Archives: Artists

  • Emily Hunt

    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

    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

  • James Evans

    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

    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

  • Lena Becerra

    Lena Becerra

    Lena Becerra is GlogauAIR resident
    from July, 2023 to September, 2023

    Lena Becerra is a visual artist from Argentina working across multiple mediums. Her practice revolves around poetical approaches on a social hatch and, in particular, to the exploration of the sensitive layers of xenofeminism.

    She creates hybrid organisms where the border between gender, sexuality, technology and nature are not defined, as well as notions around the sublimation of imposed structures.

    Becerra places materials in constant tension, enhancing the visceral seductiveness of her work. When looking deeper into her pieces, this feeling can quickly turn dark, mysterious and almost threatening. Becerra reflects on the complexities of the world she inhabits, addressing a dialogue between personal and collective memory and trauma.

    Becerra’s latest work explores a restorative and imaginary work of a space of absence, through the idea of pleats and fissures in memory and trauma. Fragmented, mistaken, mutant, memories rise from those dark holes in the plot and materialise in the present narrative as a multi-layered organism.

    Meet the Artist

    How did your artistic journey begin?

    I believe it was somewhere around the age of 5. My mom is an educator and a creative. My dad was a writer, a poet and had many jobs and professions. He never finished one but studied many things; something I can relate to. One of his jobs was as a carpenter and we had a lot of wood and paint at home. I used to play with them and build or paint random things. Since I showed a lot of interest from a young age, both my parents would encourage this and always provided me with space and materials to explore. I would always have a corner or a table with my stuff and would build objects that would tell a story but had very weird or no utility at all. I always knew I wanted to pursue an artistic career, but it was a great relief to find out in my first year of university that what I was actually developing as a child, was my very own artistic language.

    How would you describe your practice as an artist?

    Even though I was trained as a printmaker in university, I believe that those disciplinary boundaries diluted over time as my visual language expanded. I like to think of my practice as a laboratory of multiple unspecific non-disciplinary investigations. A place where I dig into my personal mental map and find connections with my context, where I expose my political views and opinions but allow others to experience this through their own subjectivity.

    Right now, I am developing a series of organisms that explore an imaginary and restorative work of a space of absence. These mutable compositions also expose a fragmented, fractured memory, and they exist within a xenofeminist perspective that tenses the boundaries of technology, gender, human and non-human, industrial, organic and synthetic.

    What inspires you to create your art?

    I am a very curious person. I get inspired from all kinds of things and not often strictly art related. I enjoy taking lots of walks with no direction and looking at things in the street where I get fascinated with shapes in nature, in rubbish, in forgotten elements, in technology, buildings, in people’s interactions and bodies, in meeting new people and knowing about their interests, their scars, in psychology, the list can go on.

    What influenced your decision to come to GlogauAIR?

    I first visited Berlin in 2022 and had a studio for about 6 months. In the beginning of 2023 I decided it was time to participate in a residency space and did a short experience at a studio in Wedding where I built the work for my first solo exhibition in Berlin at MOLT.

    I then applied for GlogauAIR as I felt the need to be around a community of artists. I conceive my practice as a social matter and find it very important to promote constant exchange with others. I also get motivation from working on a specific project and seeing it develop over time. The idea of working towards Open Studios helps me to focus on more site-specific work.

    Does the city of Berlin have an influence on your production?

    I formed a very deep bond with Berlin, since the first time I visited the city a few years ago I decided that one day I wanted to live here. There was something that made me feel like home, a mix of uncomfortable – confronting and also seductive – welcoming sensation enhanced my visceral relationship with this city and its history. I consider myself quite nomadic and living across multiple cities constantly moving, however being here has definitely deepened certain aspects of my practice, particularly my relationship with memory and generational trauma.

    Statement

    Fragmented, mistaken, mutant, memories raise from those dark holes in the plot and materialise in the present narratives as a multi layered organism. Lena’s work explores a restorative and imaginary work of a space of absence, through the idea of pleats and fissures in memory and trauma. The area of her research revolves around abstract / possible approaches on a social hatch and, in particular, to the exploration of the sensitive layers of xeno-feminism* (borders between the human and the n on-human, technology and nature, gender, and a state of constant mix) as well as cultural decolonisation through personal experiences of collective awareness. Through the use of video, installation, textile, sculpture, performance, found objects and printmaking (and other mediums) Lena intends to reflect on the complexities of the world she inhabits, with the intention of addressing a dialogue between personal and collective memory and trauma. Currently living between Melbourne and Berlin, Lena continues developing work from an intersectional feminist, decolonial practice perspective and her own experiences as a migrant.

    Lena Becerra

    GlogauAIR Project

    “Metameria” explores a restorative and imaginary work of a space of absence, through the idea of pleats and fissures in memory and trauma. For this project, I resort to the idea of a flexible contorted body shape, by investigating the resistance of soft organic objects made of resin, ceramic, latex and silicone, and the tension/ resistance created with self-made and found metal artefacts such as forceps, clamps, pincers and chains. I would also like to explore the possibilities between self-made liquid containers and threaded pieces within the proposed installation. These compositions or assemblies of the mutable, narrations of the past that are impregnated with actions of the present intend to expose the fragmented shape of a memory. Often mutilated and melting, about to disappear or as if an external force was pushing them to transform from the inside, these pieces seem like unrecognisable versions of something that we know. Just like it happens with the images from our past: fissures and folds converge on them. Hollows from which to inhabit the void and the collapse. This work is based on my own experience, my encounters with my past and with my family history. Particularly inspired from the poems written in concentration camps and exile by my father during the last dictatorship in Argentina in 1976-1983.

