Archives: Artists

  • Ella Sinskey

    Ella Sinskey

    Ella Sinskey is GlogauAIR resident
    from October, 2022 to December 2022

    United States

    Meet the Artist

    Coming soon

    Statement

    Ella Sinskey (b. 1998, San Francisco California) really likes a lot of things. Enjoyment is her sole purpose, and to force everyone to enjoy. To “like a lot of things” may translate to: multidisciplinary artist. Every facet of exploration employs a different medium and scientific method. She hypothesizes, denies, re-evaluates and simplifies all experiments conducted. The message carried through whatever medium may be suitable. One could say she likes working with her hands. Is this all she has ever known? She wonders as she writes this, what are you knowing all of ever? Currently (and then as you are reading this she has flown to Berlin, and subsequently left and maybe gone back to the cafe), she works as a cafe server in Brooklyn, New York. She sheds a tear when she finds overwhelming solace in the goodness of people, places and things. This is what she would like to bring to you. On a platter, or stapled to the wall.

    Ella Sinskey

    GlogauAIR Project

    During my time at GlogauAIR I aim to explore and document the cultural aspects of food in Berlin through drawing, photographing, notation and subsequently re-synthesis in the form of a Dinner Party. The Dinner Party will be documented via video, photo and instructions for recreation. The dinner party acts as a live character study; dynamics between characters, history and context allow the viewer to see a broader reason for the now (the history of kitchen culture, domesticity). I am very interested in the ways that people use simple situations to become united; even if only for a night or a day. This project is inspired by the similarities between recipes and instructional works of art, in which one must follow a series of steps in order to re-create the work itself. The series of instructions can be re-interpreted and re-synthesized so that the creator leaves their handprint on the finished work. Another point of interest for this project is engaging with those who may not be particularly familiar or drawn to the art world. Some choose to engage with the purpose of finding a community, and this work is solely based upon the community that surrounds it and how they choose to respond to one another.

    CV Summary

    EDUCATION

    • 2017 – 2021 BFA Film and Television from NYU
    • 2019 – 35mm Filmmaking at FAMU, Prague
    • 2016 – RISD Pre-College, Ceramics
    • 2015 – Oxbow Art School, Intaglio Printing

    AWARDS

    • 2020 – BFA Group Exhibition at STP, NYC
    • 2018 – 2nd Place for Film Dog Mountain, Fusion Film Festival, NYC
    • 2018 – Group Show at Still Life, NYC

    WORK

    • 2021 – Present – Artist Assistant to Damien Ding, Egg Tempera
    • 2021 – Art Assistant to Justin Chance, Weaving
    • 2021 – Present – Research and Media for Independent Documentary on Cryptocurrency
    • 2021 – SCRAM, Communal Food Pop Up Alongside Art Events

    Gallery

  • Dongyan Chen

    Dongyan Chen

    Dongyan Chen is GlogauAIR resident
    from October, 2022 to December, 2022

    Dongyan Chen is interested in the potential of texts, images, and sounds and how these might work together in montages, as a way to construct fictional stories that concern different topics. Her artistic objective is to construct immersive art experiences that are able to engage audiences on a deep level. Drawn particularly to sound and video, she aims to create an experience that can lead the audience into a dream-like state, provoking self-revelation.

    Meet the Artist

    During her time in GlogauAIR, Chen would like to continue her current project ‘FACTORY’, which is a bricolage that tells a story about a fictional historical laboratory in an idiosyncratic narrative form. It also involves her interests in juxtaposing and combining the ancient arts with modern technologies, such as video games and social media elements. Apart from this project, Chen would also like to continue exploring more possibilities between Chinese and European art, as well as ancient and contemporary art.

    Statement

    Dongyan Chen is a multidisciplinary artist currently based in Singapore. Chen received a Bachelor of Fine Art (Hons) from Central Saint Martins, University of the Arts London, London, United Kingdom (2018), her work has been presented in several exhibitions in London, Shanghai, Berlin, and Melbourne.

    Chen is interested in the potential of texts, images, and sounds and how these might work together in montages, as a way to construct fictional stories that concern different topics. The role languages play in our daily lives is an important element in Chen’s work. Being bilingual, she often uses both Mandarin and English texts in her work. Previously, her practice has been concerned with automatic writing, which later ignited her interest in exploring the relationship between languages and the human mind. Her artistic objective is to construct immersive art experiences that are able to engage audiences on a deep level. Drawn particularly to sound and video, she aims to create an experience that can lead the audience into a dream-like state, provoking self-revelation.

    Dongyan Chen

    GlogauAIR Project

    I would like to continue my current project ‘FACTORY’ during my time in GlogauAIR. It was first developed when I did the residency at SomoS Art House from April to June 2022 and was exhibited at the group exhibition ‘PRESSURE DROP’, which was also part of the 48 hours Neukölln Art Festival.

    ‘FACTORY’ is a project I developed from my illustration series ‘100 Ideas of Hands’ and the video work ‘Study of Hands’, both inspired by the Dunhuang Buddhist art in China. By analysing and reconstructing the traditional Chinese and European art elements, combined with my own personal experiences and interpretations, ‘FACTORY’ is a bricolage that told a story about a fictional historical laboratory in an idiosyncratic narrative form. It also involved my interests in juxtaposing and combining the ancient arts with modern technologies, such as video games and social media elements.

    Currently, I’m still in the progress of making more works around the story of ‘FACTORY’, and I would like to continue exploring more possibilities between Chinese and European art, as well as ancient and contemporary art.

