Archives: Artists

Elen Alien
Elen Alien is GlogauAIR resident
from July, 2023 to September, 2023
Meet Elen Alien an artist bridging nature, technology, and humanity through purposeful expression. Her art blends opposites, revealing life’s intricacies and interconnectedness.

Meet the Artist
Drawing from nomadic living and sustainability, Elen ponders technology’s impact and celebrates nature’s allure. “The Garden of Transcendence” showcases digital sketches, oil paintings, and dried flowers—a captivating fusion of digital and natural realms. Elen’s style blurs reality and surrealism, evoking transformation.
Influenced by post-human theories, she challenges norms and explores life’s essence. With a muted palette of dry flowers and glitch elements, Elen’s art reflects on digital habits, nature, and technological progress.

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Elen Alien explores the points of contact between nature and humans, delving into timeless questions. Her expression converges the sacred, natural, and aesthetic, driven by a shared purpose. Capturing life’s ambivalence, Elen Alien juxtaposes tender flowers with hard epoxy resin, revealing complexity. Seeking artistic preservation, she captures fleeting beauty, contrasting impermanence with digital immortality. Inspired by her nomadic lifestyle and Scandinavian sustainability, Elen Alien provokes introspection on technology and celebrates nature’s allure. Her journey transcends boundaries, inviting transformative exploration of interconnectedness in our ever-changing world.
Instagram
GlogauAIR Project
“The Garden of Transcendence” explores the balance between digital and natural realms. Elen Alien combines digital sketches and oil paintings with dry flowers, creating a mesmerizing interplay. Her style blends realism and surrealism, inviting contemplation of flow and transformation. Inspired by post-human theories, she challenges conventions, delving into the essence of organisms. Elen Alien’s nomadic lifestyle and connection with nature fuel her exploration. With a modest color palette and glitch elements, she creates a powerful visual impact. This immersive exhibition prompts reflection on digital habits, nature, and technological progress. Enter “The Garden of Transcendence” and explore the captivating merging of digital and natural realms.
Collage, Installation, and Painting
CV Summary
SOLO EXHIBITIONS
2023 – “The Garden of Transcendence” solo show, Vulkan, Oslo (upcoming)
2022 – “Mono no aware” solo show, Brännkyrka church, Stockholm
2022 – “Mono no aware” solo show, Gallery K45, Stockholm
ART FAIRS
2023 – Affordable Art Fair Stockholm (upcoming)
2021 – ”Art Nordic”, Copenhagen
GROUP EXHIBITIONS
2023 – Summer show, Gallery M35, Oslo (upcoming)
2023 – Kobe 6 – Untitled, Mela, Oslo
2023 – Borderless, Verse Gallery, Oslo
2022 – Autumn show, Gallery M35, Oslo
2022 – Summer show, Gallery M35, Oslo
2022 – Varutstallning 2022, Gallery K45, Stockholm
2022 – Spring salon, Nata Watts Gallery, Copenhagen
2021 – “Nymph”, Monday studio, Copenhagen
2021 – ”Kvinnliga Linjer”, Park, Stockholm
2021 – “The Earth. Version 2021. What was next?”, Darwin Museum, Moscow
2021 – “Art dialogue”, [format] gallery, Moscow
2018 – Next Station Sokol, Moscow
2012 – “OK. WATCH!”, Nina Romanova, Novosibirsk
EDUCATION
2021-2022 ”Project Konst”, Folkuniversitetet Konstskolan, Stockholm, Sweden
2021-2022 “Art, architecture and visual culture in Sweden”, Stockholm University, Stockholm, Sweden
2007 – 2013 MA, Novosibirsk State Academy of Architecture and Art, Novosibirsk, Russia
1997 – 2007 Art school №2, Novokuznetsk, Russia
PUBLICATIONS AND MEDIA
2023 – “ART RADAR” interview
2022 – “Journalen”
2021 – “Metropolis” interview
2021 – Bored Panda
2013 – Lamente #2
Gallery
August 18, 2025
Emily Francisco
Emily Francisco is GlogauAIR resident
from July 2023 to September 2023
Meet Emily Francisco, a sculptress who weaves disrupted signal flow, cheap consumer technologies, and discarded devices into her creations. Her work revolves around the concept of fragmented time, as she collects existing objects and infuses them with new meaning.

Meet the Artist
During the GlogouAIR online residency, Emily will focus on building a central digital archive. Delving into the past, she’ll uncover accidental submissions predating the call for entries. Organizing existing footage and photographs, Emily will take her DIY clock radio synth, “The Trans-Harmonium,” on the road to create new recordings and written documents. The completed digital archive will be published online by the end of the residency, and it will continue to grow in the future.

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Emily is a sculptress utilizing disrupted signal flow, cheap consumer technologies, and discarded obsolete devices. Her work largely deals with fragmented time. Collecting existing objects and processing the physical and metaphorical weight those objects carry, Emily pieces together these disparate elements in an attempt to make things whole. This process results in objects and environments that require activation; work that is incomplete until the viewer is present and engaging in the moment. Born in Honolulu, raised in Missouri’s lead belt, educated in Saint Louis and the District of Columbia – her exhibition record includes IA&A at Hillyer, Rhizome DC, Transformer, Area 405, GlogauAIR Project Space, Vilnius Academy of Arts, The John F. Kennedy Center, and the Hirshhorn Museum and Sculpture Garden. Her work has been reviewed in The Washington Post and Hyperallergic, and she has discussed her work at the Smithsonian Museum of American Art. Emily currently maintains a studio at STABLE Arts and works as the AV administrator for a massive federal art institution to support her kid and their furry friends. Emily is also an adjunct professorial lecturer at American University. The child of a white American woman and a Filipino immigrant, Emily exists in between worlds.

