well as installations, which sometimes include performance

elements.


TWO NEW EXHIBITIONS IN PROGRESS

My time at Arteles was spent working on two new exhibitions and

during the open studios event you will be able to see these new

works in progress. This includes conceptual drawings of a new

installation which explores the history, built environment and

urban culture of certain areas of Johannesburg in South Africa,

whilst the second is an introspective study in culture and solitude

through cooking, photography and painting.


IN THE RESIDENCY

April-May 2014

DIOGO BLANCO

Brazil

diogo@diogoblanco.com // www.diogoblanco.com

I’m Diogo Blanco, born and raised in Londrina, south Brazil.

Currently living and working in São Paulo. Mainly devoted to

painting, drawing and calligraphic handwriting. I’m interested

in people and my artistic production mostly seeks images of the

subconscious and the moment that deep feelings overflow and

become apparent as a physic emotion. It’s very important for my

work to explore different cultures, walk outdoors, meet people and

try to understand the human nature and it’s relationships.


HIATO

Like an intermission in life, a gap between states of mind. Time.

Serenity. A search for a way to express deep feelings. Trial and

error.


IN THE RESIDENCY

April 2014

LEA DEVON SORRENTINO

USA

lea.sorrentino@gmail.com // www.leadevon.com

My practice is an auto-ethnographical investigation of my life in

pursuit of understanding contemporary American culture. My

practice is about calling attention to the constructs of American

success and the emotional investments we place in possessions

and entertainment to create individuality. Or, in not art speak, I am

interested in why we eat too much, spend too much, and cry at

reality television.


FRIEND REQUEST

Friend Request is a project started at Arteles that is equal parts

observation, research, interaction, and performance. The project

begins with a questionnaire comprised of extracted information

asked by Facebook to inform a user’s “About Me” section in

the profile. In a folder is a physical version of the questionnaire

personally filled out, along with a recent image of myself. Once

someone agrees to become my “friend” on Facebook I give them

my personal file and proceed to inquire about their personal

lives based off the questionnaire. (This exchange happens at first

encounter or arranged). The intention of Friend Request is to start

a discourse about the amount of information social media users

give forthcomingly to all of their social networks.

Technology has shifted societies notions of privacy and intimacy

and has expedited virtual relationships. The speed and accuracy

that strangers get acquainted through online interactions has

escalated the intimacy amongst social users. The editable

structure of social media networks promotes the idea that sharing

information increases connections, but this information does

not necessarily strengthen a singular relationship. Sharing an

abundance of personal information helps with self-promotion

before generating a connection, making online development more

self-serving than commutative. Large amounts of self-disclosure

create vulnerability, but constant curation of a user’s online profile

allows for the development of an ideal identity. Since the virtual

interaction is crafted the relationship promoted online can be

entirely different than the relationship held in the physical world.

This shift has implications in the real world, or maybe it means

that society is moving into an existence of multiple identities that

have to be developed and navigated.


IN THE RESIDENCY

April 2014

“Musician and Sound Designer”

RORY MCINTYRE

UK

mcintyrerory@hotmail.com // theballadofmablewong.bandcamp.com

My main creative outlet is through playing guitar. I have played in

an instrumental band since 2005 and am largely influenced by film

and film music. I have been working with Pro Tools for around 2

years now, which has created an interest for me in sound design

and editing. I plan to explore this further by recording ambient

sound and integrating it with music, in order create pieces

somewhere between soundscapes and ambient music.


LOOPS, SOUNDSCAPES AND TIMELAPSE VIDEOS.

I have been recording improvisations on guitar, editing them later,

(or not depending on each piece) and placing them against time

lapse videos. I have also recorded sound effects and voices which

will feature in some of the recordings.


IN THE RESIDENCY

April 2014

“The eye searches for what

the heart already knows”

CARISSA BAKTAY

Canada

cmebaktay@gmail.com // www.carissabaktay.com

I am an interdisciplinary artist and designer based in Calgary,

Alberta with a Bachelor of Fine Arts Degree in Glass from the

Alberta College of Art + Design. I have studied at the Rhode Island

School of Design, Red Deer College, participated in an annual

Snow and Ice sculpting residency in Norway and was accepted to

the 2011/2012 Living Arts Center Fellowship in Glass.