    CV Summary

    EDUCATION

    • 2015-2018 BA(Hons) Fine Art, Central Saint Martins, University of the Arts London, London, United Kingdom
    • 2017 Erasmus+ Exchange Programme, École Supérieure des Beaux-Arts de Nantes Métropole, Nantes, France
    • 2014-2015 Foundation Diploma in Art & Design, University of the Arts London, London, United Kingdom

    EXHIBITION

    • 2022 Pressure Drop, SomoS Art House, Berlin, Germany
    • 2022 虚实之间 In Between, L&W Home, Changde, China
    • 2022 Anonymous Drawings 2022, GALERIE IM KÖRNERPARK, Berlin, Germany
    • 2022 Night, Night!, L&W Home, Changde, China
    • 2021 未来已来 The Future Has Come , Premium Art 艺葭文化中心, Shanghai, China
    • 2021 Shanghai Young Art Fair – Promising Future, Shanghai, China
    • 2021 Graduates Art Fair (Wuhan) 2021, Wuhan, China
    • 2021 双向介入 Bidirectional Intervention, Jin Chuang Art Space 锦创艺术空间, Nanjing, China
    • 2021 Across Pieces of Sky,Trocadero Art Space, Melbourne, Australia
    • 2020 ACCIDENTING, CSSA-Goldsmiths International Youth Art & Design Exhibition 2020 Across the Haze, Trocadero Art Space, Melbourne, Australia
    • 2019 Orphaned Memories, SomoS, Berlin, Germany
    • 2018 Distilled Revery, Untitled Space, Shanghai, China
    • 2018 Déjà Vu, Freud Museum London, London, UK
    • 2018 Show ONE, Central Saint Martins, London, UK
    • 2018 The Flow of Nature, City University of London, London, UK
    • 2018 FORMS, LCC SU Gallery Space, London, UK
    • 2017 The Hidden Messages, Anise Gallery, London, UK
    • 2015 Those Who Go East, White Conduit Projects, London, UK

    Gallery

  • Miranda Holmes

    Miranda Holmes

    Miranda Holmes is GlogauAIR resident
    from October, 2022 to December, 2022

    Miranda Holmes’ paintings and drawings explore the movement of bodies and objects over time. In her work, past iterations of compositions and color choices remain visible alongside more developed parts of the painting. These residues of the work’s past shine through as evidence of how the painting changed. “A painting changes; so do I.” says Miranda as she thinks about the ways in which her environment shifts her body, how it effects her movements.
    During her time at GlogauAIR, she will spend time in the Feminist Archives in Friedrichshain to research artist and activist organizing events and workshops from years past.
    She will make a series of paintings that responds to these findings as well as to her everyday observations of Berlin.
    She wants to learn more about the history of communal knowledge-sharing in the city, in particular how feminist and queer activists and artists have used workshops.

    Meet the Artist

    What is your name and where are you from?

    Miranda Holmes. I’m from State College, Pennsylvania (U.S.A.).

    When/ how did your art practice begin …. Do you think where you’re from has affected your work?

    I never stopped painting and drawing as a kid and I kept at it through middle and high school. I had a lot of great teachers along the way who kept encouraging me to express myself through my art. While I was pursuing my undergraduate degree in Art, I began to weave my interests in feminism and social politics into my work. My hometown is where Penn State University is located (and where I studied for my BFA), so I was always surrounded by progressive people and feminists even if I didn’t realize it as a kid. Being in that environment had to have affected my work.

    How has your practice changed over time?

    Art has helped me slow down. I used to look for the drama in a work of art, like a punchy narrative or a joke. I still love that kind of work, but after looking at art over the years, I have become more appreciative of works that ask me to take my time and focus on the way the artist uses colour or how they built up the surface of a painting. This practice helps me bear witness to what’s around me in my environment. Noticing the blue shadows on a person’s face or the shape of an insect’s bite marks on a leaf is fulfilling in its own right.

    I’ve also come to see how art is an expansive practice that goes beyond the visual. I see the artistic practice as a way of aligning materials or actions with content to create meaning. This can be intentional or unintentional. Cooking a nice meal for a friend when they need it can be an artistic act. Building a life around the values and pleasures you collect along the way can be an artistic act. By focusing on the practice of art (making it and looking at it) rather than the product, the creative process becomes impermeable to value or judgment. Art becomes a way of seeing, changing, and living, rather than an object to own.

    Do you think your art has evolved being a different environment E.g. Do you think GlogauAIR / being in Berlin has influenced your work?

    There are so many free workshops offered around Berlin by artists and non-artists alike. I’m interested in how this culture of sharing knowledge without monetary value affects my practice. Making work in this environment, as well as living at GlogauAIR which is so communal, has led me to ask myself what I can give to the people around me. Showing up to other people’s shows and events, sharing meals, and attending workshops have been some ways to address this question. I will also host a collaborative drawing workshop at GlogauAIR in December.

    What are your next plans after your residency?

    I’m looking forward to attending Anderson Ranch’s artist residency in Colorado this winter! I hope to come back to Berlin in the fall to live here long-term.

    Statement

    My paintings and drawings explore the movement of bodies and objects over time. In the work, past iterations of compositions and color choices remain visible alongside more developed parts of the painting. These residues of the work’s past shine through as evidence of how the painting changed. A hand that once held a coffee cup is moved further across the table, and the cup disappears. Parts of objects appear on a desk like fragmented records of their displacement over the course of a day. Where the shape of a house began to emerge now stand tall trees; the glowing windows bore yellow holes through the trunks.

    A painting changes; so do I. I think about the ways in which my environment shifts my body, how it effects my movements. I wonder about the various iterations of myself if I did not live under social systems that gain power from the manipulation of my body. Cultural influences shape us over time in ways that we cannot always name. My work preserves previous versions of bodies, objects and environments that shift and solidify each other over time.

    Miranda Holmes

    GlogauAIR Project

    During my time at GlogauAIR, I will spend time in the Feminist Archives in Friedrichshain to research artist and activist organizing events and workshops from years past. I will make a series of paintings that responds to these findings as well as to my everyday observations of Berlin. My interest in researching workshops stems from my fascination of the number of free workshops and skill shares around Berlin. I want to learn more about the history of communal knowledge-sharing in the city, in particular how feminist and queer activists and artists have used workshops. I plan to attend workshops around Berlin and eventually offer one of my own; I am curious about how sharing resources without monetary transactions can become more integral to my practice.