    CV Summary

    • 2023
      • PAC Art Clinic and Seminar program with Gachi Prieto Gallery, Buenos Aires, Argentina.
      • “El Mapa mental” with Adriana Bustos, Buenos Aires, Argentina.
    • 2022
      • Art Clinic “Manglar” with Andres Labake
    • 2021
      • Art Clinic “Manglar” with Andres Labake
      • Creative Writing with Silvia Gurfein.
      • “Towards a new definition of museums. Curatorial Theory and Practice” with Node Centre, Berlin.
      • Diploma in Visual Arts at UTN, Buenos Aires, Argentina.
    • 2018 – 2019
      • Specialised in New Genres, Installations and Sculpture at Santa Reparata International School of Art, Florence, Italy.
    • 2013
      • Degree in Visual arts – Specialised in Printmaking at the University of La Plata, Buenos Aires, Argentina.
    • 2012
      • Bachelor in Arts and Literature, La Plata, Argentina.
    • RESIDENCIES & AWARDS
      • 2023 Artist in residence at KHB Studios, Wedding, Berlin.
      • 2022 Artist in residence at And Also Presents, Melbourne, Australia.
      • 2021 Artist in residence at Trocadero Art Space, Melbourne, Australia.
      • 2020 Awarded with the 1st Prize at “Meanwhile Within our Souls” art prize at Frankston Arts Centre, Australia.
      • 2019 Artist in residence at SRISA Florence, Italy
      • 2018 Artist in residence at SRISA Florence, Italy
    • SOLO SHOWS
      • 2023 “Oniscidea” solo show at MOLT, Berlin, Germany.
      • Open Studio at KHB Studios, Berlin, Germany.

    Gallery

  • Lena Zak & Marco Dvorak

    Lena Zak & Marco Dvorak

    Lena Zak & Marco Dvorak is GlogauAIR resident
    from July, 2023 to September, 2023

    Slovakia

    Meet the Artist

    Coming soon

    Statement

    Lena’s work comes from the borderline between the process of destruction and creation. She investigates the correlation between them and everything that happens within the transformation of one into another. Dominantly, her main focus is painting however, it might be seen as an instrument for expanding into other formats and disciplines such as writing and text-based work, object, and installation.

    Marco’s work is widely influenced by his background in digital media and music. He uses a multimedia approach to express himself through design, animation, creative coding, and sound composition to build immersive soundscapes enhanced by digital projections.

    The duo is interested in an exploration of duality and mobilizes spontaneous expression, not solely visually but also via writing and sound. Their works are frequently composed by using techniques such as destruction, decomposition, and fragmentation in order to create new forms.

    Lena Zak & Marco Dvorak

    GlogauAIR Project

    We’ll use our time at Glogau residency to create a consistent experience through an installation that will act as an intersection between the medium of painting, text, object, digital projection and originally composed sound. Together they will portray duality, the balance and connection between the negative and the positive spectrum of experiences. As one often leads to another, therefore one without the other might be non-achievable or even non-existent. Can the negative be truly seen as negative when it’s leading up to the positive? Can the positive be seen only as positive, if it’s built up by the negative moments? The notion we assign to these experiences is mainly a matter of perspective.

    CV Summary

    2020

    • JULY, SEPTEMBER 2020 — group exhibition “Dream Big III”, Artzone 42 Gallery | Athens, Greece
    • AUGUST 2020 — group exhibition “284 Open”, Gallery Coletivo 284, curated by Clara Afonso | Lisbon, Portugal
    • SEPTEMBER — group exhibition, RESVÉS | Lisbon, Portugal
    • NOV. – DEC. 2020 — group exhibition “Disrupting the Stillness“, VISIONARY Projects x Lohme Art Gallery | Malmö, Sweden (online)

    2021

    • Exhibited artists of IdeelArt, online gallerist | London, UK
    • FEB. – MARCH 2021 — group exhibition “Spring Awakening”, LONDON PAINT CLUB (online)
    • 4th APRIL – 28th APRIL 2021 — group exhibition “Facade”, THE HOLY ART | London, United Kingdom

    2022

    • Artist in Residence, October – December 2022 — Duplex AIR | Lisbon, Portugal
    • NOVEMBER 2022 — Lisbon Art Weekend @ Duplex AIR | Lisbon, Portugal

    2023

    • MAY 2023 — Garage Takeover, pop-up exhibition | Bratislava, Slovakia

    Gallery

  • Maria Ferrer

    Maria Ferrer

    Maria Ferrer is GlogauAIR resident
    from October, 2023 to December, 2023

    Maria Ferrer is an artist from Santiago, Chile currently living and working in Berlin, Germany. Her work reflects on human existence and the multi-temporalities that affect it, consciously and unconsciously. From the micro scale; meaning the biological and metaphysical inner processes, to the macro scale; such as the relationship with the non-human and with the interspecies ecosystems.

    Her creative and constructive media are related to performance and installation. These provide the basis for an interdisciplinary work where the performative appears, either through transformations in the configuration of the piece focusing on a dynamic sensory experience, or a staging in which the body remains almost immobile, acquiring a sculptural character. Using the body as a material, she seeks to develop interactive situations that put its symbolic and historical weight in tension, with the spectacular nature and unpredictability of the action itself in the here and now. Thus, time acquires a significant relevance in her proposals.

    Meet the Artist

    Hello Maria, thank you for having me! My first question for you is, how did you start your artistic practice? 

    I started my practice with sculpture. I wanted to learn how to work with metal for a long time, and I had the opportunity to get into metal work during my first year of university. I also had this feeling inside me for a while that I wanted to work with my body, and that’s how I got into performance. I was a bit scared at first, but now that I started doing performance it became a big part of my practice, and I just can’t stop. I’m trying to find ways to mix sculpture with performance, and do performances that are also kind of sculptural.

    What attracted you to the material of metal? 

    To be honest, the fire! I like to see the flames when I weld, the sparkles. Also, the smell. It’s quite toxic, but I love it. And I like that it gives me the opportunity to work with my whole body. When I have to cut or bend the metal, it requires a lot of strength. 

    It seems like the process of welding is almost a performance in itself?

    Yeah, totally! Before I start working I need to do some stretching, otherwise I will have pains in my neck and in my back. I have to be conscious of the posture of my body, how much pressure it can handle. It’s also kind of meditative to work with metal for me. You need to be very focused. It’s like you’re entering a kind of trance. 

    This meditative aspect also seems to play a big role in your practice. What are your other inspirations? 

    I started working on the systems of the body, what happens inside of our bodies, and how the systems have a relation with other things that are not part of the physical body. I realised through sculpture and performance that my practice started to become ritualistic. 

    Can you develop a little on these rituals, and the role of spirituality in your work? 