Whether through hand made glass or installation and performance,

my current practice aims to transfer my own emotive knowledge

and experiences to the viewer. My inter-disciplinary work employs

different materials and methodologies for their specific values to

create installations and objects that cater to the haptic experience

of the spectator, where seeing is wholly intertwined with feeling.

The feeling of discomfort when first introduced to strange or

different surroundings, the desire and longing between people

and places and the way seasons evoke distinct memories inspires

my work aesthetically, conceptually and technically. My work has

an inherent stillness, taking artistic cues from the landscape and

dream like environments. Portraying this simplicity has remained

a constant aim within my work through a wide range of methods,

techniques and projects.


THE MOSS IS ALWAYS SOFTEST IN THE SHADE

gold.

honey.

writing fairy tales that write themselves.


IN THE RESIDENCY

April 2014

“Beckmann uses layering techniques,

to explore the transience of perception,

identity and immersive experiences.”

EMILY BECKMANN

UK

ebeckmann1@hotmail.com // www.limousinebull.org.uk/2011/06/show-emily-beckmann

Much of my work is driven by a desire to expose and overlay

stages in the creative process. I orchestrate performances with

repeated gestures and present fictional scenarios, usually in the

form of Installations. I think of these as immersive collages. This

approach influences every stage of my creative process.

In my installations, I present fragments of broken narratives, with

objects, text and imagery. The objects I make are often based

on items with symbolic uses. I take inspiration from displays of

museum artefacts, and the visual merchandising techniques of

retail. Both impact on my work.

Costume plays an important role: it simultaneously suggests

presence and absence.


SOWNER, LIKE DOWNER: NOT SAUNA, LIKE FAUNA

The starting point for this project, was the Finnish tradition of

Sauna.

My artistic practice typically involves an almost anthropological

investigation of contemporary, and ancient, behaviours and

artefacts, where an egalitarian approach is applied to, high and

low, sources of cultural significance.

In previous work, I have explored the universal association

between steam, smoke and condensed breath, with visual

representations of the soul. The Finnish word, “löyly”, is applied

only to sauna steam, and its original meaning derives from spirit,

soul and breath.

In Sowner Spirit, 2014, layers of creative processes (for example,

re-filming moving imagery, projected onto flowing fabric and

curls of synthetic smoke), result in an ethereal glow amongst the

colour banding of defunct technologies.

This film depicts repeated gestures, re-enacted from documentary

footage, of a performance that took place at the site of Arteles, in

1985. I performed the movements in slow motion, then selected

specific gestures to loop.

Inspiration also came from the mating displays of a pair of cranes,

visible from my studio window. In the fields opposite, they spread

their wings and performed the dance common to their species,

while mirroring each other’s movements.

In Easter Bonnie, 2014, I enacted my own adaptations of

the Finnish tradition of Virpominen, substituting the usual

Virpomisloruja (blessing) with a time-honoured Scottish farming

song, Ca’ The Yowes, Robert Burns, 1794. This is overlaid with

footage of the UNESCO World Heritage sites of Old Rauma, and

Sammallahdenmäki, the bronze-age burial site.

The theoretical premise of my artwork, is that gestural

behaviours supersede human lifespans, during which we, semiunconsciously,

serve as host carriers for behavioural clusters

that transcend our comprehension.


IN THE RESIDENCY

April 2014

RAOUL RIES

LUXEMBOURG

rr@raoulries.com // www.raoulries.com/

I am interested in people and places, and in how their history

and key characteristics can be perceived or reconstructed in a

photograph.


MEETING FINNISH FAMILIES AND EXPLORATIONS ON A RED BICYCLE!

Two topics intrigued me when I arrived at Arteles.

The first was the distance between houses, and the social

structure implied by local architecture. Houses are spaced further

apart than in villages in Western or Southern Europe. Most of

them have playgrounds or toys nearby, and one or two cars,

indicating nuclear families quite unlike the statistical average in

cities. I wanted to see how the families present themselves to a

stranger, how they group themselves for the photograph, what

distance they keep between themselves, and how they pose.

This set of photographs is tentatively called “Finnish Family”.

The second impression grew more slowly. Having lived in a city

for the last few years, I re-discovered the joy of exploring pastoral

surroundings on a bicycle. Although neither new nor fancy,

the bicycle was red! On the red bicycle I felt like a ten-year old

adventurer on an expedition into both familiar and uncharted

territories. My outings on the red bicycle eventually developed

into a second photographic project at Arteles.