Emily Francisco
Instagram
GlogauAIR Project
Collecting Fragments of Time is a series of recordings involving instruments that pull live radio frequencies from the air. These recordings are being compiled to create an archive of fragmented time. The Archive of Fragmented Time exists as a physical drive containing images and video files in addition to existing in various forms on the internet. Contributions to the archive are submitted via google form, social media tagging, or using the hashtag #collectingfragmentsoftime
Once compiled, the archive along with the The Trans-Harmonium – a DIY clock radio synth – will be donated to an organization or institution interested in keeping the project alive by loaning out the instrument to spaces in various cities, expanding the archive.
For the GlogouAIR online residency, I will be working on building a central digital archive. I will dig into the past, pulling up accidental submissions that predate the call for submissions, organize existing footage and photographs, and take the instrument on the road to create new recordings and written documents. This digital archival will be published in a central location online by the conclusion of the residency and will continue to expand thereafter.
CV Summary
Solo/Collaborative Exhibitions
2023 A BRIEF STUDY OF TIME, Solo Exhibition, IA&A Hillyer, Washington DC;
2020 THE LIGHT AT THE END WAS A FIRE, Solo Exhibition, Rhizome DC, Washington DC;
2019 CONSTITUENTS (collaboration with Alex Braden), Gateway Arts Center, Brentwood, MD
2018 BIPEDAL SOUNDSCAPES (collaboration with Alex Braden), Arlington Art Truck (Inaugural Project), Arlington, VA;
2016 NO SHARPS, NO FLATS (collaboration with Alex Braden and Adam Richard Nelson Hughes), Transformer DC;
2015 SOMETHING SLIGHTLY FAMILIAR, Solo Exhibition, Flashpoint Gallery, Washington DC
2014 LEARNING TO PLAY, Solo Exhibition, Cecille R. Hunt Gallery, Saint Louis, MO;
MAY I HAVE THE PIANO DELIVERED TO YOU?, Solo Exhibition, Artisphere, AIR Studio, Arlington, VA
Residencies
2023 Collecting Fragments of Time, Building the Digital Archive, GlogauAIR Online Residency, Berlin, Germany;
2018 Arlington Art Truck Mobile Residency, Arlington, VA;
2015 The Morris & Gwendolyn Cafritz Foundation Arts Center, Artist in Residence, Montgomery College;
2014 Transformer Exercises Program, E:11 Sound Art, Washington D.C;
2013 ARTISPHERE – Artist in Residence (through April 2014);
GlogauAIR MFA Studio Berlin;
Selected Group Exhibitions
2023 AFTER THE END, Sound Scene at the Hirshhorn Museum and Sculpture Garden, Washington DC;
SCORE!, but, also & STABLE Arts, Washington DC;
UPBRINGING, Rhizome DC, Washington DC;
2022 TRANSFORMER 20, GW Corcoran College of Art and Design, Washington DC;
ARTGINEERING 2.0, Otis Street Arts Project, Mt. Rainer, Maryland;
SSSSSS // SMALL SCALE SITE SPECIFIC SCULPTURE SHOW, but, also, Washington DC;
2019 DIALOGUES curated by Jordan Amirkhani, Stable Arts, Washington DC;
2018 TRANSFORMER’S 15th ANNUAL SILENT AUCTION & BENEFIT, The Corcoran, Washington DC;
SONDHEIM ARTSCAPE PRIZE SEMI-FINALIST EXHIBITION; Decker and Meyerhoff Galleries, MICA, Baltimore, MD;
2017 TRANSFORMER’S 14th ANNUAL SILENT AUCTION & BENEFIT, Katzen Arts Center, Washington DC;
SONDHEIM ARTSCAPE PRIZE SEMI-FINALIST EXHIBITION; Decker and Meyerhoff Galleries, MICA, Baltimore, MD;
WOMEN NOW, Workhouse Arts Center, Lorton, VA;
2016 TRANSFORMER’S 13th ANNUAL SILENT AUCTION & BENEFIT, Katzen Arts Center, Washington DC;
LIFE SOUNDTRACK: PRINCE BOWIE, Healing Arts Center, Washington DC;
SONDHEIM ARTSCAPE PRIZE SEMI-FINALIST EXHIBITION; Decker and Meyerhoff Galleries, MICA Baltimore, MD;
LADIES FIRST, Gallery Neptune & Brown, Washington DC;
ALCHEMICAL VESSELS, Healing Arts Center, Washington DC;
BERLIN AND BACK AGAIN, Goethe-Institut DC;
DRAWING BOARD, DCAC, Washington DC;
2015 TRANSFORMER’S 12th ANNUAL SILENT AUCTION & BENEFIT, Washington DC;
E PLURIBUS UNUM, Vilnius Academy of Arts in Vilnius, Lithuania;
FOCUS FORWARD, Kennedy Center Hall of Nations, Washington DC & VW Headquarters, Herndon, VA;
THE LANGUAGE OF LINE: A DRAWING EXHIBITION, Neptune Fine Art, Washington DC;
SELECT 2015: WPA’S 34th ANNUAL ART AUCTION & GALA, Terrace Gallery, Artisphere, Arlington, VA;
2014 JAMES MCLAUGHLIN MEMORIAL STAFF SHOW, The Phillips Collection, Washington DC;
TRANSFORMER’S 11th ANNUAL SILENT AUCTION & BENEFIT, Katzen Arts Center, Washington DC;
FERMATA; CODA, Artisphere, Terrace Gallery, Arlington, VA;
2013 MFA STUDIO BERLIN, Glogauair Project Space, Berlin, Germany;
CROSSING THE BIFRÖST, American University Museum, Washington DC;
THE PIA MATER, The Fridge, Washington D.C;
IF YOU SEE SOMETHING, SAY SOMETHING, Forum Gallery, SUNY Purchase College, NY;
2012 ON LOAN, Area 405 – Juror: Sarah Tanguy , Baltimore, MD 21202;
ANY THOUGHTS? ANYONE?, American University Museum, Washington DC;
2011 EVERYBODY IS RUNNING AWAY FROM EVERYBODY ELSE, Katzen Arts Center Rotunda, Washington DC;
2008 LAUMEIER STUDENT SHOWCASE, Laumeier Sculpture Park, Saint Louis, MO;
STATISTICAL RECORDS OF PERFORMANCE, Metropolitan Gallery, Saint Louis;
2007 INFRASTRUCTURES, Metropolitan Gallery, Nu-Art Series, Saint Louis, MO;
2006 WAC, Three Sinks Gallery, Saint Louis, MO;
VSA EXHIBITION, The John F. Kennedy Center for the Performing Arts, Washington DC;
GRIT, Fort Gondo Compound for the Arts, 3151 Cherokee Street, Saint Louis, MO;
VARSITY ART X, Gallery Urbis Orbis, Art Saint Louis;
Gallery
August 18, 2025
Jahnavii Nirmal
Jahnavii Nirmal is GlogauAIR resident
from July, 2023 to September, 2023
India

Meet the Artist
Coming soon
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Jahnavii Nirmal is a New Media Artist & Musician from Mumbai, India. Her practice explores the intersections of nature, transcendence and culture through interactive installations, digital imaging, painting and performance. Her artworks investigate the relationships between organic-geometric, urban-rural, and chaos-order through a combination of physical and digital mediums. She takes delight in weaving her roots into her works through vibrant colours and raw forms. Themes of interdependence lie at the heart of her practice as she seeks to instill feelings of oneness in herself, the artwork and the viewer.

Jahnavii Nirmal
GlogauAIR Project
As we evolve, I think about how we are going back to the beginning – to our essence. Although the means to trace back has changed over the course of time with the advent of technology, we move towards a collective common goal that we have always known deep within us – oneness. For this, my mind is always thinking about the foundations our ancestors have laid for us and the treasure trove of wisdom waiting to be explored and unraveled. I believe, most of the delusions of our minds can be overcome if we look deeper into the story-telling of our past. The folklore of various cultures hold valuable teachings in the form of mythical text, imageries and song to help us make sense of the world. The stories primarily revolving around the interconnectedness of humans and nature have immense potential to facilitate wellbeing. With the advent of the digital age, many folk art forms are on the verge of extinction. One of these, is the art of Madhubani from the Mithila region of India. My proposal for this project is a revival of this art form through the integration of technology. The project would embody a synaesthetic transcoding between natural ambient soundscapes, Madhubani motifs and the body. The work explores the intersections of generative principles, painting and performance to deliver the concept of oneness.
CV Summary
2022
New Media Art Intern, bitforms gallery, Manhattan, NY
Black Movement Library by Lajune McMillian (Artist Assistant), Recess Art Space, Brooklyn, NY
Surveillance Garden by Eva Davidova (Artist Assistant), Silver Arts Residency, Manhattan, NY
Eka in Natural-Abstract Realities, One Art Space, Manhattan, NY
Sacred Memories of Sound, Pratt Institute, Brooklyn, NY
2021
Exhale Positivity, Pratt Institute, Brooklyn, NY
EKA, Pratt Institute, Brooklyn, NY
Beyond the Surface, Pratt Institute, Brooklyn, NY
Creative Technology, Consortium Research Robotics, Brooklyn, NY
Colour Palette Daily, Brooklyn, NY
2020
36 Days of Type, Ladies Wine & Design, Pune, India
36 Days of Type, Official Page, Barcelona, Spain
36 Days of Type, Lightbox NYC, NY
2019
Gati – Visualising the River Ganga, MIT Art Design & Technology, Pune, India
Gallery
August 18, 2025
Rosa Park
Rosa Park is GlogauAIR resident
from April, 2023 to June, 2023 and July, 2023 to September, 2023
Rosa Park is a media artist, sound designer, and educator whose research interest is centered on the study of psychoacoustics, algorithmic composition for experimental film & video, acousmatic music, sonification, digital fabrication, sound sculptures, custom-made musical instruments, and the physicality of sound.
Through her project at GlogauAIR titled Sound of Land, she experiment with the properties of inaudible sounds propagated through the ground to amplify distinctive forms of geographical data of spaces, places, and environments.