    During my last year of university I had a professor who was really interested in our “autobiography”, and through writing and reflecting about this, I realised that being raised as a Catholic, going to Catholic school and going to church every Sunday, actually inspired me a lot in my art. When I was young I loved going to church. I loved the chants, the smell of copal, the colours of the stained-glasses, the gold, the dresses of the priests… the whole sensorial experience and the aesthetic richness was very impressive to me. When I was a teenager I realised that I’m not resonating with this dogma and doctrines anymore. In the education I’ve received, women were judged a lot for doing certain things, like, “you shouldn’t provoke men”, etc. I stopped being a part of this, but I still live in spirituality. I realised that in my work, I was trying to find new personal rituals to reconstruct and relearn to get in connection with my spirit beyond religion.

    Do you think the city of Berlin has a particular impact on your practice right now? 

    Yes, it does. In the work that I am working on now, I’m embracing a kind of post-apocalyptic, kind of raw aesthetic, and I think that Berlin has a little bit of that. Also, ever since I’ve been living here, I noticed all the places and events that are sort of “meeting points” for a lot of people to get reunited. It can be parties, exhibitions, and also, because of everything that is happening now, protests. That’s also a theme that interests me. In the piece that I’m working on right now, I’m trying to create one of these “meeting points”, through music. Music is very important to me, it heals me in a lot of ways. In my last work I’m mixing performance with sound. Berlin has inspired me a lot because of all its sound performances, and its experimental multidisciplinary shows. 

    Besides the city of Berlin, what motivated you to come to GlogauAIR? 

    I’ve been wanting to come to Berlin since I’m 21. I thought coming here would be a really nice opportunity, and I wanted to do a residency. I heard about GlogauAir, and it seemed to really fit me. I read the program, looked at the promotional photos and videos where you can see groups of artists together, it seemed really adorable and motivating. You can also learn a lot while you are working with living and with other artists. There are opportunities for open dialogues with people of different countries, different cultures, and the possibility to find “meeting points” in everyone’s practice. I found that super interesting, because once you are out of the university it’s a little bit more difficult to have this kind of conversation, to share, to receive and give opinions. I thought doing a residency after finishing art school would be a very nice experience.

    Statement

    Maria Ferrer is an artist from Santiago, Chile currently living and working in Berlin, Germany. Her work reflects on human existence and the multi-temporalities that affect it, consciously and unconsciously. From the micro scale; meaning the biological and metaphysical inner processes, to the macro scale; such as the relationship with the non-human and with the interspecies ecosystems.

    Her creative and constructive media are related to performance and installation. These provide the basis for an interdisciplinary work where the performative appears, either through transformations in the configuration of the piece focusing on a dynamic sensory experience, or a staging in which the body remains almost immobile, acquiring a sculptural character.

    Using the body as a material, she seeks to develop interactive situations that put its symbolic and historical weight in tension, with the spectacular nature and unpredictability of the action itself in the here and now. Thus, time acquires a significant relevance in her proposals.

    Maria Ferrer

    GlogauAIR Project

    After presenting my last piece (Contra-ritual), I was left with many concerns and the desire to continue exploring music and sounds as an element for my proposals. I am interested in the infinite forms that sound vibrations can take to produce enveloping atmospheres. According to this, during my program as an artist in residence at GlogauAIR, I want to create an interdisciplinary project in which the media of performance, sculpture and sound converge to produce a sensory and immersive experience; A staging in which the performer play with the sound using the voice and a hybrid between sculpture/instrument, generating a material contrast in which the organic and the synthetic intersect with the body-object relationship. As for the sounds or musicalities that can result from this sculptural object, the idea is to formulate a kind of language in which actions, temporalities and sounds are constantly communicating.

    Installation and Perfomance

    CV Summary

    • 2017-2021. Bachelor of Visual Arts. Pontificia Universidad Católica de Chile.
    • 2022-2023. Kaos Creative Space. Mediator. Mustakis Foundation, Santiago, Chile.
    • 2022. Posthumous Painting. Guest artist. Metropolitan Gallery, Santiago, Chile.
    • 2019. La Tirana Mobile Residence. Artist in residence. Tarapacá, Chile.
    • 2019. Ascospora. Guest artist. Biennial of Media Arts, Santiago, Chile
    • 2019. Delusional Serpent. Guest artist. National Museum of Fine Arts, Santiago, Chile
    • 2019. PARALLEL-O: Performative Emergency. Guest artist. O Gallery, Santiago, Chile
    • 2018. Dormancy. Guest artist. Fungi Museum, Santiago, Chile
    • 2018. Dame Recyclage. Guest artist. Violeta Parra Museum, Santiago, Chile
    • 2018. Macchina Gallery. Monitor. Pontificia Universidad Católica de Chile

    Gallery

  • Ona Lillet

    Ona Lillet

    Ona Lillet is GlogauAIR resident
    from October, 2023 to December, 2023

    Ona Lillet is an artist interested in realms of possibility, questioning ways of living, working, and relating and advocating as a change agent. Creating multi-layered oil paintings that are built up, one decision responding to the last, a series of relationships form a journey into the depths of seeing how relationships of color, texture and shape create new ways of reaching out to what cannot be reached. Finding not a representation of an idea but the experience itself of holding oneself open, Ona’s paintings are filled with space and won

    Meet the Artist

    Hello! Thank you for having me in your studio. 

    Can you tell me, how did you start your artistic practice? 

    I’ve always been a really sensitive and observant person. I’ve always empathised with objects that are around me, even from a really young age. For example, if my mom was baking, I’d be doing drawings on the flour on the table. It just always was a natural part of my life.

    Did you study art? 

    Yes, I went to the School of the Art Institute of Chicago. I loved the school because it was interdisciplinary and you didn’t have to choose a major. I experimented a lot. It’s important to me to continue pushing and growing as an artist by being open to what you learn from different materials and different processes. I fell in love with oil paint. I feel like there’s endless possibilities of what oil paint can do and what it can say. So, I decided to become a painter pretty quickly, but I always did other things as well. 

    Can you tell me a little about your inspirations?