IN THE RESIDENCY

April 2014

“The empty-handed painter from your

streets is drawing crazy patterns on your

sheets.” - Bob Dylan

CARL GOMBERT

USA

carl.gombert@maryvillecollege.edu // www.carlgombert.com

I love to draw. I love the tools and I love the processes of drawing.

My current works are all ink on paper, and they all rely on radial

structure to explore complexity and pattern arising from the

application of simple rules. They are all hand drawn or hand

stamped.


RADIANT GEOMETRIES

In my month at Arteles, I am using rubber stamps and a small

ink pad to create a series of improvisational mandalas. Using the

principles of repetition and rotation, these images grow from a

central core into larger, complex circular forms. The works begin

with a basic decision about whether the circle will be divided into

six, eight, nine, ten, twelve or more parts. As the drawing grows

larger, decisions about which stamps to use next are guided

equally by formal concerns such as shape and size, and content

issues, especially humorous potential. Because the drawings

involve countless small repetitive acts, the process also becomes

quite meditative.


IN THE RESIDENCY

March 2014

MATT SIWERSKI

New Zealandl

wartimeskits@live.com // www.mattsiwerski.com

Coming from a somewhat reclusive way of life, art making

continues to be primarily cathartic for me. When overcoming fears,

doubts, and the ensuing procrastination, the execution is hooked

in notions of self, social conditioning, and an outlet for the many

questions and frustrations I have gathered over time.

I am curious about contemporary modes of survival, primitive

foundations, and exploring new connotations through visual media.

Previous work has been an integration of digital media with textile

manipulations, centring on decoding masculinities and my own

artistic rationale. I explore hybrid processes, break down common

beliefs/challenge social constructions and overall make art work

with conviction.


MAS AMAS DIEHTÁ MAID OARRI BORRÁ.

HOW CAN A STRANGER KNOW WHAT A SQUIRREL EATS

Arteles has provided me with a unique opportunity to exist outside

of the everyday grind. While working hard to settle in Melbourne,

Australia. My creative wellbeing took quite a hit. Here I have had

the rare luxury of living in a creative centre with wonderfully

talented people and a calming, serene, but also discreetly quirky,

cultural landscape. My time passed with quiet reflection and

contemplation; a look at some of my previous projects, habits, and

how to approach art making in the future. Digital photography,

journal writing, some drawing, and digital sculpting were

processes used in my treatment of the inspirational surrounds.

This research and early planning will be continued on my return

to Australia where I work towards a textile based exhibition held

in Central Australia. The focus will be on exploring mythologies

and finding my own purpose through observation and experience

of these two polar, yet strikingly similar cultural landscapes.


IN THE RESIDENCY

March 2014

ALESSANDRA FALBO

Brazil

falbo.alessandra@gmail.com // vimeo.com/alessandrafalbo

In my work I explore possible results of methodically improper

uses of equipments and/or technics generally employed in the

production and/or display of representations. I research medias

which, intending to show us reality or representing the real

(cinema, TV, books, social networks, etc), shape subjectivity. I

am interested in how image capturing technological objects are

used; specially if they are multifunctional and creations made with

them are shared online. I curiously observe patterns; to some

extent the group image capturing multifunctional technological

objects + post processing apps with filters + social networks with

tags standardizes image production. Aiming to resist this kind of

standardization, I build strategies.


VIDEO-PATTERNS

I’ve been making video projections outdoors at night. The projected

videos are part of a series that I refer to as video-patterns.

They are used as samples within site-specific installations. The

starting point for each video-pattern is a recording of a pattern or

mosaic (in this case) located throughout public spaces in Brazil +

the ambient sound - which remains original and unedited in the

final sample. Practical research during the recording process

includes the investigation of the technical limits of the camera in

use + its capturing program, while experimenting with the whole

apparatus as a bodily extension. Through simple steps of image

multiplication, these first recordings are used to make patterns

that differ from their origin; since the videos are in continuous

motion the images keep morphing into new patterns non-stop.

Even though almost abstract, indexicality, real-time and sound

allow these videos to conserve something of the atmosphere of

the recorded sites. These atmospheres overlap/mix with natural

environments here. On top of a frozen melting lake, for example,

they juxtapose with the sound of breaking ice.