Meet the Artist
Can you briefly introduce yourself and share a bit about your background as a sound artist?
My name is Rosa Park. I am a sound designer and media artist whose research interest is centered on the study of the physicality of sound, sonification, algorithmic music, and expanded cinema with an emphasis on diasporic identity and memory. As a multidisciplinary researcher and practitioner, I work in a variety of media, including electronic music, film, sculpture, performance, and immersive installation. Through my practice, I strive to extend the range of artistic forms and possibilities by experimenting with non-traditional materials, mediums, and sites where sound and image are experienced in the heightened senses.
What initially sparked your interest in sound art, and how did you begin your journey in this field?
I became interested in sound art when I met my mentor Shawn Greenlee at Rhode Island School of Design. I took his class Programming Sound: Performance Systems in 2015, which focuses on programming and designing computer-based systems for sound art and music performance. I was fascinated by the potential of sound as a medium of tangible vibrations that can stimulate the audience’s visual imagination. Since then, I have developed various types of sound work, as mentioned above.
Are there any particular tools or equipment that are essential to your artistic practice? Could you describe them briefly?
For my sound composition, I mainly use the dataflow programming language called Pure Data and various DAWs (Digital Audio Workstations), such as Ableton Live and Adobe Audition CC. Physical computing is an integral part of my work, too; I use small electronic sensors to build my own digital music instruments for sound performance.
How do you typically source or record sounds for your projects? Do you have any significant locations or strategies?
John Cage, a pioneer of avant-garde compositions, has profoundly influenced my creative practice. Cage’s innovative ideas about silence, noise, and indeterminacy in the compositional process opened my mind to the importance of attentive listening. I always pay attention to my surroundings, trying to listen to sounds more deliberately. For instance, I open a window and find something interesting, then I would grab my microphone and head out to record. No specific locations that I go to specifically, but I enjoy visiting places that make their own distinctive ambiance on their own.
You’ve mentioned that you are motivated to make the inaudible audible and the invisible (sound) visible, How do you see the relationship between sound art and other art forms, such as visual arts or performance?
I think sound art has broadened the scope of artistic possibilities in all art forms. Many artists from a variety of backgrounds, such as painting, sculpture, music, theater, and architecture, saw the potential of sound and the capacity to constitute new modes of presentation of mediums. I believe sound is a medium that translates the invisible energy force of the unseen to the seen through its conductor (i.e., we can see sound waves through water). And this conductivity of sound in different mediums (wood, metal, glass, etc.) has been a source of inspiration for many visual artists, allowing them to explore the complexities of the multi-modal sensing and perceptions of the medium.
Could you tell us about your current project? What is the concept or theme behind it?
My project, “Sound of Land: A Body I Touched,” is a hybrid form of audio-visual installation that combines the soundscape of a gravesite with aural sculpture, photography, and live performance. I am currently working on a prototype of photography, experimenting with the Photopolymer Gravure printing techniques for hand-crafted image expression. I took an ecological approach to the composition of soundscape for the project and have been documenting a traditional gravesite and the process of exhumation ceremony in my hometown, the city of Gumi in Gyeongsangbuk-do, South Korea. I have collected the audio, photographs, videos, and archival materials from my family graveyard to turn them into the sculptural form of installation. I am looking to identify the acoustic features of the burial ground and its surroundings and am planning to record more sounds from both the surface and underground of the site using an omnidirectional Geophone, which is initially designed for seismic measurements.
What inspired you to embark on this particular project? Is there a personal connection or motivation driving it?
Traditional gravesites in rural regions in Korea have been sacred places where shamanic traditions and customs, such as death rituals and geomantic practices, known as Pungsu-jiri, are performed for the deceased. In recent years, these culturally invaluable places have rapidly diminished due to urbanization, resulting in the loss of individual/collective memory and ancestral knowledge built up over hundreds of years. I critically acknowledge the spiritual values of these sites and intend to maintain cultural continuity by drawing attention to the sounds that emanate from the landscape and translating them into a new form of art.
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Rosa Park, a multi-disciplinary artist and educator, merges her diverse background and profound fascination with sound in her latest artistic venture. Grounded in her deep understanding of psychoacoustics, algorithmic composition, and digital fabrication, Park explores the subtle intricacies of sound, bridging the gap between the audible and imperceptible realms.
In her most recent undertaking, Park embarks on a poignant exploration, capturing the elusive topographical recordings of the earth’s nearly inaudible sounds and employing various methods to make the imperceptible audible. This project holds profound personal significance as she documents the topographical audio signature of a cherished cemetery in Korea, a sacred space where her beloved relatives rest eternally. As urban development threatens to transform this site, Park’s mission becomes all the more crucial, preserving the sonic essence of the place before it fades into oblivion.
Park’s project is an act of reverence and remembrance, a testament to the power of sound in capturing the essence of place and evoking a profound connection to our roots. By making the inaudible audible, she invites us to engage with the disappearing cemetery, its history, and the enduring legacy of her ancestors. It is a call to listen, to bear witness, and to honor the vanishing spaces that hold our collective stories.
Rosa Park
GlogauAIR Project
“A Body I Touched: New Sonic Look on the Graveyards” is a hybrid form of multimedia installation that combines the soundscape of traditional gravesites with photography, aural sculpture, and live performance. I am interested in how sound as an infusion of the medium can create an immersive environment that can give a sense of an identifiable place, situating the audience in the context of an active engagement with the sonic and visual components of their represented surroundings.
For the project, I took an ecological approach to the composition of the soundscape for the project and documented a traditional gravesite of my family members and its exhumation ritual ceremony performed in my hometown. I collected the audio, photographs, videos, and archival materials from the graveyard and turned them into a form of an abstract sonic landscape of the gravesite using geophone-based microseismic technology for the soundscape design and experimented with the Photopolymer Gravure printmaking techniques for hand-crafted cinematic photography.
New media and Sound Art
CV Summary
EDUCATION
2016 Master of Fine Arts, Digital Media, Rhode Island School of Design
2014 Master of Fine Arts, Visual Arts, University of British Columbia Okanagan
2008 Master of Fine Arts, Visual Communication Design, Seoul National University
HONORS AND AWARDS (SELECTED)
2022 Nominated for the Fleishhacker Foundation’s 2023-2025 Eureka Fellowship Program for Visual Artists
2022 The Marcus Early Career Research Award, The College of Liberal & Creative Arts, San Francisco State University
2022 2022-2023 Kala Art Institute Media Arts Award Fellowship
2022 GlogauAIR 2022-2023 Online Art Residency Berlin, Germany
2022 LCA Extraordinary Ideas Grants, The College of Liberal & Creative Arts, San Francisco State University
2022 The LCA RSCA (Research, Scholarship and Creative Activities) Recovery Award, San Francisco State University
2021 Best Use of Sound Award (Concert Piece), The 27th International Community for Auditory Display (ICAD)
2021 2021-2022 Kala Art Institute Media Arts Residency Award
2016 Best MFA Thesis Project Award, Digital + Media, Rhode Island School of Design
2016 Best MFA Written Thesis Award, Digital + Media, Rhode Island School of Design
2014 MFA Fellowship Award (Two-year), Rhode Island School of Design
2013 Graduate Student Research Award, Faculty of Creative and Critical Studies, University of British Columbia, Canada
2013 University Graduate Fellowship (UGF) Award, Faculty of Creative and Critical Studies, University of British Columbia, Canada
CREATIVE WORKS (SELECTED)
2023 Sound Design for a feature documentary film, “Searching for ” directed by Celine Parreñas Shimizu
2022 Sound Design, Rerecording, and Mixing for a feature documentary film, “80 Years Later,” directed by Celine Parreñas Shimizu
2022 “Your Child-Soul” | Artists’ Annual Exhibition (Group Exhibition), Kala Art Gallery, Berkeley
2022 “Memories”| Computer Music Composition, streamed on the ISSTA Listening Room on Sonic Arts Research Centre (SARC) Radio, Ireland
2022 “Algorithmic Music Composition for The Environment” | Computer Music Composition & Live Performance (online), the MUMUTH Haus für Musik und Musiktheater (House of Music and Theatre), Kunstuniversität Graz, Austria
2022 “Walking the Threshold:” Research on Spiritual Practices Through Expanded Cinema and Spatial Audio Experimentation | Video Installation, Kala Art Gallery, Berkeley
2021 “The Tree In My Backyard Is Tall And Strong” | Computer Music Composition & Live Performance (online), Charlotte New Music, New York
2021 “Pattern Play: Interactive Music System for The Environment” | Computer Music Composition & Live Performance (online), The 26th International Conference On Auditory Display (ICAD)
2019 “Pattern Play No.2” | Computer Music Composition & Live Performance (online), ISSTA 2020: SONIC PRACTICE NOW organized by ISSTA (Irish Sound, Science & Technology Association), Ireland
Gallery
August 18, 2025
Xinyi Zhang
Xinyi Zhang is GlogauAIR resident
from April, 2023 to June, 2023
Xinyi Zhang is an interdisciplinary artist working across painting, drawing, installation, and new media, currently based in Honolulu, Hawaii. She creates visual and sensory artworks that highlight spiritual themes in the personal and collective unconscious, bringing awareness to the transformational journeys of the soul.