    I’m inspired by this great desire to really explore what it means to be really alive as a human being. How do we live better? How do we live more present? How do we find ourselves in relationships with people outside of just work and capitalism, and how can we show up authentically? I’m inspired by a lot of poets. Mary Oliver is such a guru in my life. She’s a poet and writes a lot about nature and about what it means to be a person in this world, and how being an artist is really exploring and engaging with that journey. Jafar Panahi and Yasujirō Ozu are some of my favourite filmmakers, who also have similar ways of asking questions about humanity and doing so through compassion and through embodying their own material. I’m also interested in language, and different forms of language that are not verbal. If you think about sound, if you think about a symphony, without verbiage there is so much meaning in the relationship of sound that I feel the same way about art and painting… The relationships of colour create meaning, create feeling, create a somatic experience… I’m really interested in experience in art. Art is a way to experience yourself and the world and hopefully cause new pathways of openness and connection. I’m not very interested in art that is about telling me something or being informational, but that is really rooted in a somatic experience that causes you to feel differently. And as a result, of course, to think differently too.

    Allowing ourselves to take time off can help us tap into these feelings, is that something that made you decide to come to GlogauAIR, and does being here have an impact on your practice? 

    Yes it definitely has a big impact on my practice. Not only that it allows the time to focus. What matters the most is not the time to actually do the making, it is the time to do the feeling, to do the emotional work of not being busy. We’re so often busy in our daily lives that we don’t even know what’s going on inside of us. We don’t even know how we’re feeling and what we’re doing, how we are relating to people. Part of having this kind of bubble of time has allowed me to reflect on relationships I’m in, reflect on how I’m feeling about the world and how I can be a part of the world, how I can interact with people. 

    I’m thinking of the importance of kindness and compassion in your work, and I can see behind you the painting inspired by the Rainbow Fish, which is a tale about a fish that gives away his most beautiful scales to his friends. This feeling of getting together and sharing is also something you can find in an art residency a lot!

    Yes! I think it’s really hard being an artist because it can be a very lonely job. I love being alone, but I also have felt intense loneliness. Being able to be in a community of artists has in some ways renewed my faith that people do care and people are also holding the same path, holding the same hopes for the world through being artists. I think there’s so much sacrifice as an artist, but you gain so much too. Seeing how other people are also really believing in the possibilities for change and showing up for themselves, and therefore also showing up for each other and for this life experience is probably the greatest sense of camaraderie. It’s important that we know that we’re not alone.

    Statement

    Ona Lillet is an artist interested in realms of possibility, questioning ways of living, working, and relating and advocating as a change agent. Creating multi-layered oil paintings that are built up, one decision responding to the last, a series of relationships form a journey into the depths of seeing how relationships of color, texture and shape create new ways of reaching out to what cannot be reached. Finding not a representation of an idea but the experience itself of holding oneself open, Ona’s paintings are filled with space and wonderment.

    Ona Lillet

    GlogauAIR Project

    Aside from her continued practices in studio- painting, drawing and collaging, Ona seeks to bring play, humor, and challenge through performances as ‘Ona the Lurch’ to art spaces in Berlin. Uncomfortable in sterile, fluorescent, and often oppressive art institutions; Ona plans to engage in the act of viewership (as character Lurch) with the aim of providing sincere levity to inspire play and vulnerability when engaging with art.

    Collage, Drawing, Painting, and Performance

    CV Summary

    Education

    • 2014 Bachelor of Fine Arts (BFA), The School of the Art Institute of Chicago (SAIC), Chicago, IL
    • 2013 Summer Course, Wood Carving and Relief Printing, Salzburg International Summer Academy of Fine Arts, Austria
    • 2012 Winter Course, Painting and Drawing, Ox-bow School of Art, Saugatuck, MI

    Exhibitions

    • 2022 Vibrant Life, Sprout Gallery, Providence, RI
    • 2018 Natural Quandaries, Woods-Gerry Gallery, Rhode Island School of Design (RISD), Providence, RI
    • 2015 At the end of winter a brittle bikini and trying to feel baby teeth, DOMUS, Chicago, IL (solo)
    • 2014 Erinnerungen an ein Haus, Kunstraum Pro Arte, Hallein, Austria
    • 2014 BFA Group Exhibition, The Sullivan Galleries, The School of the Art Institute of Chicago, Chicago, IL
    • 2013 Torhaus, Hallein, Austria, Salzburg International Summer Academy of Fine Arts
    • 2011 Art Bash, The School of the Art Institute of Chicago, Chicago, IL
    • 2010 Returning Painter, PaMa, Providence, RI (solo)
    • 2010 Process, Chazan Gallery, Providence, RI (solo)

    Residencies & Awards

    • 2023 GlougauAIR Artist in Residence, Berlin, Germany
    • 2013 Merit Scholarship Recipient, Salzburg International Summer Academy of Fine Arts
    • 2010 Merit Scholarship Recipient, The School of the Art Institute of Chicago
    • 2010 RI Scholastics Art Award, Art Portfolio Winner

    Gallery

  • Tamara Jacquin

    Tamara Jacquin

    Tamara Jacquin is GlogauAIR resident
    from October, 2023 to December, 2023

    Tamara Jacquin engages in an interdisciplinary practice that encompasses installation, sculpture, painting, printmaking, textile, video, and photography. Her artistic process is characterised by an additive approach, working in layers, with each layer introducing a new medium to amplify the complexity of the piece. Tamara Jacquin typically initiates her work with a photograph, digitally refining it before transferring it onto fabric or wood.

    In her recent artworks, Tamara Jacquin aims to establish a dialogue between two worlds by integrating ancient everyday objects, laden with historical significance. She intertwines these objects with contemporary textures and vibrant colors, situating them within a current context. This deliberate juxtaposition aims to provide fresh insights that connect the past with the present, prompting viewers to contemplate the evolving meanings of these objects over time.

    Meet the Artist

    Hello Tamara, thanks for having me in your studio! 

    Tell us, how did you start your artistic journey? 

    I originally studied architecture. I went to architecture school, and did the whole six years in Chile. I wanted to study art at the beginning, but my parents did not let me, and I chose architecture because it was still related to something artistic. I did an exchange in France for my fifth year, and this changed my perspective of what I wanted to do after I finished my education. I come from a not-so-big city, so growing up I couldn’t just go and easily see art in the museums, and I mostly learnt art from books. Coming to Europe, visiting all these museums in France, like the Centre Pompidou, really inspired me. When I went back and finished my architecture degree one year later, I decided that I wanted to study art. 

    Did you go to art school after? 

    I went to art school in Argentina and studied almost three years, but stopped because art school was too long, and I also wanted to leave the country. I decided to go to Spain. I arrived in Valencia in 2013 and I did a master’s degree in fine arts there. 