IN THE RESIDENCY

March 2014

ROBERT COLLIER BEAM

USA

robertc.beam@gmail.com // www.robertcollierbeam.com

Robert Collier Beam is an interdisciplinary artist working in

photography, installations and drawing. Robert received his MFA in

Photography from the University of Oregon and BFA in Photography

from the University of North Texas. Finding inspiration from the

land, scientific exploration, and natural phenomena - Robert’s

work explores the effects of perception centered on the spaces we

create and challenge. Creating object and image based works that

resonate with our inherent need to explore and see further.


PHENOMENOMENA

Phenomenomena reflects on the impulses and mysteries held

within our understanding of the landscape. Shelters, traps and

sites of worship - human interventions determine the function

and values of space. Phenomenomena blurs the lines between

these functions, working in the studio with found objects and

with the surrounding area, I create impressions of events in the

landscape that I believe to exist, but are beyond my awareness.

These impressions of spaces and objects confound the standard

expectations of photographic veracity. The image then responds

to a sense of space beyond our perception.

My time was spent exploring the landscape, observing the light, and

constructing objects based on navigation and finding ones place.


IN THE RESIDENCY

March 2014

“Walk Explore Dance”

IRMI WAHL

irmi.wahl@web.de

Germany

Nature serves as a great influence for me, I gain inspiration

from long walks and exploring, especially through mountianous

regions. Music also serves an important role, exploring formless

and complex spaces, it is an imaginative power beyond words.

Dissolving the landscape through my process of drawing, I want

to go beyond the obvious and create a unity of outward expression

and inward reflection.


-------------------------

The new series is inspired by the surrounding landscape, solitude

and stillness. We had an early spring. Slight changes can be seen

everywhere, the space has awaken while it should be asleep.


IN THE RESIDENCY

March 2014

“Memory | Imagination”

CLAIRE FOX

UK

clairefox365@gmail.com // www.clairefox.co.uk

Claire Fox is a Photographic Artist Living and working in Northern

Ireland (and at times) London. Using a documentary aesthetic,

many of her projects look at the relationship between memory and

imagination and how the two can both conflict and complement

each other. Claire often uses a wide range of medium to produce

her work. Documenting, creating installations, making props,

styling, illustrating and writing stories are just a few areas she

explores when developing new work.


THE VIEW FROM AN ARTELES WINDOW.

Whilst on the residency (apart from mildly injuring herself) Claire

has been developing her skills in paper engineering. Her lack of

mobility (which made it awkward to take photographs over the

four weeks) lead her to develop a 3D scene which she created

based around what she could see from her desk and what she

learnt whilst at Arteles. Within this piece we can see two swans

swimming towards the frozen lake, a wood pecker – (which could

be heard on occasions during her time there) instructions on the

correct and ‘safe’ use of crutches, various local tourist attractions

and a plethora of naked people rushing to use the sauna. (Not

to mention the presence of a Ginger Wolf, the Moomins, tourists

looking at a ‘map of Tassie’ and the cookie monster.)

Claire has also been developing two short stories ‘The Hum’ and

‘The Fliptaflies’ - as well as illustrations and models that will

be developed into larger projects beyond the time scale of the

residency. Claire is also developing and researching a number of

ideas for photographic projects which are inspired by Finnish culture

(which she will complete on her return to Finland in the future.)


IN THE RESIDENCY

March 2014

LESLIE LANXINGER

USA

leslie.lanxinger@gmail.com // www.lolaramona.org

The themes in my work are layered with mythology, religion,

science, fairy tales, anthropology, and pop culture. I use tiny

details to convey feelings and ideas, as well as to elicit an

empathetic emotional reaction. I am interested in the ways that

we view ourselves as human beings: who we want to be, who we

think we are, and how we expect to end up. My drawings reveal

universal fragility- the cracks in the armor. The moments that

often go unnoticed in life become the pivotal tensions: they expose

vulnerability and tragic/ comic poetry.


CHARCOAL DRAWINGS

I came to this residency with an open mind, looking for inspiration

from my surroundings and I was not disappointed. I discovered

work left in my room by a previous artist- small sculpted figures

wearing snowsuits, very crude and gestural. I began to make my

own figures and draw them: anonymous, faceless characters who

are solitary, but clearly possessed with a certain longing. These

little figures proved very helpful in interpreting my experiences.