Meet the Artist
Xinyi Zhang’s project during her residency at GlogauAIR is called the “Healing Garden”, an art project designed to facilitate personal healing and transformation through visual symbols. The concept is inspired by the artist’s personal experience with archetypal imagery in her art practice, which she uses to heal trauma, release limiting beliefs, and reclaim personal power. The artist plans to construct the Garden as a virtual 3D immersive space that will be accessible to all who interact with it. The hope is that these positive energies will be reflected visually, and participants can request “Healing Garden Objects” for themselves, others, or for specific causes affecting communities around the world.
Her pieces, depicting fantastical landscapes, metaphorical symbols of nature, and channelled objects from a personal mythology, unlock portals into metaphysical worlds that invite viewers to engage with their own experiences of healing and growth.

Statement
Glogauair project
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Statement
Xinyi Zhang is an interdisciplinary artist currently based in Honolulu, Hawaii. She creates visual and sensory artworks that highlight spiritual themes in the personal and collective unconscious, bringing awareness to the transformational journeys of the soul. Her works depict fantastical landscapes, metaphorical symbols of nature, and channeled objects representative of archetypes from a personal mythology. Recent works have explored themes of feminine power and multidimensionality. Through her art, she hopes to connect viewers to their own journeys of healing and transformation.
With a formal background in computer science and engineering, Xinyi works with traditional mediums in a visceral and intuitive way and brings in technology and new media as a way to further enhance forms of expression.
Her art has been exhibited in contemporary galleries and community spaces in California and Hawaii.
Xinyi Zhang
Instagram
Healing Garden Instagram
GlogauAIR Project
The “Healing Garden” is an art project I have been developing to facilitate the process of personal healing and transformation through visual symbols. The concept is inspired by my own experience of working with archetypal imagery in my art practice as a way to heal trauma, release limiting beliefs, and reclaim personal power. Many of my paintings depict objects channeled from this sacred liminal space. Recently, I have created “Healing Garden Objects” as a way for the wider public to interact with this beautiful sacred space. These objects – representing aspects of memory, personal identity, or hopes and wishes – are constructed by myself with the aid of generative AI and presented in the form of physical photo stickers as keepsakes for the participants.
For my residency, I plan to extend the “Healing Garden” project further by constructing the Garden as a virtual 3D immersive space, accessible by all who interact with it. The intent is to inspire personal as well as collective transformation in a shared space. In this form, participants can request “Healing Garden Objects” for themselves or others, or for specific causes affecting communities around the world – with the hope that these positive energies will be reflected visually for all to see. I will also be continuing my artistic practice with traditional mediums and interfacing with spiritual themes that enter into my awareness during my residency.
New media and Painting
CV Summary
Self-taught, studied visual art under:
Larry Robinson at Oakdale Painting Studio, San Francisco, CA
Michael Markowitz at 23rd Street Studio, San Francisco, CA
Education
2014 Bachelor of Science in Computer Science, Massachusetts Institute of Technology, Cambridge, MA
2018 Masters of Science in Computer Science, University of British Columbia, Vancouver, BC
Exhibitions
2022 Healing Garden Objects Performance: Still and Moving Center, Honolulu HI; HEART of Honolulu Festival, Honolulu HI
2022 Resting Spirit Meditative Installation, Still and Moving Center, Honolulu HI
2022 Healing Garden, PekeKai Coffee, Honolulu HI (solo)
2022 Small Works, Soft Times Gallery, San Francisco, CA
2022 Women Rising, The Drawing Room, San Francisco, CA
2021 Transformational Energies, The Arts at Marks, Honolulu, HI
2020 Women Rising, The Drawing Room, San Francisco, CA
Gallery
August 18, 2025
Yumo Wu
Yumo Wu is GlogauAIR resident
from July, 2023 to September, 2023
Yumo Wu is an artist who draws from media theory and the philosophy of photography to challenge our perceptions of the medium. Wu’s work dives into the depths of photography, skillfully manipulating its elements to create a distinctive body of work. Concepts like vision, disorder, speed, and memory are woven into her practice, all through the lens of time’s passage.