    CV Summary

    Education

    • 2022 M.F.A., The Ohio State University
    • 2018 Fulbright Scholar, Universität der Künste, Berlin, Germany
    • 2017 B.F.A., The Pennsylvania State University
    • 2016 Yale Norfolk Summer School of Music and Art

    Solo and two-person exhibitions

    • 2022 Simmer After Boiling,Roy G Biv Gallery, Columbus, OH
    • 2021 Inventur/Inventory,Raum für Sichtbarkeit, Berlin, Germany
    • 2019 Do Nothing Without Intention,Das Giftraum, Berlin, Germany

    Selected group exhibitions

    • 2022 Familiar from Afar,Curiouser KC Gallery, Kansans City, Kansas
    • 2022 Clockwork,Dream Clinic Project Space, Columbus, OH
    • 2022 This, That, and the Other Thing,Urban Arts Space, Columbus, OH
    • 2021 MAIL: Hate Mail, Fan Mail, Junk Mail, Email, Olympia Arts, NY, NY
    • 2021 New American Paintings Online Exhibition
    • 2020 24-hour Drama,Hopkins Hall Gallery, The Ohio State University, Columbus, OH
    • 2019 EDITION 1.0,hosted by AXS Art, Berlin, Germany
    • 2019 Infinite Work, Forever, Agora Collective, Berlin, Germany
    • 2018 Rundgang,Universität der Künste, Berlin, Germany

    Gallery

  • Julia Edith Rigby

    Julia Edith Rigby

    Julia Edith Rigby is GlogauAIR resident
    from October, 2022 to December, 2022

    Julia Edith Rigby lives and works in California. She is an artist who thinks about climate change, environmental relationships and acoustic ecology. Her work explores perception, sound and ways of co-creating with nonhumans and natural processes.

    While in Berlin Julia plans to continue making work that offers viewers a multi-sensory experience to explore perceptual environments and ecosystem relationships. The work will position the viewer/listener as a performer, inviting us to explore perception and relationships between humans and non-human systems, to engage sonically and challenge the ways we experience the world.

    Meet the Artist

    What is your name and where are you from?

    Julia Edith Rigby, Santa Ana, California USA

    When/ how did your art practice begin …. Do you think where you’re from has affected your work?

    I think that growing up in California has been profoundly influential on my work. My work deals a lot with climate change and environmental relationships, and California has been undergoing massive shifts in climatic phenomena for the past three decades that I’ve been on this planet. We now have to contend with unpredictable firestorms and an unpredictable fire season that lasts all year long, and a lot of my art talks about this. California is also a site of incredible ecological diversity, and growing up adjacent to an ecotone-the Pacific Ocean–has been a large influence on my thinking process and artistic research.

    When / how did your art practice begin …. Do you think where you’re from has affected your work?

    My practice has shifted more from physical sculpture to sound sculpture over time. In grad school I was doing a lot of welding, finding scrap metal at my local trash dump and welding found metal drums into these large outdoor installations. I did alot of heavy wood working after that, big works with found wood and chainsaws. I was really interested in working with the waste stream, with the movement of matter circulating around the dump. And I was working alot in various metal shops and wood shops. Now my studio practice is more field-based and less shop-based. I spend alot of time in the field gathering audio recordings for experimental compositions. I also spend my time thinking about the potentials of sculptures to communicate sound, as well as the potentials of sound to become sculptural.

    Do you think your art has evolved being a different environment E.g. Do you think GlogauAIR / being in Berlin has influenced your work?

    Working in the GlogauAIR building has made me think a lot about caves. I keep finding caves in this building–in the ceiling of the stairwell, in the back of the attic…and this is making me think of my work with sea caves back in California, and the potential for caves to act as resonant structures with unique acoustical architectures. I have been researching the building’s interior caves and transposing documentation of this sea cave onto these various sites in the building. With the staircase, gravity is subverted; the cave of the ceiling becomes a portal to the sea cave’s mouth. The two sites—sea cave and staircase–enter into a co-evolutionary relationship, transmogrifying visually and acoustically. In our witnessing of this coevolution, we too are drawn into a reciprocal relationship with the work. And that makes me think, what happens when this relationship is brought into conversation with the street? The work becomes haptic, subject to viewer engagement and collaboration, for instance via shadow interaction or auditory interaction. What happens when the viewer transmogrifies to performer?

    What are your next plans after your residency?

    I was just notified that I have been accepted to a residency at the Bemis Centre for Contemporary Arts for 2023. In the meantime, I will keep making sounds and sound sculptures!

    Statement

    Julia Edith Rigby is an artist who thinks about climate change, environmental relationships and acoustic ecology. Her work explores perception, sound and ways of co-creating with non-humans and natural processes. She received her MFA in Studio Art at the University of California, Davis (2020). She is a recipient of the Mary Lou Osborn Award, the Fay Nelson Award and Phi Kappa Phi honors at UC Davis. She has been an artist in residence at PLAYA Summer Lake, Anderson Ranch Arts Center, Kala Art Institute, Pine Meadow Ranch Center for Arts and Agriculture, Brush Creek Foundation for the Arts and the Scuola Internazionale di Grafica di Venezia in Venice, Italy. Rigby has exhibited work in San Francisco, Los Angeles, New York, and the Netherlands. She lives and works in California.

    Julia Edith Rigby

    GlogauAIR Project

    While in Berlin I plan to continue making work that offers viewers a multi-sensory experience to explore perceptual environments and ecosystem relationships. The work will position the viewer / listener as performer, inviting us to explore perception and relationships between humans and non-human systems, to engage sonically and challenge the ways we experience the world. Why do we perceive our world the ways we do? How could we practice new forms of perception, and how could this play into worldmaking? How can sculpture render the inaudible audible? How can we make audible a site’s sonic signature? What are ways that sculpture can introduce new sonic elements to that signature? And what can sculpture say about a site’s relationships between movement, space and sound?

    I am curious about questions like: what are different ways to perceive and understand movement and sound and space? Which elements of a particular site are we perceiving or not perceiving? What are ways of co-creating with non-humans and natural processes? What are ways that site-specific installations can yield site-specific scores, and what those scores might say about the acoustic ecology of a place? Can sound enable us to better understand ecology? What can be learned of a site’s biosymphony–an ephemeral sound signature of organisms interacting with one another—as it relates to ecological relationships and sculptural relationships? What are different ways to listen, and what can listening do for us and our relationships with our world?