They became almost talismanic: a way to channel my feelings into

pictures.


IN THE RESIDENCY

March 2014

“Eyes Shut Space.

Working into the invisible.”

BETH GIBBONS

UK

bethywest1976@gmail.com

I draw because it is my way of seeing. The immediacy of the mark

demands a candour – an allegiance to the original idea. So as the

image is manipulated, drawing it away from the visible and playing

around with it in the imaginary, I allow myself, through recognising

the process as a journey, to genuinely question whether where I

end up cannot be as real as the point that I started from.


FINDING FACES

I look for faces. And I have found some lovely ones this past

month. As is my journey, I take every unique feature and quietly

pull it through into the imaginary. I do not try hard to justify where

I end up. I just let each new pair of eyes tell me where I should

go. The portraits I have been working on will be incorporated into

a solo show in France in August entitled ‘call me Pygmalion and

I will say thank you but would prefer you didn’t call me names’.

Ps. Thank you to each one of my Faces...


IN THE RESIDENCY

March 2014

BEN JULIEN

Australia

benjulien@gmail.com // www.benjulien.com/

I write to tell stories. I write pieces of me into characters surviving

different worlds. I plot, I brainstorm, I control and I let go and see

where the story and the characters take me.

I have written several YA fiction novels based on Norse mythology,

a full length novel on a self-imagined world, and I am currently

working on a trilogy of YA novels set in a dystopian future with

themes of loss, identity and environmentalism.


THE DECAY CHAIN

I intended to spend my time working rigidly on a sequel to a

novel I’d previously written. While I did initially take in years of

notes, brainstorming further scenes and ideas, and write many

new chapters, I found that this wasn’t the outcome I valued

from Arteles. The very experience of working outside of normal

routines, of having a vast swathe of time to do something, do

nothing, to be anything, was new. And this challenged me and had

me question what I want and what I will do with my writing. I don’t

have the answer but this is the first I’ve thought of this, to step

outside my writing and look back. It was also the first experience

I have had of being completely in the moment, still and quiet and

able to look and be without judging.


IN THE RESIDENCY

February- April 2014

BEN HERNSTROM

USA

ambulantic@gmail.com // www.benhernstrom.com

Ben Hernstrom is a filmmaker and photographer based in

Pittsburgh, Pennsylvania in the United States. He will not shut up

about existential nihilism.


ETIÄINEN

Inspired by the Finnish myth of the same name, Etiäinen tells the

story of 2 scientists sent to a distant planet to study it. However

after arrival they realize that they have very different memories

and perceptions of how long they’e been there and how they know

each other, calling into question the validity of their perceptions

of themselves and their lives.


IN THE RESIDENCY

February 2014

“I work in actions towards

empathetic social diagrams”

ANNE BEAN

UK

annebean8@gmail.com // www.annebean.net

In an article on drawing and process that I was asked to contribute

to for the February 2014 issue of the MIT publication Performance

Art Journal, my statement reads: My work is an ongoing drawing

from life. A life drawing, A drawing life, A layering, A delayering,

A reaching, A breaching, A netting, An unnetting, A merging, An

emerging, An imagining, An imaging, A wording, An unwording

My work has always recognized the ephemeral and the need for an

openness towards the inevitable shifts of viewpoint, created by the

awareness of the endless change of time, place and context.


THE COLD OF MY MIND

Before I arrived I envisaged snow sculpturings of the body and the

mind. Burying myself, deep patternings, gaspings, breath frozen

in the lungs, thoughts disturbed, words trapped in the throat,

body shuddering convulsively: a union of mind, body and output.

Without the depth of snow or extremes of temperature, a quieter

work emerges of tremblings and gropings whilst murmuring a

Navaho song “my interior filled with cold as I walk”. I made some

steam drawings of snow on heat sensitive paper, ---an embrace

of steam and ice, the extremes of states of water. I attempted

five-minute drawings of the same landscape until my hand froze

and the image became desperate. The thermal drawings in the

accompanying image are inspired by the fact that in terms of

nuclear fusion, the mass of a glass of water contains the energy

to power a city the size of Helsinki for a year. I did this as a small

event, producing instant drawings during the public open evening.

I have many ongoing thoughts, possibly adding to the video I made

at Arteles by juxtaposing it with the original idea of immersion in

extreme minus temperatures.