Meet the Artist
Who are you?
My name is Yumo Wu. I was born in Yakeshi, a small town in the coldest part of China, but I grew up in Beijing. I currently live and work in Lausanne, Switzerland, and hopefully soon in Berlin. I received my BFA degree at the Rhode Island School of Design and recently finished my master’s degree at ECAL. I see photography as my passion for life. I can’t describe my obsession with it. I am more appreciated as an artist rather than a ‘photographer’ when people describe me. The role of being a photographer is only one element of my practices. My interest is using everything related to the photographic system to make people rethink the medium from an alienating perspective.
How did you start your interest and relation with photography?
When I was eight years old, I found a Nikon camera body and lens that were packaged separately. My father had hidden them in the corner of the closet, afraid that I would use them and break them. I stumbled upon them accidentally. In my memory, I had a strong desire to touch them. Every time my parents left the room, I would sneak into the closet, attach the lens to the camera, and press the shutter, despite having no knowledge about it in my mind.
Photography has been discussed as a medium that captures reality, but it can also be manipulated to create altered realities. How do you address this duality in your creations, and how do you think digital manipulation has transformed the traditional notion of reality in images?
The camera can be understood as a mediator between reality and its representation. In my work, ‘The Transparency Photography,’ I explore a concept related to this, using transparency as an analogy for photography. Since we are accustomed to viewing photographs through glass, the presence of a layer of glass between the photographic surface and our eyes creates an additional intermediary between the act of viewing and the photograph itself. Photography facilitates this type of transformation, allowing for a clear vision to a certain extent. However, there is always a degree of environmental reflection on the glass that can hinder absolute clarity. I would like to pose a question here: Is our human eye similar to a camera, constantly altering the reality before us?
The concept of simulation, popularised by Jean Baudrillard, argues that we live in a hyperreal reality where copies and simulations have become more significant than the original referents. Do you think your photographic work relates to this notion, and if so, how?
There isn’t much relevance to my work. I have thought about it extensively, but not on a theoretical level. The impact of image circulation has gradually become pervasive. A world overflowing with images almost too perfect. As the photographic realm progressively supplants the landscape, the distinction between copies and original referents simplifies into two substances. Their relationship could be inverted. Photography itself can be conceived as a copy of reality. Due to framing, some information must inevitably be lost. The captured elements are inherently devoid. Photography is about controlling the degree and tension of reality’s reduction.
How would you describe your artistic practice?
I see my practice as a continuation of the existing photographic system. Photography, being a vast subject, allows me to delve into philosophical and ontological aspects. Throughout its history, the photographic system has been entangled with concepts that limit the relationship between the operator and the observer. I have always been curious about this dynamic and aim to bring forth a new understanding. I studied the system and tried to rebel against its inherent limitations. A friend described my practice as counterintuitive. I approach photography with resistance, believing in photographs that might exceed words.
What is your methodology or process for creating a new project?
I am slow overall. It’s often tedious, with a very different process depending on the series. Even though it’s hard to trace in my work, there’s a very subtle element; everything I’ve done can be traced back to pure emotional states. It’s a hidden core in my work. The struggle, the anxiety, the experience, and sometimes a project starts with a blurred conversation I’ve had between myself and my camera. I’m always talking to my camera. I love to read. Reading helps gather thoughts, and thoughts help gather images in my mind. I love using the camera to capture blurred clues and then proceed step by step to refine them.
Have you ever faced moments of doubt or creative block? How have you overcome them?
I enjoy having doubts. Reading always helps. I also spend a lot of time looking at paintings. It’s strange that I often turn to other mediums instead of photographs when I’m stuck. I believe that painting belongs to the realm of nature due to its materiality and origins. So, I instinctively go for a walk to seek solutions in nature. I open my eyes, immerse myself in the images, and experience what surrounds my vision. I’ve been looking at Lucas Arruda’s deserto-modelo series a lot recently.
Digital images are characterized by their ability to be reproduced and disseminated infinitely. How do you believe this feature influences the nature of your work and the viewer’s experience?
Digital images are not fundamentally different; they represent just one facet of technological evolution. Both digital and analog images possess the ability to be reproduced. However, digital images place greater emphasis on speed. Digital imaging is synonymous with rapidity. I have observed that this velocity poses a potential threat to artworks in general.
As the perception of the audience is so important in the reception of your work, could you share any significant experiences you’ve had while showcasing your work to the public?
The uncanny silence always comes first when experiencing my work. In my latest work, The Room and the Photographs, I adjust the height of each piece. The images are slightly lower, or super close to the ground; everything is slightly shifting away from where it should be. I observe that when the audience sees my work, they move their bodies, seeing the images from different distances. They are confronting their confusion and starting to ask questions. They started to question why, but these questions are always related to photography. This is exactly what I wish for.
Lastly, can you give us a sneak peek into some future projects you are currently working on?
My future project is related to perspective, perception and photography. I am currently reading Noam Andrews’ ‘The Polyhedrists’ for inspiration. The book explores the less-known relationship between art and geometry in the early modern period. It mentions numerous measurement tools that I have never seen before. Somehow, I believe I might gain more ideas related to the morphologies of photography by reading this.
Right now you are planning to move to Berlin, what do you expect to find there? What are you looking for in Berlin?
A fresh start and a place to keep producing work.
Statement
Glogauair project
CV
Gallery
Statement
Drawing inspiration from both media theory and the philosophy of photography, Wu engages with a range of concepts within the medium, challenging our understanding of it, as well as the limitations of perception and the photographic image itself. Her work centers on the exploration of photography, where she skillfully manipulates the elemental components within the photographic medium to produce a distinctly uncompromising body of work. Through her practice, Wu delves into concepts such as vision, accident, disorder, virtuality, speed, and memory, all within the context of the passage of time.
Yumo Wu
GlogauAIR Project
The Room and the Photographs investigates the intertwined relationship between perception, space and photography. At the moment of the medium’s beginning, observers were placed inside the room to experience the raw essence of photographs in the camera obscura. But the digital evolution of photography has reshaped the ontology of the medium and provided an entirely metamorphosed experience—observers can now experience photography with a detachment from reality.
A meticulously constructed space was created based on the collision of pixel-based photographs and computer-generated imagery. By using the same perspective for both captures, the shattered fragments deviated from the photographic perspective and left their traces in the overlapping space. The work aims to construct the photographic space to visually and conceptually question the relationship between the virtual space and the physical space. The resulting photographic space builds layers and flattens down, allowing it to be familiar yet strange, fractured yet imbalanced. It remains open, traveling around the possibilities, seeking a perception of complexity in the realm of photography.
Photography
CV Summary
Has been questioning the conventional norms of representation in photography by altering both image manipulation and production techniques.
Her work centers on the exploration of photography, revolves around the concepts of vision, accident, disorder, virtuality, speed, and memory as she delves into their intersection with the passage of time.
Received her MA Mention Excellent from ECAL in 2023
Received her BFA Honors from the Rhode Island School of Design in 2021.
Gallery
August 18, 2025
Daniel Dobarco
Daniel Dobarco is GlogauAIR resident
from July, 2023 to September, 2023 and October, 2023 to December, 2023
With the medium of painting and sculpture, Dobarco crafts realms that reference to fantasy culture and video games. His creations manifest a fictitious universe, steeped in tragicomic undertones. Inhabitants of this realm are drawn from gamer mythology, fiction literature, and pop culture, serving as histrionic reflections of our own humanity.