    Would you say that because you studied architecture, it is still a big inspiration in your work? 

    I studied a lot of different things, and it seems like everything I learnt is part of me now. When you’re young and you study for your first career, it really teaches you how to visualise the world, how to open your eyes in a certain way. It stays with you. So yes, I’m a big fan of architecture. I’m really fascinated by different kinds of architecture, different time periods, and I do think they relate to art history too. I mean, it’s all connected. It’s not one thing without the other. 

    What are your other inspirations?

    I’m inspired by many things. I get my inspiration from everyday life, and all the things that are around me. If I’m working in a new city, I like to take walks and be aware of my surroundings, and I go to a lot of museums to look at the art. I’m interested to see how everything evolves, from ancient art to impressionism, to nowadays. Of course I’m also interested in other artists. My first favourite artist was Rebecca Horn. I love her work, and I’m especially inspired by her early projects. My first artworks were inspired by hers. Her pieces present the themes of constructions related to the body, how it moves, etc. For me it was a wonderful discovery. 

    I also get my inspiration from decorative arts. I love to visit old palaces. It’s so interesting how all these things now live at the same time, you know? Like, things from different times still exist nowadays. And you can just visit these places and see how the time has passed, history has passed, but the objects remain. 

    You talk about visiting old palaces and finding inspiration in the different decorative objects from the past that you encounter there, is it what inspires your current project? 

    Yes, that’s what I’m currently working on. Since I arrived in Berlin, I’ve been visiting all the museums, all the palaces, and all the ancient places that I can find. I’m inspired by these objects from different times and periods. It’s like the past is not over because we still live with things from the past. For me, things from the past have an amazing magic: they resisted time. Some of them you can’t have at your house, and you need to visit museums to see them, but still, they survived time, they weren’t just destroyed and forgotten. What I’m doing is that I take these ancient objects or elements from decorative arts and put it in a dialogue with other elements from today, to think about the relation between past and present. It allows me to reflect about how history has changed, and by extension, about the future. You know, when we look at society today, we can be tempted to think things are always going to work this way. But when we look at the past, we know it isn’t true! We have objects and stories to prove the contrary. Now we also have proof that the past and future can coexist, maybe in the future all the new things will coexist with the ones we use now. I love to think about these layers.

    You’re working a lot with wood, and it seems like the materials play an important part in your project. Can you develop a little on that? 

    Yes, the choice of materials is really important to me when it comes to trying to connect these elements from different time periods. Wood is a material that I really like, and that I’ve been working with in projects before. I use wood as my main material, and then I’m transferring images on it. I use black and white images, as as ressemblance of the past; but on top of that I add colours. I’m using these vibrant colours, and other elements, like pink neon lights, golden tubes…  These are materials from nowadays. 

    Berlin seems like a good choice for such a project, as it is a city where you can really feel the past and present coexisting. Do you think it has a particular impact on your work? 

    I’m not sure actually, because I still don’t understand the city very well. You can see a lot of these fractures in time, more in other cities of Europe that I’ve visited, like, you can see how certain parts of the city have been destroyed and rebuilt, but I think it’s too soon for me to say how it really is impacting my practice.

    Thank you for your time! And lastly, what motivated you to come to GlogauAIR? 

    I had a friend that used to work at GlogauAIR when he arrived in Berlin eight years ago, so that’s how I learnt about it in the first place. I’ve always wanted to visit Berlin and experience the art scene here from the inside. I did another art residency in Germany in Leipzig in 2019, but I couldn’t go to Berlin at that time. I saw the opportunity at GlogauAir and thought, “now is the time”. Everything happens at the right moment.

    Statement

    Lives and works in Madrid, ES

    My interdisciplinary practice involves sculpture, painting, printmaking, textile, video and photography. My process is additive, which means I work in layers, and in each layer I use a new medium, thus increasing the complexity of the piece. I always start with a photograph, which I work on digitally and then transfer to fabric or wood.

    In my recent artwork, I seek a dialogue between two worlds by using ancient everyday objects, which are loaded with history, interweaving them with contemporary textures and vibrant colors. By putting these objects in current context, I offer new insights linking the past with our contemporaneity to reflect on the different meanings that things had and will have over time.

    Tamara Jacquin

    GlogauAIR Project

    In ‘Poetics of the Ordinary,’ I bring exquisite porcelain objects from the 17th to the 19th centuries, and place them in a modern context by juxtaposing them with everyday objects from our time. Inspired by the collections of the Kunstgewerbemuseum and the Ethnologisches Museum, I seek to connect with the memories and imaginations that these objects evoke.

    Through photography and mixed media techniques like transfer, drawing and painting on wood, I merge the antique with the present, the real with the representation, and mass production with the unique and unrepeatable. The result is an artwork characterized by bold and striking colors that invite viewers to engage in a dialogue between its history and the present.

    Installation and Sculpture

    CV Summary

    Education (selection)

    • 2017 MFA, Complutense University of Madrid, Madrid, ES
    • 2010 Bachelor of Architecture, Valparaíso University, Valparaíso, CL

    Solo Exhibitions

    • 2021 To feel lonely you don’t need to run away to the forest, curator Gabino Busto Hevia, Eduardo Úrculo Municipal Art Gallery of Langreo, Langreo, ES (catalogue)
    • 2021 A pending conversation, two solo show with Daniel Schweitzer, Navel Art, Madrid, ES
    • 2019 Somewhere between up and down, Alfama Madrid, Madrid, ES
    • 2019 Here and Gone, two solo show with Christopher Kanyusik, 3Quarters, Atenas, GR
    • 2017 The Beagle’s long voyage, curator Joan Feliu Franch, two solo show with MasauR, ECO Les Aules, Castellón, ES (catalogue)
    • 2016 Body Architectures, curator Marisol Salanova, Aravaca Cultural Center, Madrid, ES (catalogue)

    Group Exhibitions (selection)