    CV Summary

    EDUCATION

    • 2020 University of California, Davis, M.F.A. in Art Studio, Department of Art and Art History, phi kappa phi
    • 2019 Welding Certification, FCAW, MIG, American Welding Society
    • 2012 Scripps College, B.A. in Environmental Writing, Honors, magna cum laude, Claremont, CA

    SELECTED GROUP EXHIBITIONS

    • 2022 Genetically United, Orange County Center for Contemporary Art, Santa Ana, CA
    • 2021 Anderson Ranch Artists in Residence Exhibition, Patton-Malott Gallery, Anderson Ranch Arts Center, Snowmass, CO
    • Anthropocene Epiphany, Orange County Center for Contemporary Art, Santa Ana, CA
    • Land and Water, Coaxial Arts Foundation, Los Angeles, CA, two person show with Caz Azevedo
    • Performing Arts Symposium, choreography and dance performance in collaboration with Ekaterina Zharinova, Performance Studies PhD Symposium, UC Davis Performance PhD studies, Della Theatre, Davis, California
    • 2020 Altered Trajectories, MFA Thesis Show, Jan Shrem and Maria Manetti Shrem Museum of Art, Davis CA
    • Assemblage, The MFA Show, Luhring Augustine, New York and The Olympia Project, New York
    • The Printed Realm, Pence Gallery, Davis CA
    • Ellen Hansen Memorial Show, Jan Shrem and Maria Manetti Shrem Museum of Art, Davis CA
    • 2019 Afterflow, with Christopher Azevedo, MFA Studio Gallery, Davis, CA (two-person show with Caz Azevedo)
    • blip, first year MFA exhibition, JayJay Gallery, Sacramento, CA
    • Outside the Lines, (live performance), Wright Theatre, Davis CA
    • First Drafts, Jan Shrem and Maria Manetti Shrem Museum of Art, Davis CA
    • MFA Now 2019, Root Division Gallery, San Francisco CA
    • Underground, Basement Gallery, Davis CA
    • 2018 ClimART, San Francisco Academy of Art, Cannery Gallery, San Francisco, CA
    • 105th Annual Exhibition, California Society of Printmakers, Piedmont Center for the Arts, Piedmont, CA
    • Visual AIDS, Gallery 524, New York, NY
    • Artists’ Annual, Kala Art Institute Gallery, Berkeley, CA
    • Art Speaks! Lend Your Voice, Arena 1 Gallery, Los Angeles, CA
    • 2017 Home-land, Galerie Sehnsucht, The Netherlands
    • Flora and Faura, Arc Gallery, San Francisco, CA
    • Tidal Response, Petaluma Arts Center, Petaluma, CA, curated by Carin Jacobs
    • Nasty Woman, Omi Gallery-Impact Hub, Oakland, CA
    • Southern Graphics Council International Exhibition, Zuckerman Museum of Art, Atlanta, GA
    • Snap, Arc Gallery, San Francisco, CA, curated by Priscilla Otani, Stephen C. Wagner and Michael Yochum
    • 2016 Inverness Almanac Retrospective, Gallery Route One, Point Reyes Station, CA
    • Chrysalis Studio Group Show, SOMArts, San Francisco, CA, curated by Katie Gilmartin

    RESIDENCIES

    • 2022 PLAYA Artist Residency, Summer Lake, OR
    • Pine Meadow Ranch Center for Arts and Agriculture Artist Residency, Sisters, OR
    • 2021 Anderson Ranch Arts Center Artist Residency, Snowmass Village, CO
    • Bodega Marine Reserve Research Station, University of California Natural Reserve System, Bodega, CA
    • 2020 Point Reyes Field Research Station, University of California Natural Reserve System, Point Reyes, CA
    • 2018 Scuola Internazionale di Grafica di Venezia, Venice, Italy
    • 2017 Kala Art Institute, Berkeley, CA
    • Brush Creek Foundation for the Arts, Saratoga, WY

    AWARDS AND GRANTS

    • 2020 Honor Society of Phi Kappa Phi, University of California, Davis Chapter
    • Fay Nelson Award, awarded by the University of California, Davis Department of Art and Art History
    • Graduate Student Researcher, awarded by the Department of Art and Art History, University of California, Davis
    • Finalist, Headlands Center for the Arts Graduate Fellowship, Headlands Center for the Arts, CA
    • 2019 Associate Instructor Fellowship, awarded by the University of California, Davis Department of Art and Art History
    • Graduate Student Researcher, awarded by the Department of Art and Art History, University of California, Davis
    • Freemon Gadberry Award, awarded by the University of California, Davis Department of Art and Art History
    • Mary Lou Osborn Award, awarded by the University of California, Davis Department of Art and Art History
    • Graduate Teaching Assistant Fellowship, awarded by the University of California, Davis Department of Art and Art History
    • 2018 Graduate Teaching Assistant Fellowship, awarded by the University of California, Davis Department of Art and Art History

    TEACHING EXPERIENCE

    • 2022 Sound art workshop with local middle school students at Sisters Middle School, Oregon
    • 2020-2018 Graduate Mentor for the Mentor-Mentee Program in Humanities, Arts, Cultural Studies and Social Sciences, University of California, Davis
    • Graduate Teaching Assistant, Lab Monitor, Associate Instructor, Department of Art and Art History, University of California, Davis

    BIBLIOGRAPHY

    • 2022 Art and Cake LA Magazine
    • 2021 Indices of Being (exhibition catalog, Axis Gallery, Sacramento)
    • 2020 Altered Trajectories (MFA Thesis Show exhibition catalog), Jan Shrem and Maria Manetti Shrem Museum of Art, Davis CA

    Gallery

  • Uma Halsted

    Uma Halsted

    Uma Halsted is GlogauAIR resident
    from October, 2022 to December, 2022

    Uma Halsted’s work explores bodies of water and how their puddling and spreading properties connect the human experience with the earth through shared memories of the womb.