Meet the Artist
How did your artistic journey begin?
My first contact with art was as a child. A teacher told my parents that I had a gift for drawing and they enrolled me in a small arts academy. One day, the teacher at the academy told me that she chose a reproduction of a work of art to copy in oil and I remember when I first saw “The Starry Night” by Van Gogh, it affected me deeply, and I understood that art was not simply a copying of reality, and since then I knew that I wanted to dedicate myself to it.
How would you describe your practice as an artist?
It is a very personal and intimate issue, which is usually difficult to develop. I would say that it is an adventure. Sometimes you feel like you are in a dungeon full of traps and enemies, other times you feel like it is the only way to know yourself. Perhaps the most complicated part of artistic practice is exposing yourself and being prepared for all the good and bad that it entails.
What inspires you to create your art?
Literature, philosophy, history, video games and how these intermingle with one’s own personal experience.
What influenced your decision to come to GlogauAIR?
GlogauAir has long connections with my hometown in Spain, Castellón. A production and residency scholarship was offered to me, so I saw a great opportunity to get to know Berlin and live with other artists in the same space. The truth is that it is a wonderful experience to be able to share your time with other artists from around the world.
Does the city of Berlin have an influence on your production?
Absolutely! In the end, exposing yourself to new experiences and places always changes your perspective of the world and influences your work. In my last work, I felt very influenced by the canals and lakes in Berlin.
Statement
Glogauair project
CV
Gallery
Statement
Daniel Dobarco focuses his production on painting and sculpture, creating spaces that reference the world of video games and fantasy culture. His work creates a fictitious world from a tragicomic point of view which is inhabited by certain beings extracted from the new gamer mythology, fiction literature and popular culture, but in the end this is nothing more than a histrionic reflection of ourselves. This fictional world is used as a gateway to talk about things that would not fit in ours, personal and social concerns without having the need to be legible or justify itself, being able to play and turn the speech into something obtuse and strange, a place of refuge and analysis.
Instagram
GlogauAIR Project
out of the dungeon
This project is based on dungeons, role-playing games, known as dungeon crawler. It starts with the idea of travel and search, which in videogame language it is known as quest. Out of the dungeon is about a person like me, who armed with a pack of cigarettes, cell phone, wallet and the keys to the Toyota in hand, enters the eerie doors of the dungeon. Persuaded by the gossip of the people of his village that he is going to find all kinds of wonderful things, but beware, there are orcs! His parents warned him, the difficulty of the game varies according to class, race, gender, trade… and that you better have good skills, be an artist do not even try, there are more orcs. The funny thing happens during the tour, they were right in many things, you begin to understand what is the real fatigue, not making ends meet because half of the chests are fake, the keys do not fit any door and you do not have enough for potions, suddenly you have a parasite stuck in your head and it tells you it’s called stress, you smoke a cigarette. But there are also good things, you realize the otherness, the alien, the orc, the other, maybe it’s not so different from you, maybe it’s not your nemesis. In the end, instead of fighting stupidly, you end up going as Buñuel and you start documenting those similarities, those orcs that have their intimacy, whose gestures are not so different from yours. You make a kind of travel diary with what you have at hand, some fabrics and some pots that you buy from some low cost magician, some cardboard that you take out of the dumpster at work to make an installation. Here begins my diary, welcome to Out of the dungeon.
CV Summary
Daniel holds a BA in Fine Arts and an MA in Artistic Production from the Universidad Politécnica de Valencia, Spain. He is currently the recipient of the Producción Hàbitat artístic Castelló grant (2023) in residence at GlogauAir in Berlin.
His work has been exhibited in many galleries around Spain, including Tuesday to Friday, Valencia (2021 y 2023) and Galería Fran Reus, Palma de Mallorca (2023).
GROUP SHOWS
2023 DREAM PAPER 2. Gallery Slika. Lyon. France
2023 POSTMODERNISM. La Pera Projects. on-line.
2023 PANORAMA 06. Fran Reus gallery, Palma de Mallorca. Spain
2022 LA SUERTE DE LA SONRISA. Coloring The World Foundation, Factory of Dreams, Madrid. Spain
2022 ARTE APARTE XIV. La carolina, Jaen. Spain
2021 SUPERFACIL. Tuesday to Friday gallery, Valencia. Spain
2021 DEPRISA, DEPRISA. Group Show. Valencia. Spain
SHOWS
2023 LOOT. Tuesday to Friday gallery, Valencia. Spain
2022 LORE. Espacio Luna. Internet Moon gallery. Valencia. Spain
2020 CRUZETA. Tuesday to Friday gallery, Valencia. Spain
2021 BELLUM, BELLI, BELLO. Nivi Collblanc gallery. Castellón. Spain
2020 BELLUM, BELLI, BELLO. GlogauAir, Opening Studio. Berlín. Germany
ART FAIRS
2019 Marte, Castellón International Art Fair 6th Edition, Marte Orbital Expedition Stand, Castellón. Spain.
2018 Marte, Castellón International Art Fair 5th Edition, Marte Orbital Stand, Castellón. Spain.
AWARDS
2023 PRODUCTION GRANT, Hàbitat artístic castelló, GlogauAir . Berlín. Germany
2019 DÁVALOS-FLETCHER GRANT, Castellón. GlogauAir. Berlín. Germany
2018 PRODUCTION GRANT, Hàbitat artístic castelló, la Rectoría. San Pere, Barcelona. Spain
2017 FIRST PRIZE, XVII UNIVERSITY OF MURCIA PAINTING PRIZE. Spain
2017 AWARDED, 5th SAMPLE OF MULTIMEDIA AND ARTISTIC PRODUCTION, PAM!17. Polytechnic University of Valencia, Spain.
2017 PRODUCTION GRANT , II CULLA CONTEMPORANEA. Culla, Castellón. Spain
EDUCATION
2017 Master’s degree in Artistic production, Polytechnic University of Valencia, Spain.
2016 Bachelor degree in arts, Polytechnic University of Valencia, Spain.
2011 Certificate of Higher Education in Ilustration, Castelló School of Arts and Design, Spain
Gallery
August 18, 2025
Eabha Cleary
Eabha Cleary is GlogauAIR resident
from October, 2023 to December, 2023
Eabha Cleary is a visual artist who practices between Ireland and Berlin, Germany. Eabha explores social issues such as class dynamics, the consequences of post-capitalism, and the pervasive effects of globalist commodification. Her work is somatically engaged with the environment while considering and mediating the cultural, political, and personal impacts.
Using printmaking, photography, and moving image, Eabha draws inspiration from Gothic philosophies and ancient Irish folklore. She uses time-based mediums to probe the visible and invisible imprints etched into the environment, and by extension, the imprint on culture and society. Eabha endeavours to visually explore her subject matter in a tactile, empathetic, and emotional manner. Embracing uncertainty and speculation, her evolving practice aims to challenge and offer fresh perspectives on the world we inhabit.
Meet the Artist
How did you start your artistic journey?
My parents are artists, so art was always something that I was interested in. I really liked drawing as a child, but I actually went off art for my whole teenage years. I fell back in love with drawing around the age of 17 and then I went to art college and took portfolio courses.
What did you study in art college?
I studied printmaking, or more specifically, printmaking in contemporary practice.
Can you tell me a little about your inspirations?
I take a lot of inspiration from music and films, as well as other artists. One big influence for my work has been the music of Burial, and visually, Tarkovsky’s films are a big influence as well. At the moment, for the work I’m doing now, I’m looking at Käthe Kollwitz and German printmaking in the turn of the century. Also, Tacita Dean is a huge inspiration for me.
I see a lot of animals and vegetal representations in your studio, would you say that the natural world is also one of your big inspirations?
Yes, the natural world and the environment are basically the subject matter of my work. I am really interested in nature, and of the liminality between the known and the unknown, that I think you can find a lot in nature. I’m looking a lot at animals now. I haven’t really looked at animals too closely before, but in Berlin I was really drawn to how many animals there are in such an urban space. That’s sort of where my project began. Now I’m looking at that more deeply because I’ve noticed there’s actually really strange things going on with animals here. For example, in the zoo there’s seagulls in cages, or when you walk through the city you can see birds of paradise in cages, juxtaposed against lots of wild animals you wouldn’t get in other cities. I’m just looking at those little things and I’m trying to visually map out what it all means at the moment. I’m still very much in the beginning stages of the concept.
Besides the presence of wild animals, would you say that the city of Berlin specifically inspires your practice?
Yes, the moodiness of the city definitely inspires me. The atmosphere is so visually interesting here, the architecture… I know a lot of people would be put off by how dark and grey it can be, but I actually quite like that because when you have those moments of beautiful light, it stands out a lot more, especially against the kind of architecture in the city. I find it quite inspiring.
It’s also super interesting how people try to “appropriate” the architecture, with the art for example. There is a huge graffiti scene in Berlin. People are putting their own colours on the grey.
Yeah, exactly! I find this here more than any other city. You see the community responding to the city physically, whereas in Dublin for example we had this beautiful graffiti of a big squirrel on the side of a building that was there for years, but the county council decided to take it down. It’s a beautiful contrast because in Dublin culture is just removed by the government and here it’s allowed to blossom more freely, which is really nice. But obviously that’s under threat at the moment as well.
What motivated you to come to GlogauAIR?
I was following GlogauAIR’s Instagram for a while and I was really interested in how there’s loads of different interdisciplinary artists working in the same kind of space, and seeing works that were so different but so strong from everybody. I thought that was really nice, and that’s why I decided to apply.
Statement
Glogauair project
CV
Gallery
Statement
Eabha Cleary is a visual artist who practices between Ireland and Berlin, Germany. Eabha explores social issues such as class dynamics, the consequences of post-capitalism, and the pervasive effects of globalist commodification. Her work is somatically engaged with the environment while considering and mediating the cultural, political, and personal impacts. Using printmaking, photography, and moving image, Eabha draws inspiration from Gothic philosophies and ancient Irish folklore. She uses time-based mediums to probe the visible and invisible imprints etched into the environment, and by extension, the imprint on culture and society. Eabha endeavours to visually explore her subject matter in a tactile, empathetic, and emotional manner. Embracing uncertainty and speculation, her evolving practice aims to challenge and offer fresh perspectives on the world we inhabit.
GlogauAIR Project
For her time with GlogauAIR, Eabha proposes a two-month artistic exploration in the vibrant city of Berlin, where she will experiment with printmaking and moving image to create a body of work that delves into the intricate relationship between urban life, socio-economic dynamics, and the often-overlooked inhabitants of this city – rats. This project will align with her artistic practice and the themes mentioned in her artist statement, while introducing a unique and captivating element – Berlin animals. Eabha will use this time to consider the rat as an anarchic being which resists the imminent globalisation of this city.
Drawing and Printmaking
CV Summary
Projects
2023
‘Focail na Mbán’
Work featured in a collaborative book featuring the work of many female artists including Dorothy Cross, Amanda Coogan & Dee Mulrooney.
Exhibition accompanying the release of the book.
Almanac of Ireland
Commissioned series of drawings responding to Red Hare Media podcast ‘The Almanac of Ireland.’
RTE Commission
Commissioned series of drawings responding to ‘focail ceoil’ for Lyric FM, Seachtain na Gaeilge.
Linking Ireland & Asia
Ongoing social and visual project with Dun Laoghaire Youth Service and Manchán Magan, facilitating visual artist.
2022
Brutopolis – September 2022
Collaborative installation and immersive experience at Electric Picnic.
Onsite printmaker.
Dun Laoghaire Youth Service (Commission) May – October 2022
Animation for a podcast created with DLYC.
Dun Laoghaire-Rathdown County Council (Commission) July 2022
Collaborative mural commissioned involving members of the community.
Facilitating stencil and screen print workshops.
Dun Laoghaire Youth Service (Facilitating Workshops) June 2022
Cyanotype and screen printing workshops facilitated for Dun Laoghaire Youth Service Summer projects with an exhibition at the end.
EXHIBITIONS
2023
AONTAITHE – Collaborative exhibition in Treaty City Limerick & Pallas Studios, Dublin.
Work in Progress – Group exhibition held in the Church Gallery, Limerick School of Art & Design.
Signal Open – Group exhibition, Signal Arts Centre Bray.
2022
STATE OF PRINT/CONTESTED SPACE – Presented at Impact 12 printmaking conference and exhibition.
Signal Arts Society Open Call – Signal Arts Centre Bray.
After Our Own – Oobleck Collective open call, Sailor’s Home Limerick.
Fluxus – Church Gallery, Limerick.
Open Call – Exhibited work in The People’s Museum, Limerick.
Never Seen Before – Exhibited work at a group exhibition in the Church Gallery, LSAD.
COLLABORATIONS
2023
On Not Knowing
A collaborative video screened in June 2023 at the On Not Knowing conference at Glasgow School of Art.
2022
How Much is Enough
Socially engaged workshop and project with artist Kate O’Shea.
Fluxus – Collaborative project working with 10 other artists to create a box inspired by the artist movement ‘Fluxus.’
2021
Impact Zine – Project collaboration, Risograph zine exhibited by Print Club London.
2020
Colours – Visual Arts and Music Livestream festival, Signal Arts Centre. – Artist and coordinator.
Awards
Photoireland RADAR Award Nominee.
Received TUS thephotoshop.ie Award: Outstanding Film and Darkroom Process.
Gallery
August 18, 2025
Emily Hunt
Emily Hunt is GlogauAIR resident
from October, 2023 to December, 2023
In her artistic practice, Emily Hunt uses line as a metaphor and repetition as a tool. Through her meticulous use of the loom, Hunt elevates weaving into a metaphoric journey, intertwining her existence with the very threads she manipulates. “I link my own life to the materials and processes”. More than just a tool, the loom becomes like a second body; a vessel of tension that allows her to examine how the lines overlap and connect to create depth, weight, and form. Hunt’s fascination lies in the balance of giving and taking, exploring how structures can mirror profound meanings and the essence of being grounded. This contemplative approach to her craft results in a minimalist imagery that echoes with profound universality; reflecting the shared human experience, and resonating with those who encounter it.