    • 2022 Feminart, Est-art Space Gallery, Alcobendas, ES (catalogue)
    • 2021 Construction time again, Est-art Space Gallery, Alcobendas, ES
    • 2020 EAC 2020, XX Contemporary Art Encounter Competition, Sala Sampere, University of Alicante Museum Alicante, ES (catalogue)
    • 2020 XXXVI Exhibition of young art in La Rioja, ESDIR exhibition space, Logroño, ES (catalogue)
    • 2019 Sculto Contemporary Sculpture Art Fair, curator AliciaVentura Bordes, Inma Prieto, Rogelio López Cuenca, Galería Est-Art Space, Logroño, ES (catalogue)
    • 2019 VII Mardel Visual Arts Award 2019, Centre del Carme museum,Valencia, ES (catalogue)
    • 2019 Reset Unsettling Flesh Layers, curator Patricia Brien, Alte Handelsschule, Leipzig, DE
    • 2019 3rd Biennale di Genova – International Contemporary Art Exhibition, curator Mario Napoli, Flavia Motolese, Genova, IT (catalogue)

    Award and grants (selection)

    • 2020 Art Nalón Award 2020, Langreo, ES
    • 2019 Sculpture-Network Award, Sculto Contemporary Sculpture Fair, Logroño, ES
    • 2019 Residency abroad for young artists in the field of visual arts Grant, Madrid Regional Government, ES
    • 2017 Casa de Velázquez Specific Aid Grant, Casa de Velázquez, Madrid, ES
    • 2016 Culture Funds for Circulation, FONDART, Chile Govermment, CL
    • 2015 Production Award, Bilbao Art Foundation, Bilbao, ES

    Gallery

  • Anja Musura

    Anja Musura

    Anja Musura is GlogauAIR resident
    from October, 2023 to December, 2023

    Anja Musura is a Toronto-based, multi-media artist making experimental, conceptual, minimal art about light, energy and sound. A graduate of OCAD University, her current project focuses on the unseen within the seen – the energy that objects, light, and sound retain and transmit.

    Her body of work offers themes of escapism and flux, an invitation to the viewer into the dreamscape, to escape in and outside of themselves. Her current work is explored via photography, 3D objects and materials, painting, and digital media. She uses a minimal color palette with a focus on space, shape, and texture.

    Meet the Artist

    Who are you? 

    I’m Anja Musura and I’m based in Toronto, ON.  I graduated from OCAD University.  I like spontaneity and adventure, experimental processes and the unexpected. I like to create, travel, explore and connect with people.

    How would you describe your artistic practice?

    I’m a multimedia artist making experimental, conceptual, minimal art about light, energy and sound. My current projects include a focus on digital art, photography, 2D and 3D works.

    What is your methodology or process for creating a new  project?

    I create intuitively – I experiment with concepts, processes and mediums.  I listen to music and act as a conduit to place the visuals onto the page. To create, I enter a state of flow to act as a vessel for the energy to escape into a visual format and then refine it. I begin with an idea and it evolves as it exists. As the object enters into existence, it continues to evolve.

    What have you decided to focus on in your current project at GlogauAIR? What does this project mean to you?

    My project Digital for GlogauAIR is an exploration of sound to visual. A study on synesthetic process – the sound enters and exits onto the page – I am the conduit to place it. It is a set of minimal, black and white digital images that reflect sound to visual in a minimalist, experimental format.  It invites the viewer into an immersive experience to interact, absorb, and be absorbed by the pieces. It intends to communicate the unseen energy of sound to visual, it is an exploration of existential processes – an invitation into the energy.

    Statement

    Anja Musura is a Toronto-based, multi-media Artist making experimental, conceptual, minimal art about light, energy and sound. A graduate of OCAD University, her current projects focus on the unseen within the seen – the energy that objects, light, and sound retain and transmit. Her body of work offers themes of escapism and flux – an invitation into the dreamscape for the viewer to escape in and outside of themselves. She uses a minimal color palette with a focus on space, shape, and texture. Her current work is explored via photography, 3D objects and materials, painting, and digital media.

    Anja Musura

    GlogauAIR Project

    Digital is a continued series on the exploration of sound to visual. A study on synesthetic process – music enters as energy and exits onto the page – I am the conduit to place it. The process is to include minimalist, black and white digital drawings printed large-scale and/or digitally projected into spaces for immersive experiences to engulf the viewer and/or painted black and white, experimental abstracts. The materials I will use will be paper and/or canvas, paint, and/or a projector, an ipad, a laptop. The intent is to create a series that reflects sound to visual in a minimalist, experimental format, and to invite the viewer into an immersive experience to interact, absorb, and be absorbed by the pieces. My intent is to communicate the unseen energy of sound to visual, to invite the viewer into the energy of the pieces – into a portal of the unknown.

    Drawing and New media

    CV Summary

    EDUCATION

    • 2021 – BFA – OCAD University, Toronto
    • 2016 – College Certificate in Art Fundamentals – Seneca Polytechnic, Toronto
    • 2014 – 8-week Screen Printing Course – Open Studio, Toronto
    • 2014 – Matthew Barney – Artist Talk + Screening, Toronto

    INTERNSHIPS & VOLUNTEERING

    • 2015 – Andy Warhol Revisited: A Mirror for Today – Revolver Gallery, Toronto
    • 2015 – Abbozzo Gallery of Contemporary Art, Toronto

    PROFESSIONAL EXPERIENCE

    • 2022-2023 – Art Consultant – PI Fine Art, Toronto
    • 2020-2022 – Gallery Curator – RH, Toronto
    • 2015 – Gallery Manager – Off-site at Love Art event for Abbozzo Gallery of Contemporary Art, Toronto
    • 2015 – Gallery Associate – Abbozzo Gallery of Contemporary Art, Toronto

    CURATING

    • 2015 – Solo Exhibition for Canadian Contemporary Artist Heather Horton – Abbozzo Gallery of Contemporary Art, Toronto

    EXHIBITIONS

    • 2020 – OCAD – Off-site Pop-Up, Toronto
    • 2019 – OCAD – Off-site Pop-Up, Toronto
    • 2018 – OCAD – 2nd Year Exhibition, Toronto
    • 2017 – OCAD – 1st Year Exhibition, Toronto
    • 2014 – Pancakes and Booze Pop-Up Exhibition, Toronto

    RESIDENCIES

    • 2023 – On-line Artist in Residence at GlogauAIR, Berlin

    Gallery

  • Elena Pachner Sarno

    Elena Pachner Sarno

    Elena Pachner Sarno is GlogauAIR resident
    from October, 2023 to December, 2023

    Elena Pachner Sarno’s artistic pursuit is propelled by the magnetic force of happiness, viewing it as an intriguing way to shape the passage of time. Central to their creative arsenal are playfulness, togetherness, silliness, and contemplation — powerful tools that dismantle human-conceived constraints, notably those of gender, age, and sociocultural roles. Elena’s works manifest in diverse forms but consistently involve the play of bodies (human, light, matter) and radical imagination.

