arteles_catalogue_2014

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


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.



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.



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.



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.



“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.



“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.



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.


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.



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.



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.



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.



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.



“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.



“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.



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.


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!



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.



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)”


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.



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?


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.



“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...


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.



“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.”



“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.



“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.



“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.



“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.



“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.


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.



“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.


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.



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.



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.”



“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.



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.



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.


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.



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.



“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.



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.



“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.



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.



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.



“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.



“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.


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.


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.



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.



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.



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).



“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.


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.


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.



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.



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.



“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.



“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.



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.



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.


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.


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.



“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.



“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.



“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.



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.



“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.


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.



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.



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.



“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.



“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.)



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.



“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...



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.


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.


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.



“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.



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.



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.


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.



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.



“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.



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.



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

arteles_catalogue_2014

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