Meet the Artist
How did you start your artistic journey?
My mom’s side of the family has a craft background, so I’ve always been around woodworkers. My grandfather used to make traditional Chippendale replica furniture and my grandmother used to restore frames and gild them, she was also a really good seamstress. My aunt used to work in an art museum and my mom is an architect. She left her job to raise me and my sister, and they would take us to all kinds of art museums, and really immersed us in education and arts.
Did you study art?
I did, yes. I did some art in High School, and after I graduated I went to Mass College of Art and Design.
Why did you study in art school?
I started out in the studio for Interrelated Media, which is kind of like “build your own major”, but it was too vague so I ended up taking time off and I went to an experimental architectural community in Arizona for a summer. Handcraft was always really integrated into my life in every way, and this experience being in an architectural based community with all these designers and artists was really interesting. When I went back to school I was more geared towards sculpture and craft based materials, and more interested in how design influences everyday life and how to “design for the future”. Then I did a double major undergrad in Fibers and Art History, as it was really important to me to have both the academic rigour as well as the studio rigour.
How would you describe your practice?
My mom is really into modernist architecture and she raised my sister and I with this very specific aesthetic and visual language. When I was in undergrad I kind of went back to it, and realized, “oh wow, this is why I’m drawn to these shapes, these patterns and designs!”. So, when I start something new I don’t necessarily start with a historical context or a research focus. It’s not research driven. It’s more materiality, object and shape driven. It’s just like what I’m naturally drawn to and I start working with that. I work with grids a lot. So, if I notice something keeps repeating, then I take the time to go back and ask myself, “why am I doing this”?
Can you tell me more about your day-to-day practice, from the idea to the finished product, how do you process?
I’ve figured out that I’m not interested so much in making a finished product or a finished piece of work, that’s not the work for me. The work is actually the process of what’s happening. When I’m weaving, it’s not about making a blanket or a wall hanging, that’s not what matters. What matters is: sourcing your materials, making the warp and then warping the loom, getting the textiles, and the people that help you. You can do it yourself but it’s easier to work with other people, so it’s also about hearing the stories. It’s very community driven. This is what truly matters for me, and the product just happens.
Would you say it’s almost performative?
It is performative in a way that we’re all performing all the time, but I don’t want to capture it in that way. I don’t present that as the work, because while it is the work, what ends up happening is random objects that I end up making that encapsulate that experience to me.
You mentioned the importance of community. What motivated you to come to GlogauAIR?
Because I get to meet so many people from so many different places, with so many different backgrounds! It’s interesting to find somebody who does something different from you and then understanding how you can connect with them. It’s all about making connections. I’ve done two other residencies, and I found them really, really, really helpful. Especially if there’s someone you don’t understand or don’t get along with, I think that’s actually where there’s the most growth. Because it’s easy to find somebody that you connect with or can relate to in different ways. For example, Tiana, Maria and I are all the same age, and we have very similar ways of working; so it’s been really easy. But I’m almost even more interested to connect with, like, Marco, who’s doing sound. I never worked with sound, so I’m like “What even is that?”. It’s also challenging to live somewhere you’ve never been for a very brief period of time and not have a real job. So there’s just a lot of challenges that I think are ultimately helpful.
Do you think Berlin has an impact on your work?
Yes, I would say yes. I love brutalism. I keep on seeing these rocks and I think I’m gonna start collecting more, and doing more with them. I love the way that everything is crumbling, but in the sense that there’s also so much to build here. There’s so much possibility, but there is also so much decay. It’s interesting to see those two things next to each other. I didn’t expect that coming here. I really didn’t know what to expect coming here; I knew I’ve always wanted to go to Berlin but I didn’t know exactly why, and it definitely is the buildings and the environment.
Statement
Glogauair project
CV
Gallery
Statement
In my work line is a metaphor and repetition is a tool. With these I link my own life to the materials and processes. The loom acts as a second body that holds the tension of these lines allowing me to examine how they overlap and connect to create depth, weight, and form. On the loom, I am able to visualize a personal landscape within a larger timeline. I’m interested in the ways we give and take, how a structure can reflect meaning, and what it means to be grounded. In turn this form of processing ideas in a physical way creates my minimalistic imagery that others can see themselves in.
Emily Hunt
GlogauAIR Project
As a weaver I constantly work within constraints. Over the past year I’ve started to explore how to bring my weavings off the loom but still maintain their integrity. Through this I feel more in touch with the work. It creates a translation that I physically can push, pull, twist, tangle, and dance with. While in residence I’m interested in continuing my exploration of off loom weaving. Through installations and videos I want to highlight how these woven structures relate to the structures we create for ourselves in everyday life.
Installation and Object
CV Summary
2022
Os Textile Residency, Iceland
2021
20 Feet Within 2 Inches: A Perspective On Relief Carving With Sabiha Mujtaba, Arrowmount School of Arts and Crafts, Workshop
Margaret L. Gongaware Scholarship
All School Show, Massart
Student Show, Susan Eley Fine Art Gallery, NY
Departmental Honors
Windgate Lamar Fellowship Nomination
2020
FA3D Student Show, DMC Massart
Barbara L. Kuhlman Scholarship
2019
The Paper Show, student gallery at Massart
Gallery
August 18, 2025
James Evans
James Evans is GlogauAIR resident
from October, 2023 to December, 2023
Through the medium of painting, representational or non-representational, James Evans wants to explore the intrinsic energy, the self-sustaining drive, that exists within each one of us; and delve into the nuances of human interaction with the world, as well as the perpetual evolution of the world that exists independently of individuals.