IN THE RESIDENCY

February 2014

“Quiet. Solitude. Aesthetics.”

RUITONG ZHAO

China

ruitong2014@gmail.com // www.zhaoruitong.com

I was you in the shadow of the crescent; you were him in a red

snowy day; he was her when pointing to the northern stars, and

she was me digging the knowledge of nothingness.

I love people. I love similar people because they are different. In the

24 years of my life, of which 2o years in China, matters that I see the

most is people, or “the people”. I see crowded people all the time,

but I chose to isolate each one of them. Indeed, they are actually

isolated persons, or I say they are human beings having rooms of

their own. And later, those rooms have their own personas too and

so become people.

I represent these people by a combination of photography and

fragmented writings, video and performance, and I strive on

experimenting on turning the nonfigurative, unidentified people

into three dimensional, multi-medium installations.

Quiet is delicate. Quiet and solitude together is aesthetics. It is a

moment when art is about to happen.


MIDNIGHT SHINE

I’m just a weed shined by a 2 a.m. flash of light.


IN THE RESIDENCY

February 2014

NICOLÁS MARTELLA

Argentina

martels@gmail.com // www.nicolasmartella.com

One of the interests that guide my work, mainly in photography

and video (for which I use both photographs and video made by

me, as found and appropriate from different sources), are the

uses and customs of the media, his “Popular Mechanics “: his

rules, her desk, reading, etc., both in the everyday context and in

contemporary art.


Untitled (_MG_4099). Photography

Untitled (HD video) Still. 10:15 min. Loop

I came to Arteles to make photos and videos.

I don’t remember exactly what kind of pictures and videos I thought

I would made. Surely not the ones I’ve done. After all, things never

happen the way we plan it, so it’s good I can’t remember what I

thought.


IN THE RESIDENCY

February 2014

KEHA MCILWAINE

kehalulie@gmail.com

USA

I enjoy creating impermanent spaces, facilitating shared

experiences, and making up games that emphasize/illuminate the

brevity and wonder of being alive together.


PROGRESS/COME UNDONE

Here is a flower cave facing the northern woods. Structure built

from willows and birch saplings collected from the woods and

roadside. Skin of sheets and räsymatto from the second hand shop

and recycling center. Inside a wooden raised platform covered

with rugs and wool blankets. Lit by tiny lights. Warmed by rocks

collected from the woods and heated on the sauna steps. Flowers

hunted on several trips to town. Branches cut and brought inside

to begin budding. Visited by one or two at a time on a beautiful

dark and snowy night. Made out of heartbreak, transformed into

joy.


IN THE RESIDENCY

January 2014

TSAI CHIH-FEN

Taiwan

tsaichihfen@yahoo.com // www.linkedin.com/pub/tsai-chih-fen/20/603/929

Tsai Chih-Fen is a visual artist based in Taipei. Emphasizing

environmental installation and digital media in her work, Chih-Fen

critically examines the interplay of space and place that are related

to people’s cultural identity. She has accomplished many projects

through applying estranging techniques to the thematization of

human interaction with the environment that her oeuvres share.

Chih-Fen’s long term interest in the relationship between man and

nature resonates in her projects, which leads her to look into the

problems of ocean pollution and global warming. By observing

the struggles between modern industrialization and ecological

preservation in Asia-Pacific countries, Chih-Fen’s work reflects

the fragility of human existence and living conditions. Apart from

questioning of the impacts to our living because of the deteriorating

environment, she investigates the polluted wasteland along the

north coast of Taiwan with an attempt to provoke multifarious

discussions on issues regarding the exploitation of nature due to

cultural and political reasons.

In order to provide an alternative framework to delve into

contemporary environmental issues, Chih-Fen integrates

photography, video, and installation to reflect the tremendous

destruction caused by complex social factors. Meanwhile, she is

searching for a counterpoint from diverse cultural phenomena

which might trigger reciprocal interactions between human and

natural forces.

As well as practicing as a visual artist, Chih-Fen is currently

teaching at the Department of Fine Arts, National Taiwan Normal

University. Her teaching interests encompass installation, video,

animation and art theory.

Tsai Chih-Fen is supported by the grant of Boundary Breakthrough

Project from the AIR Taipei, Taipei Culture Foundation.