    During her residency at GlogauAIR, she will conduct an artistic excavation in discard. In her art practice, the act of creating and maintaining a canvas, sculpture, or space also becomes an act of dirtying it through accumulation of paint and material. She will critically consider the role of the body and how themes of embodiment relate to discard and regeneration.

    Meet the Artist

    What is your name and where are you from?
    Uma Halsted, America.

    When/ how did your art practice begin … Do you think where you’re from has affected your work?
    My work has definitely been affected being from California. but my art practice really started and took off at university, so I think my intellectual and artistic community there was a greater effect on my work (as well as what/who/was studying).

    How has your practice changed over time?
    It changes every day. I’m really impatient and restless as a person. So I try to keep it changing, But I think the primary way its changing is it’s been becoming increasingly conceptual in the last year.

    Do you think your art has evolved being a different environment E.g. Do you think GlogauAIR / being in Berlin has influenced your work?
    I think more than anything having the space of my studio here and the quiet of living on this street and having a garden outside has allowed me to breathe and evolve my art.

    What are your next plans after your residency?
    I will go back to California for the holidays, and then I will be applying to jobs in Berlin and New York and looking for studio space. I’m hoping to move back to Berlin in the new year, but I will ultimately keep myself open for opportunities wherever.

    Statement

    Imagine feeling. Floating in a body, concentrated with saltwater. Your internal water reaches out and your skin dissolves to greet this new home. You are here. Then you remember your eyes and their act of seeing the material that hangs before you.

    Always returning to organic forms, my work explores bodies of water and how their puddling and spreading properties connect the human experience with the earth through shared memories of the womb. I make large-scale paintings that become sculptural forms in spatial installations. The process of creation is as important as my final paintings themselves, evoking performance-art through traces of my touch.

    My paintings transcend the frame, molding themselves into organic, bulbous forms of unstretched canvas. They expose their own insides and become waste receptacles of discarded pigment, transmitting water like a membrane in osmosis. What I exhibit is the imprint of transmitted paint from one canvas to another, from one side to the other, and the trace of what has been painted in the past and grows into a form in the present. Like water, my works are unfixed and constantly morphing beyond formal interpretation.

    Uma Halsted

    GlogauAIR Project

    During my residency at GlogauAIR, I will conduct an artistic excavation in discard. In my art practice, the act of creating and maintaining a canvas, sculpture, or space also becomes an act of dirtying it through accumulation of paint and material. My work’s emphasis on water and subliminal embodiment evokes Freud’s oceanic feeling, while its attention to discard – especially in the form of rags – recalls Walter Benjamin’s notion of the ragpicker as he articulates it in his Arcades Project (1927-1940). As I research and explore these two theoretical frameworks – primarily the latter – during my residency, I will critically consider the role of the body and how themes of embodiment relate to discard and regeneration. In the context of our ever growing digital world and subsequent dissociation and disembodiment of individuals today, I am invested in rekindling the body through my work and reconnecting a person to their sensorial, fleshy self. I will perform this reconnection through rituals of collecting what has been rejected and released and accumulates behind us. Prompted by Benjamin, I am interested in acts of relation and transference and in how gestures of rejecting/releasing and receiving/transferring can go hand-in-hand to create a symbiotic, bodily whole.

    CV Summary

    Education

    • 2018-2022 Barnard College of Columbia University, B.A. in Art History (Concentration in Visual Arts) & English Literature
    • 2022 International Center of Photography (ICP), Alternative Processing Photography Workshop

    Exhibitions

    • 2022 Barnard Undergraduate Senior Thesis Show, Curated by Piper Marshall, New York
    • 2019 Painting Show, Group show at Postcrypt Art Gallery, New York

    Awards and Grants

    • 2022 W. Cabell Greet Prize, Barnard graduation award to a major for excellence in English
    • 2021 Growing the Arts Grant, Awarded funding for work in the art

    Gallery

  • Emma Sarpaniemi

    Emma Sarpaniemi

    Emma Sarpaniemi is GlogauAIR resident
    from October, 2022 to December, 2022

    In her practice, Emma Sarpaniemi investigates definitions of femininity through means of collaborative and performative self-portraits. She playfully dives into the relationship she has with the models she works with, to explore intimacy and companionship.

    Meet the Artist

    Through her project “Two Ways to Carry a Cauliflower (2021-)” Emma explores women’s self-portraiture by questioning the politics of looking at how women have been portrayed in history by male artists. To free the subject (and the gaze) from certain patriarchal ideals of femininity, she’s creating a playful and tender representation using herself as the character to behave, look and perform her own terms and rules.

    During the residency period, Emma wants to step out of the studio-like setting and move to a different kind of environment to create peculiar scenes, inspired by circus, colors and different children’s toys which guarantee a balanced and never excessive outcome.

    Statement

    In her practice, Emma Sarpaniemi investigates definitions of femininity through means of collaborative and performative self-portraits. She playfully dives into the relationship she has with the models she works with, to explore intimacy and companionship.

    Dressing up, different movements, and unpredictably using daily life objects, the world Sarpaniemi creates both individually and in collaboration with her close friends is an outcome of a playful and tender depiction of womanhood.

    Emma Sarpaniemi

    GlogauAIR Project

    Two Ways to Carry a Cauliflower (2021-) explores women’s self-portraiture by questioning the politics of looking at how women have been portrayed in history by male artists. To free the subject (and the gaze) from certain patriarchal ideals of femininity, I’m creating a playful and tender representation using myself as the character to behave, look and perform my own terms and rules.

    During the residency period, I want to step out of the studio-like setting and move to a different kind of environment to create peculiar scenes. The character is placed in familiar environments, which brings the viewer closer to the subject’s world. The photographs are moments of intimacy and play between the character and the viewer.

    As the subject often looks to the viewer, in the new photographs I want to investigate how the gaze and presence change when the subject is not looking into the camera. I’m intrigued by the absence and the presence of the camera and the subject. How do the body and self reorientate by the presence of the camera? How it leaves room for interpretation and how the gaze changes but also how the whole environment and setup changes. How does the camera become a character too.