Meet the Artist
How did you start your artistic journey?
I went to school for English actually, I didn’t start painting until I moved to New York. Painting just became something I needed to do. It’s very cathartic, and I became obsessed. The more I experimented, the more I tried to find ways to understand the dialogue between the mediums.
What kind of writings do you do, is it more fiction, poetry…?
You could probably label it auto fiction, although at the moment I’m working on several short fiction pieces.
How would you describe your practice?
It has evolved a lot. I used to do very detailed figurative painting, and increasingly I’ve been more focused on how a work feels rather than how it looks, I’ve been paying more attention to texture and movement. I’m trying to make works that don’t feel restricted to either figuration or abstraction. What I’m working on here is trying to branch out further from that and make paintings that directly correlate to a piece of short-fiction I’m working on. My daily practice can be summed up like: I usually wake up at 7 am, then I write for maybe 2-3 hours, and then I paint until the night. It’s basically a full day of writing and painting, and understanding how I can combine the writing with the figurative ideas, with the abstract movements. I try to find a world where they can co-exist.
What are your inspirations, whether it’s for painting or writing?
My inspirations for writing are often just whatever book has most recently got in my head. In recent books, there is Pond by Claire-Louise Bennett, which I really loved, or there is an amazing book by Jon Fosse called Septology. Both of those really impacted how I thought about writing, as well as visual art. For me, location is a big influence as well. I lived in New York for a decade, and I grew up in Colorado. The influence of the natural world has always been an inspiration, especially in my sketches. Initially, the idea of my rough pastel sketches comes from going out in nature and doing really quick sketches. The natural world is a really beautiful X? for a lot of characters and figures in our lives. So, location is really inspiring to me. I make different work in Berlin that I would make in New York, or in Colorado.
How do you think Berlin impacts your practice?
There is a lot more freedom here. It’s easy to talk about that from structural or financial perspectives, but I think that beyond that, in New York, there is a tendency to focus on the outcome rather than practice. You are under such a constraint that you think a lot about “What am I making? Is it sellable? Does it fit this box I created for myself?”. I think in Berlin you have the opportunity to focus more on the process, and the practice, and the concept behind the artwork. That’s refreshing.
Besides the city of Berlin, what motivated you to come to GlogauAIR?
I was particularly interested in being in the neighbourhood of Kreuzberg, and GlogauAIR looked like a beautiful building and a nice opportunity to be centrally located and to make the sort of work that I’ve been wanting to make.
Statement
Glogauair project
CV
Gallery
Statement
b. 1989
My work looks for a consistency of distance and feeling, regardless of whether the result is representational or non representational. There’s an internal energy, an autonomy that drives each one of us. My paintings are meant to explore the ways in which we move through the world, as well as the ways in which the world evolves beyond us.
There’s an immediacy to a sketch that I find fascinating. When I sketch landscapes in pastel, I do them as quickly and unconsciously as possible. Later, I return to the studio and identify tiny portions that have a particular resonance. These become the groundwork for my paintings. Little sections are blown up and larger images are scaled down, detailed elements run up against big swathes of color and exposed canvas. My work explores the connection between figuration and abstraction, it seeks out moments of poetry in everyday landscapes.
James Evans
GlogauAIR Project
Our increasingly digital reality has altered our social dynamic in many ways, blurring much of the lines between past and present, self and other. Berlin is unique in its claim to both a winding cultural history as well as a modern reinvention. It manages to be both old and very new simultaneously. I will be using my time at GlogauAIR to locate moments of vibrancy and energy within our urban structures, making a series of paintings that probe the boundary between internal and external reality.
Painting
CV Summary
Education
CU Boulder BFA
Solo Exhibitions
2020 – Manner of Forgetting – GR Gallery, New York City
2020 – A Ghost That Won’t Play Dead – Fabrica29, Mexico City
Group Exhibitions
2019 – We Good (Aug. 2019) – Ultrasupernew Gallery – Tokyo
2019 – Art Bookshop – Procell Gallery Space – New York City
2018 – Kinfolk 10 Year Show – Kinfolk – Brooklyn, Ny
2015 – Yourewelcome – Kinfolk – Brooklyn, Ny
2015 – Jars – (Blank Space) at The Hole – New York City
Residencies / Other
2023 – (Upcoming) glogauAIR , Berlin
2023 – (Finalist) NXTHVN – New Haven
2023 – (Finalist) NARS – New York
2021 – Installation – Miami art week, Miami
2019 – Fabrica 29 Residency, Mexico City
2019 – Its Fun In The End – Spring Place, New York City
2016 – Ace Hotel Artist In Residence Nyc
2016 – Opening Ceremony Prints
2016 – CR Fashion Book Mask E
Selected Press
2020 – Sight Unseen – Interview on ‘Constraint Equation’ paintings
2020 – Monster Children – Profile from Mexico City Studio , Print
2020 – Hypebeast – ‘A Ghost that Won’t Play Dead’ preview
2019 – Milk – Profile / studio interview
2016 – Purple – Salad Daze show review
Gallery
August 18, 2025