    Meet the Artist

    Within the Residency, the artist is dedicated to continuing the work on “The Catalinas Project”, a series of five short films inspired by the life of Catalina/Antonio de Erauso. These films transcend time, veering away from verisimilitude and historical accuracy. Each possesses its unique creation process, diverse storytelling, and formal choices, presenting distinct visual and auditory landscapes. While united by overarching themes of (trans)gender, feminism, and anti-colonialism, each film stands as an independent entity.

    Statement

    What drives my practice is attracting happiness. I see no more interesting way of making time. My main tools are play, togetherness, silliness and thinking – targeting all human-conceived constraints, in particular gender, age and geographical sociocultural roles. My performances and films begin with a story or idea which persists. I then start taking notes (words, images, sounds…) and looking for co-creators. The making processes and the works can take many forms, but they always involve bodies (human, light, matter) and radical imagination.

    Elena Pachner Sarno Instagram
    The Catalinas Project

    GlogauAIR Project

    The Catalinas Project (IG CatalinasProject) is a series of 5 short films inspired by the life of Catalina/Antonio de Erauso. They are all timeless, non-verisimilar and a-historical, but also each is created with its own invention processes, has its own diverse storytelling and formal choices and can look and sound very different from the others. Apart from the titular character they share themes: (trans)gender, feminism, anti-colonialism and may share makers or objects.

    Video and Video-performance

    CV Summary

    FILMOGRAPHY – DIRECTOR WRITER

    2021-23

    • She who lives by the sword. Short in postproduction. Part 3 of #catalinasproject
    • Catalina meets the pope. Short. Part 5 of #catalinasproject
    • Playing with my queer selves. Video performance.
    • L’apprendista gabbiano. Video Performance.

    1997-2015

    • Black Sheep. Documentary.
    • Bonny 60”. Video portrait.
    • Red Office. Short
    • The Double. Short
    • Pedalare. Short
    • Una Terra per Due Popoli. Documentary
    • FK. Dance Video. Second Prize in its category

    International festival selections: Her Vision (NYC), Sydney World Fest, Triloka Film Fest (India), Sandgrounder (UK), Inspirational Film Fest SW), Bee Lesbian Brazil, Seoul Int Women’s Film Festival, Queer Lisboa Int Film Fest, Dortmund/Cologne Int Women Film Fest, Pink Apple Lesbian Gay Film Fest Zurich, Montecatini International Film Festival,

    PERFORMANCE & other PROJECTS

    2020-23

    • PESCiE Transmutande. Interactive performance.
    • T-sex. Performance (director).
    • Parti di madre trans. Theatre performance (director).
    • Pleimor – Sirene Mutande. Lecture performance.
    • APTICA – Storie di contatto. Curated photography project for Contemporary Locus.
    • PESCiE fuor d’acqua. Coral street performance.

    SHOWS & EXHIBITIONS

    • Parti di Madre Trans. Bocciodromo Vicenza, Teatro Nuova Commedia Firenze, Teatro Refugio Livorno,Teatro Bellarte Torino.
    • L’Apprendista Gabbiano – installazione interattiva. Collettiva ‘Corpo’ Spazio Livorno
    • T-Sex. Spazio Livorno
    • Catalina incontra il papa – installazione. Collettiva Galleria Area+ Livorno,
    • PESCiE Transmutande. Magazzini Generali Carico Massimo Livorno
    • PESCiE fuor d’acqua. Effetto Venezia Livorno
    • Pleimor. Pelanda Ex Mattatoio Roma

    RESIDENCIES

    • 2023: Off-Courts Trouville (FR) film pre-production, GlogauAIR Berlin onlline (D) project development, Senseless Milan (IT) project development and presentation

    FILM INDUSTRY

    DoP, CAMERA, CONTINUITY, COMMISSIONED WORK

    1. 2016.

    DoP. Australia

    • The Russian by Sara Henkins. Short, 2011
    • Consequences by Danielle Van Herk. Short, 2010
    • Aggression by Kevin Chong. Short, 2011
    • Borderline by Justin Todd. Short, 2010
    • Sunkissed by John Clarck. Short, 2010
    • You are just Not Good Enough by Kevin Chong. Short, 2010
    • Fishing for love by Estee Chang. Short, 2009
    • Redhood by Michael Mauline. Short, 2009

    To this day I produce videos upon commission, direction, camera, sound recording and montage. I have 3 years experience as Camera and Assistant Camera in Australia; 7+ years work as Continuity in Italy and Spain covering eleven feature films and various tv ads.

    EDUCATION

    • 2019- PhD Candidate Amsterdam School for Cultural Analysis (ASCA), University of Amsterdam. Dissertation title: Play and playfulness in cinematic arts.
    • 2021 Master II Performance Arts and Public Space (PACS), Università Roma 3 e PalaExpo.
    • 2009-10 Sydney International Film School. Cinematography course.
    • 1992 BA in D.A.M.S., Tesi: ‘Antonin Artaud Il Teatro e il suo doppio’. Università di Bologna.

    ACADEMIC PUBLICATIONS

    • Book Chapter. ”Life in Cinematic Bodies at Play. The example of Daisies (1966). Play and Democracy. Ed. Collection. Routledge. 2022. Book
    • Book Chapter. “Stop Making Sense. Notes on Playful Cinema and Performance”. Philosophy at Play IV. Eds. Malcolm MacLean, Wendy Russell, Emily Ryall. Routledge, London, 2021. Book
    • Essay. “Feminism, destruction and joy in Daisies (1966)”. East European Film Bulletin, vol. 88, October 2018. https://eefb.org/retrospectives/feminism-destruction-and-joy-in-daisies/

    Gallery

  • Ioanna Lamprou

    Ioanna Lamprou

    Ioanna Lamprou is GlogauAIR resident
    from October, 2023 to December, 2023

    Introducing Ioanna Lamprou. Rooted in collage principles and composition, Ioanna’s work explores sustainable design solutions and the use of structural timber in construction. Her drawings capture the evolution of design proposals, playing with geometrical elements and primary wooden structures.