INTO THE DARKNESS

For we begin to understand Nature only when we no longer

understood it; when we felt that it was the Other, indifferent

toward men, which has no wish to let us enter, then for the first

time we stepped outside of Nature, alone, out of the lonely world.

—Rainer Maria Rilke

Into the darkness

With an expectation to experience an everlasting night, I came

to Arteles in winter, a place of solitude encompassed by frozen

landscape. Falling leaves drifted into icy lake and evergreen trees

whispered beneath snow. Shadowy light brought everything into

an existence of featureless and colorless.

Even in snow days, I kept a habit to walk in the woods, along

the meandering trails. Once alienated to nature, I was deeply

attracted to the inherent power it contained and obliviously gone

further and further until the distant light finally faded out. In

impenetrable darkness, the wildness unknown to me seemed to

be enshrouded in confusion; nevertheless, as an ambiguity was

summoned, a sensitivity revitalized. Only through perceiving the

dark, the boundary between the internal and external became

increasingly amorphous, and eventually interchangeable.

Overwhelmed by the surrounding dark, I created four works

during my two months stay at Arteles to investigate the complexity

of indeterminacy and intimacy awakened in me. Incongruous

ideas about sublime or clarity, and my sentimental response to

darkness had generated a tension between losing and restoring

my identity. Nordic winter blanketed all in the gloomy light, yet

something mysterious about what was hidden and unpredictable

called for a return. Enlightened by darkness, an emotional

landscape revealed multifarious experiences and insidious

possibilities after a prolonged silence.


IN THE RESIDENCY

January 2014

NAOMI BISHOP

Australia

naomibishop75@aol.com.au

Melbourne based artist Naomi Bishop has always been fascinated

by peripheral frontiers and mysterious landscapes. Through

her paintings and works on paper she explores the relationship

between the earth and sky, and between humans and nature.

She has recently been working with subterranean imagery. ‘I

remember reading in an old National Geographic issue about

caving several years ago that ‘cave exploration was the poor man’s

space travel’. At that time I was making work about astronomical

phenomena and space exploration. I often found images of

caves in old books on space and science fiction beside images of

telescopes and outer space. I became interested in the idea of the

underground cave being a dark and silent unexplored frontier.’

Naomi Bishop has been exhibiting internationally since graduating

with a Master of Fine Art from Chelsea College of Art in London in

2003. Focused primarily on painting, her work has been exhibited

at The Whitechapel Gallery in London, The Irish Museum of

Modern Art in Dublin, Fondation Hippocrène and Galerie Nicolas

Silin in Paris. She has been included in several curated exhibitions

in Melbourne and has received grants from Arts Victoria and The

Australia Council. Bishop’s work is represented in The Whitechapel

Gallery collection, as well as private collections in Europe, The

United States and Australia.


LIGHT THE DARK

When I arrived on New Years Day there was no snow. An

impenetrable and endless grey cloud smothered the sky. The

forest was black. People talked about the Black Winter, and

worried about the lack of snow and it’s consequences for the

wildlife, forests and lakes.

During the hours of darkness that beckoned quiet introspection

I became obsessed with the weather, constantly monitoring

temperatures, cloud cover, snow forecasts and predictions for the

Northern Lights. Often I would get out of bed in the middle of the

night and wander around the studios looking out of the windows

searching the night sky for signs of celestial phenomena.

Gradually the cloud lifted and snow arrived bringing its gentle

otherworldly light. I observed and documented changes in

weather, the forest and the sky, taking photographs, making

drawings, planning paintings and sculptures.

Around the studios I found objects made from metal, stone, wood

and bones. The shapes were so unusual and intriguing to me that

I imagined and reinvented them as magical objects with which to

conjure winter weather with its soft crystalline snow and Arctic

Lights.


IN THE RESIDENCY

January 2014

“I JUST WANT YOU”

PAT NAVARRO

Canada

pat.navrick@gmail.com // www.sitstilldontmove.com

Always hungry.

For food, knowledge, vice, material possession, inspiration, mental

self-indulgence, expression and you. Especially you.

My work is slow moving and deeply invested in my own growth as an

expressive individual. I’d call myself pragmatic, but not necessarily

practical. I draw most my imagery and ideas from video games and

humorous idiosyncrasies in popular culture and mutate them into

(often reflexive) high concept excuses for my thought processes,

overcomplicating them to the point of frustration.