    I will take time to reflect on the material I’ve produced during the first month and research the philosophy of play in art and delve into the history of women’s self-portraiture even deeper.

    CV Summary

    Education

    • 2016-2019 BA Photography, The Royal Academy of Art The Hague (KABK)

    Solo exhibitions

    • 2023 Two Ways to Carry a Cauliflower, Photographic Gallery Hippolyte, Helsinki, FI
    • 2023 Two Ways to Carry a Cauliflower, Photographic Centre Peri, Turku, FI
    • 2022 When the Sun goes down We see Lemons, Galleria Rajatila, Tampere, FI
    • 2022 When the Sun goes down We see Lemons, Galleria Uusi Kipinä, Lahti, FI
    • 2022 When the Sun goes down We see Lemons, Museum of Fine Arts, Nizhny Tagil, RU
    • 2021 When the Sun goes down We see Lemons, Gallery of Modern Art Space Place, Nizhny Tagil, RU
    • 2021 When the Sun goes down We see Lemons, Gallery Katariina, Helsinki, FI
    • 2020 When the Sun goes down We see Lemons, Finlandsinstitutet, Stockholm, SE
    • 2015 Taas se aika kuusta, OHO-gallery, Helsinki, FI

    Group exhibitions

    • 2021 Spektrum — Gender & Sexuality in Modern Art, Wäinö Aaltonen Museum, Turku, FI
    • 2021 Comfort Revolution, The Design Museum, Helsinki, FI
    • 2021 1 to 100, Streetgallery Mutteri, Helsinki, FI
    • 2021 Atla on Paper, Dzidra, Copenhagen, DK
    • 2021 Un(seen): In the Dazzle of Infrastructure, Galleria Aarni, Espoo, FI
    • 2021 Spring Salon, Kosminen, Helsinki, FI
    • 2020 Home alone #2, Kosminen, Helsinki, FI
    • 2019 Ripples, Exhibition curated by Antonia Hamberg, Helsinki, FI
    • 2019 Graduation festival, Royal Academy of Art The Hague, The Hague, NL
    • 2019 Glass Cycle, Trixie Gallery, The Hague, NL
    • 2019 PUSH IT TO THE LIMIT, Melkweg Expo, Amsterdam, NL
    • 2018 fin.land, The Finnish Museum of Photography, Helsinki, FI
    • 2018 Generation, Jyväskylä Art Museum, Jyväskylä, FI
    • 2018 NOUN presents Good Work, The Grey Space in the Middle, The Hague, NL
    • 2018 New Year New Me (24 hour marathon), WORM S/ash Gallery, Rotterdam, NL
    • 2017 A Breath Of Fresh Air, Royal Academy of Art, The Hague, NL
    • 2017 Generation 2017, Amos Anderson Art Museum, Helsinki, FI
    • 2016 Home alone, Kosminen, Helsinki, FI
    • 2016 Kakaduja ja Henkirikoksia, Galleria OYoy, Lahti, FI
    • 2016 Qershi dhe Lavazh—Photographs from Albania, Jukka Male Museo, Helsinki, FI
    • 2015 BLOOM, Lokal, Helsinki, FI

    Grants & nominations

    • 2022 The Next 100 Fashion Image Makers, Photo Vogue, Vogue Italia
    • 2022 Arts Promotion Center Finland (Working grant)
    • 2022 Arts Promotion Center Finland (Covid19 grant)

    Gallery

  • Amy Evans

    Amy Evans

    Amy Evans is GlogauAIR resident
    from October, 2022 to December, 2022

    Amy Evans is a multidisciplinary artist and architect whose work focuses on topics relating to the city. She works in sculpture, painting, installation, architecture, and education.

    Amy’s work examines the relationship between the social and urban fabric of cities. Her research looks at cataloguing, extracting, and distilling information about the city to better understand this relationship – exploring issues such as density, light, and fluctuating urban conditions.

    Through her work as a teacher at various universities, Amy has developed an interest in the ways in which architectural concepts can be translated into art.

    Meet the Artist

    What is your name and where are you from?

    Amy Evans, Australia.

    When / how did your art practice begin …. Do you think where you’re from has affected your work?

    My art practice has developed out of my architecture practice, and the two practices heavily influence each other. I began teaching architecture design studio’s at RMIT where I would get my students to design architecture by adopting art techniques. It was during this time that I begin testing the inverse, creating art with architectural techniques.

    How has your practice changed over time?

    My art practice up until this year has largely focused on looking at the city, creating drawings, paintings, and ceramic sculptures which investigate and reinterpret the shaping of cities. Recently, I have been drawn to large-scale site-specific installation work, testing concepts developed in these smaller works in a more spatial and technical way – while activating the interior spaces of buildings.

    Do you think your art has evolved being a different environment E.g. Do you think GlogauAIR / being in Berlin has influenced your work?

    Yes, being in a different environment and meeting new people has influenced my work over the past six months. It has given me the space and confidence to test large scale installation projects with more complexity, a direction I am keen to continue exploring and developing.

    What are your next plans after your residency?

    Next year I will continue working on a project I began this summer in an artist residency in Cal Rosal, Spain. I will spend the first three months of the year in Barcelona, developing an installation piece which will showcase in April 2023 in Barcelona.

    Statement

    Amy Evans is a multidisciplinary artist and architect whose work focuses on topics relating to the city. She works in sculpture, painting, installation, architecture, and education.

    Amy’s work examines the relationship between the social and urban fabric of cities. Her research looks at cataloguing, extracting, and distilling information about the city to better understand this relationship – exploring issues such as density, light, and fluctuating urban conditions.

    Through her work as a teacher at various universities, Amy has developed an interest in the ways in which architectural concepts can be translated into art.

    The City Shaped_Berlin will continue exploring these concepts in the context of Berlin.

    Amy Evans

    GlogauAIR Project

    The City Shaped_Berlin is part of a larger project entitled The City Shaped, which explores the relationship between architecture, culture, and the urban environment of various cities. The City Shaped_Berlin takes the city of Berlin as its subject, looking to unpack the formal language of the city’s urban and social fabric through an analysis of both built forms, and the cultural and political landscapes throughout history. A series of 2D works, ceramic sculptures, and installations will form an abstract representation of Berlin; its history, its evolution, and its contemporary conditions.