    Meet the Artist

    Ioanna’s vision blends architectural test models with graphite hand drawings, introducing you to a world of design possibilities. These three-dimensional structures, depicted in various geometric orientations, take on new life, showcasing a multitude of modeled opportunities.

    Currently, Ioanna is revisiting a project she embarked on during her university days, where she’s exploring the intersection of art and architecture with an installation proposal. This project is a response to architectural visualization challenges. It delves into the intricacies of space, examining the interactions between public and private sectors and how socio-economic factors shape the cityscape.

    With this project, the artist also seeks to disrupt heteronormative spaces by exploring the relationship between sexuality and the built environment. It takes inspiration from architectural movements that have historically resisted the suppression of queerness and instead promotes emotional resonance for the occupants. Through intricate designs, Ioanna challenges the rigid boundaries of central Manchester’s architecture and encourages fluid, dynamic uses of space.

    Statement

    Born and raised in Athens, the artist moved to the UK in 2019 to pursue her studies in the Manchester School of Architecture. While she launched her professional art practice after graduating in 2022 with her exhibition in the Trinity Buoy Wharf Working Drawing Prize in London, she was first immersed in the arts and design industry upon the completion of an Foundation in Arts program in 2019. Her interest has continuously lied in the role of hand drawing in contemporary architectural design and representation.

    She further developed her skill set throughout her studies in Manchester, where she first grew an interest in digital art and design. After exhibiting in the Manchester Society of Architects awards and in the annual university Degree Show in 2022, she started her role as an architectural assistant at Simpsonhaugh Architects in Manchester. After her industry placement, she now resides and continues her artistic practice in the United Kingdom.

    Her drawing practice is rooted in the principles of collage making and is highly cryptic with a focus in composition. She is interested in the search for sustainable design solutions and the use of structural timber in the world of construction. Her drawings celebrate the developmental process of design proposals while experimenting with geometrical element material properties and unusual primary wooden structures. The combination of architectural test models and graphite hand drawings in one artwork represents a world of design possibilities. Depicted in various geometric orientations, the three-dimensional structures gain numerous new lives and are choreographed to represent a variety of modeled opportunities.

    The artist aims to create generative and speculative drawings which counteract the simplistic and reductionist graphic style of modern day architectural technical drawings. She takes interest in the act of visualizing conceptual ideas by warping traditionally dominant and formal organizational design elements.

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    GlogauAIR Project

    My current project derives from the revisiting of a previous university brief with the approach of an installation proposal in the place of an educational building scheme. The experimental nature of the completed building submission leaves room for further development, which I aim to complete through the creation of a series of conceptual digital collages and hand drawings of several physical sketch models. The images are a celebration of the frequent disapproval of bold experimental forms in urban architectural proposals. The small scaled models of this series are given new life in the collages and are choreographed to interact with the buildings surrounding them in the area of central Manchester. They are given a new-found depth, they intrude and they inhabit an abstracted urban environment which is shaped by a collection of my photographs of the city. They demand space, which is given to them through the visual manipulation of their surroundings to resemble a topographical privacy diagram. The project is a response to the architectural visualization challenges of what cannot be measured. Private and public sectors, the interactions between them and socio-economic circumstances are documented in different ways to realism. The drawings incorporate the blending of light and dark spaces to match the overlap of building programmes.

    Inspired by my final year in Architecture school, this study is, additionally, directed towards the disruption of hetero-normative spaces through the researching of the relationship between sexuality and space. It focuses on placemaking and strong identity in structural forms by taking inspiration from past architectural movements that reject the oppression of expression of queerness in the hopes of promoting strong emotional responses for the occupier. The conforming architecture of central Manchester’s context is twisted into complex structures to promote curiosity and intimacy. The project incorporates an original coding system which pinpoints aspects of importance to one’s emotional state around the architectural site. It aims to create a structure which rejects rigid boundaries and promotes the fluidity of uses.

    My goal is to revisit the presented project with the eyes of a current graduate and from the standpoint of an installation proposal. Using the technical knowledge I have gained from working in the architecture industry, I would like to continue this in-depth study with a focus on timber formations in contemporary construction by investing in the production of a series of digital and hand drawings as well as three-dimensional models, while continuously embracing the conceptual and experimental parts of the architectural proposal development process.

    Collage and Drawing

    CV Summary

    EDUCATION

    • Bachelor of Architecture (2019-2022) with First Class Honors (1:1)
    • University of Manchester, UK
    • Foundation Course in Art and Design (2017-2019)
    • Plakas Art Center, Kifisia, Greece
    • Degree titled “Apolytirio” (2019)
    • Arsakeio Tositseio Ekalis School, Athens, Greece

    EXHIBITIONS

    • Drawing Projects UK HQ, Trowbridge group exhibition for Trinity Buoy Wharf Drawing Prize (2023).
    • Arthouse Jersey group exhibition and online mention for TBWDP (2023).
    • Park Gallery, Cheltenham online competition Worthy Mention (2023).
    • Willis Museum and Sainsbury Gallery, Basingstoke group exhibition for TBWDP (2022).
    • Trinity Buoy Wharf Working Drawing Prize 2022 group exhibition, website, book and social media channels (2022-2023).
    • Hampshire Culture online mention for TBWDP (2022).
    • D31 Art Gallery online summer exhibition (2022).
    • Manchester Society of Architects (MSA) Awards 2022 under the category: Future Architect
    • MSA Graduate Show website, physical book and ADD social media channels (2022).
    • BA1, BA2 Digital Showcase in the Manchester School of Architecture (2020-2021) website and social media mentions.

    EXPERIENCE AND QUALIFICATIONS

    • Part 1 Architectural Assistant (August 2022- August 2023)
    • Simpsonhaugh Architects, Manchester, UK
    • Completion of two-year Art Foundation Course Option Architecture (2019)
    • Plakas Art Center, Kifisia, Greece
    • Participation in the Oxford Royale Broadening Horizons Summer Course incl. architecture workshops (2017)
    • Oxford University, Oxford, UK
    • Attending of Azurlingua: Programme standard de deux semaines. (2016)
    • Azurlingua Ecole De Langues, Nice, France
    • Diploma of French Proficiency DELF B2 (2017)
    • IELTS Certificate Band:8

    Gallery