Am I mess? Ooohhh you betcha!


”SKYNIGHT MOTHER” (AURORA MATERNAL VARIANT)

Originally having no intent on creating here in Arteles, this

project came about as a response to the immense influence

that the darkness of a Finnish winter had on myself as well

as my fellow artists (I mainly wanted to use this as a retreat

to teach myself Unity3d and brush up on my Puredata skills).

Upon arriving at Arteles, we saw no stars in the night sky. In

retort, Mariana Echeverri and Naomi Bishop had produced a

constellation projection to brighten up the night. Upon seeing the

stars again I endeavored to produce something akin to it in my

own vein (The inclusion of the northern lights aesthetic also came

from Naomi’s initial desire to see them during her stay here).

Using the same programming template as two of my previous

projects (Cellspace Sister and Cityland Brother) I created Skynight

Mother as an addition to the “”Spatials Family”” that I have been

working on. They are all interactive ‘patches’ created in Puredata

which are then projected. This particular iteration has the subtitle

“Aurora Maternal” in reference to Naomi Bishop and my time in

Arteles; unlike the rest of the family this one is not interactive.


IN THE RESIDENCY

January 2014

AKI ITO

Japan

www.aki.ito.free.fr

Among the interpreters, she has worked with Smash Ensemble,

Multilatérale ensemble, defunensemble, Saori Furukawa, Eric-

Maria Couturier. She also worked with Richard Siegal for dance

and multimedia performance.

In 2011 she was awarded a fellowship at Institut Français for Hors

Les Murs program. She was granted other fellowships by Casa de

Velázquez in 2010 and by Kone Foundation for Saari residence in

2011. The project of research and creation for voice, ensemble and

electronics has been sponsored by Kone foundation since 2012.


PRINSESSA LEIKKII/ THE PRINCESS PLAYS/LA PRINCESSE S’AMUSE

FOR MUSICAL COMPOSITION AND RESEARCH

We worked on score, sounds and real-time sound program to

reach to create «Voix ombrée» (shaded voice) through polyphonic

writing.


IN THE RESIDENCY

January 2014

MARIANA PORTELA ECHEVERRI

Portugal

mariana.echeverri@gmail.com // www.mecheverri.com

My artistic practice is based on subjects related to belonging and

the subsequent construction of multiple realities. Its nature is selfreflective

and centred on the individual’s subjectivity, its relation

and interaction with the external world and its capacity of personal

preservation through alternative systems. I am interested in

creating fictional environments, which come from the belief that

re-imagining spaces, objects and bodies, enables the construction

of possibilities and immerses one in the logic of another place.

In the past, I have explored these interests through projects

related to sexuality, gender and science fiction. Currently, I am

also working with concepts related to displacement, strategies of

integration, the strangeness of landscapes and the fantastic in the

quotidian.

Interdisciplinarity and collaboration are central to my work.


THE GREAT OUT THERE/BLACK WINTER

At the time I arrived at Arteles I was developing The Great Out

There, a project that orbits concepts of displacement and

belonging through the construction of abstract structures and

their attempt to integrate with natural/raw environments.

During the residency, due to a radical change of context – life in

the country, extreme temperatures from snow to sauna, cultural

exchanges, forging friendships and new philosophical questions

– previous methodologies evolved into different shapes and

different approaches to those same concepts.

I primarily focused on the construction of small-scale sculptures

and fictional landscape photography. On one hand, I used both

improvised and controlled techniques to compose structures.

Having previously researched about Himmeli making, I had

the pleasure to attend a class from Arts and Crafts teacher for

Hämeenkyrö council Elise Turppa. On the other hand, I developed

an archive of natural phenomena and landscapes focusing on the

fictional potential of their logical elements.

These two main approaches blended in a series of visual collage

experiments (like those in this page) that explore one’s own intent

to integrate in the new environment.

I have also worked in collaboration with other residents, creating

the conversation project with Emily Stewart or planetarium with

Naomi Bishop.

To sum up, the whole month at Arteles was incredibly enriching

and allowed space for experimentation and expansion of

techniques and concepts of interest, creating a strong starting

point for projects to come.


ARTELES

Hahmajärventie 26

38490 Haukijärvi

Finland

+358 341 023 787

info@arteles.org

www.arteles.org

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