    CV Summary

    EXHIBITIONS

    • 2022 Hospital, Konvent International Artist Residency, Cal Rosal, Spain
    • 2022 Other Spaces, presented at National Gallery of Victoria’s Melbourne Design Week, virtual exhibition: Other Spaces
    • 2020 The City Shaped_Melbourne, presented at National Gallery of Victoria’s Melbourne Design Week, Australia
    • 2019 Melbourne: Megacity? presented at National Gallery of Victoria’s Melbourne Design Week, Australia

    RESIDENCIES & AWARDS

    • 2022 Artist in residence GlogauAIR | Berlin, Germany
    • 2022 Konvent International Artist Residency | Cal Rosal, Spain
    • 2022 TerraViva International Competition, honourable mention for Urban Platforms
    • 2022 Siteworks Artist in residence | Melbourne, Australia
    • 2022 Making Space Grant, Moreland City Council, Australia
    • 2020 Marten Bequest Travelling Scholarship, Australia Council for the Arts
    • 2019 Architize Competitions, honourable mention for Arts Centre for the Blind
    • 2015 Shortlisted for the AIA Victorian Graduate Prize Award

    PROFESSIONAL EXPERIENCE

    • 2018 – 2022 Design Studio Leader, Royal Melbourne Institute of Technology, Australia
    • 2021 Design Studio Leader, University of Melbourne, Australia
    • 2017-2020 Project Architect, Kennedy Nolan Architects, Melbourne, Australia
    • 2016-2017 Architectural Graduate, Kristin Green Architecture, Melbourne, Australia
    • 2015-2016 Architectural Graduate, NH Architecture, Melbourne, Australia

    EDUCATION

    • 2014-2015 Master of Architecture [Dist] | Royal Melbourne Institute of Technology, Australia
    • 2011-2012 Bachelor of Design [exchange year] | TU Berlin, Germany
    • 2008-2012 Bachelor of Design [Dist] | Queensland University of Technology, Australia

    Gallery

  • Alicia Savage

    Alicia Savage

    Alicia Savage is GlogauAIR resident
    from October, 2022 to December, 2022

     Alicia Savage is an artist originally from Boston, Massachusetts in the United States. Her work explores social constructions of adulthood and care from the perspective of an only child (singleton) through photography, performance, poetry and installation.

    Meet the Artist

    Her project “Only Child” is nine photographs, contemplating her final position in her family’s cycle of life – the anticipated loss, responsibility of care, and contemplation of single motherhood. Her extended investigations deal with large ideas tied to the relationship of family and independence, from her perspective as a female singleton adult  living in the US. In a contemporary society that celebrates the individual and promises prosperity, her work aims to observe the experience between the opposing tensions of individual actualization, inherited identity and care structures.

    Statement

    Alicia Savage is an artist originally from Boston, Massachusetts in the United States. Her work explores social constructions of adulthood and care from the perspective of an only child (singleton) through photography, performance, poetry and installation.

    Alicia Savage

    GlogauAIR Project

    Only Child is nine photographs, contemplating my final position in my family’s cycle of life – the anticipated loss, responsibility of care, and contemplation of single motherhood. My extended investigations deal with large ideas tied to the relationship of family and independence, from my perspective as a female singleton adult (only child) living in the US. In a contemporary society that celebrates the individual and promises prosperity, my work aims to observe the experience between the opposing tensions of individual actualization, inherited identity and care structures.

    CV Summary

    • 2020 SomoS Art House, Berlin Germany
    • 2018 Still Life in Time, Midway Gallery, Boston USA
    • 2017 Real/Ideal: Turning Utopia into Reality, Boston USA
    • 2016 Destinations, Arusha Gallery, Edinburgh Scotland
    • 2016 Festival de la Luz, Buenos Aires Argentina
    • 2015 Fotografica Bogota, Bogota Colombia
    • 2014 Strangeness, Atelier Tozf and Galerie Da-End, Paris France
    • 2014 Spring Back, Spring Forward, Flash Forward Festival / PRC, Boston USA
    • 2013 Savage Beauty, Griffin Museum at DSI, Belmont MA USA
    • 2013 Photo Plus, Canson Infinity, New York City USA
    • 2013 Tokyo Photo Expo, Lewin Fine Arts, Tokyo Japan

    Gallery

  • Daria Veshtak

    Daria Veshtak

    Daria Veshtak is GlogauAIR resident
    from July, 2022 to September, 2022

    Ukraine

    Meet the Artist

    Coming soon

    Statement

    Daria Veshtak – electronic musician and CG-artist, performer representative of the Ukrainian underground art community.

    Studying at the art academy and working in commerce shaped her artistic style and techniques, while nightlife and acquaintance with the Kyiv art scene inspired her to quit her job in commerce and experiment with audio-visual techniques in her work, using various mediums – drawing, acting, composing, film-making, vj-ing, creating animation on game engines.

    Travels and tours in Ukraine, performances at various non-commercial venues, front-line cities and villages, participation in art projects and initiatives are reflected in her work and its themes.

    The theme of loneliness and the urban environment provides the coordinates on which the landscapes of her compositions are built, emphasizing the contrast between the familiar and the imaginary. Through symbolism, irony and fictional characters, she recreates or rethinks the events and images that traumatized her, turning them into a visually harmonious journey for the viewer.

    GlogauAIR cooperates with the Goethe Institut and the NGO Artists at Risk to support Ukrainian artists.

    Vimeo

    GlogauAIR Project

    Reloading

    Participation in the GlogauAIR residence gives Daria the opportunity to restore her working tools and mental state, concentrating on working on animated videos, musical compositions, audio-visual installations. She needs a period of solitude in her creative world to deal with feelings, find herself in a new reality and reflect on the events of this year that changed her life, which is extremely necessary for her as an artist.

    CV Summary

    Formation

    • 2006 – 2012 Kharkiv State Academy of Design & Arts, Graphics, specialist;

    Residencies

    • 2017 – ЗМІСТ, art platform ТЮ, Mariupol
    • 2017 – НАД БОГОМ, Vinnica
    • 2018 – Музей відкрито на ремонт, S. S. Prokofiev Museum, Sonsivka, Donetsk region
    • 2019 – VR-Khakaton, Kharkiv
    • 2021 – WOK residency, Kyiv

    Exhibitions/Festivals

    • 2018 – Hamselit’ festival, ILLUSION, Ternopil
    • 2018 – VR-festival ROZKVIT, Warsaw
    • 2018 – Казус, S. S. Prokofiev Museum, Sonsivka, Donetsk region
    • 2019 – НАД БОГОМ, Womenssound, Vinnica
    • 2019 – Frontier VR Art Festival , Kharkiv
    • 2020 – City of form, Prague
    • 2020 – Dovzhenko Centre, Kyiv, Zaporizhzhya
    • 2020 – Ost-Anders festival, Nurnberg
    • 2020 – Next-Sound festival, Kyiv-Kharkiv

    Gallery

  • Matilda Marina

    Matilda Marina

    Matilda Marina is GlogauAIR resident
    from July, 2022 to September, 2022

    Ukraine

    Meet the Artist

    Coming soon

    Statement

    Matilda Marina is a director and producer who has been creating multidisciplinary projects at the intersection of different arts in the stage space in Ukraine and different parts of Europe. Founder of “33 Hypnotheatre & Technocircus’ artistic company that works with modern performing arts, experimenting and combining them with original, mainly electronic music, media art, films, design, visual arts and aims to achieve a synthesis of various fruits of creative thought. The uniqueness of this project is given by a non-standard vision in narrative and aesthetic work with a modern circus as well as activities in the direction of physical theatre. Throughout the last eight years Matilda Marina was a creatress of such projects:Physical theatre & poetry “DVOE” 2015, contemporary circus show “Forest of Yin” 2017, Opera “Foggy Lagoon” 2019. At the beginning of 2020, Matilda started a long focused on the scientific way of Fritjof Capra. At the moment she work on the development of a short experimental movie Autopoiesis and a project that connects three cities Kyiv Poznan and Berlin. Through the synthesis of genres and forms, facts and fantasy fiction Matilda discover connections of science and the subconscious process: “I am interested to work with improvised and choreographed movement, connection and the juxtaposition between body and space, ensemble work, and soundscape construction.” GlogauAIR cooperates with the Goethe Institut and the NGO Artists at Risk to support Ukrainian artists.

    Matilda Marina

    GlogauAIR Project

    My intention is to create a kind of a new genre in performance arts: an idea I tentatively call “sciencetesy,” which stands for the union of science and fantasy. I have always been hypnotised by the secrets of the human subconscious. The nature of imagination, creation of fairytales, creatures that reflect a wide range of emotions, and projections from real-life. The themes I explore in my work are often connected to the inner world, dreams, alternative reality, and associative images. In the last four years, my attention gravitated towards Natural Sciences, Space exploration, system thinking, and complexity theory. I’m comprehending the nature of interconnections and the structure of the Universe, the shapes, patterns and relationships that form it. Inspired by science, I am looking for ways, in which discoveries and solid scientific facts can influence art, gain a deeper understanding of life, and bring the sensation of cosmic awareness to wider audiences.”

    CV Summary

    Entrepreneur

    • 2016- Founder.”33 Hypnotheatre & Tehnocircus”. Multidisciplinary artistic company.

    Director

    • 2021 – ElementaLUV.Juxtaposition. Dance & live music performance at Poznan Palm Tree House.
    • 2019 – Author, Director, Producer. Queer Opera “Foggy Lagoon”(Туманна Лагуна) with Lyudska Podoba band.
    • 2017- Author, Director, Producer .Contemporary circus and physical theatre performance “Forest of Yin”.
    • 2016 – Circus and physical theatre part. Show “ Баби Babylon” with Dakh Daughters.
    • 2016 – Circus performance part.Opening of International contemporary arts festival “Gogolfest”.”Show V”.
    • 2015 –Author, Director. Multimedium physical theatre performance “DVOE” with Belarusian
    • 2015- Author, director, performer. Multidisciplinary all-night performance “Februarius” at Єfir art space.
    • 2014 – Director, writer, casting director. «The Museum of Fairy Tales» – interactive show for children.

    Film

    • 2021 – three dance films with poznan bazed dancers. Work in progress.Poznan
    • 2020 – Autopoiesis. A dance movie with Alvin Collantes.

    Performer

    • 2016 – Actress.Multidisciplinary theater performance ”Metamorphosis” by Dutch-Ukrainian theatre production Mime Wave.
    • 2014-2015– Actress.Manager.Multidisciplinary theatre performance”Garden of Songs” with the texts of Gregory Skovoroda.
    • 2012- Actress, mime. Performers program at World EXPO 2012. Yeosu, South Korea.
    • 2009-2010- Dancer.“Totem dance group” by Kristina Shyshkareva.

    Educator

    • 2014 – Co-founder, teacher. Performing arts school “All Around Actor”, Kyiv, Ukraine.
    • 2012-2014 – Teacher of movements and mime. Actors school at cinema studio Film.ua
    • 2009- Teacher of contemporary dance. Dance studio “Talant” by Kristina Shyshkareva.

    Organizer

    • 2015- Art director, event manager at «Vagabond Café & Vintage Corner»
    • 2014 – Organizer, volonteer at sponsored by Unated Nations Organisation project “New Donbas” for supporting people who lives in war aeria in Ukraine.
    • 2014- 2015– Co-fouder of NGO “Congress of Cultural Activists”
    • 2014 -Founder of activists creative organisation “Mystecka Sotnya”.
    • 2014 -Founder of activists creative organisation “Mystecka Sotnya”.

    Residences

    • 2020 The Palace Residency. Gorzanow. Poland
    • 2019 Kyiv Dance Residency3 weeks.Working on solo performance “MatMa Earthrise”.
    • 2016 Centum kultury w Lubline. 3 weeks, while working on “Metamorphosis“

    Gallery