Archives: Artists

Néstor Del Barrio
Néstor Del Barrio is GlogauAIR resident
from July, 2024 to September, 2024
His pictorial and sculptural works in an aesthetic framework that reflects on industrial processes, the digital world and virtuality, using materials and parts of obsolete technological and industrial components to put them in dialogue with the most traditional artistic narratives of the landscape.

Meet the Artist
Can you give us an introduction about yourself and your practice?
My name is Néstor del Barrio, I’m from the north of Spain and live in Santander. I’m 29 years old and a multidisciplinary artist. I always begin my projects with research, using painting as my main exercise. I enjoy working with found materials and objects I discover in the street, incorporating them into my paintings or sculptures.
Tell us more about the technical and technological components behind your artwork.
I come from a family of car mechanics and have always been surrounded by various objects and parts throughout my life. Since childhood, I’ve been interested in how these objects are made and their different shapes.
My artistic practice today is greatly influenced by this background. I use materials that I find or dismantle from obsolete machines, such as phones or computers, to create specific artistic languages. I am particularly interested in reusing materials to give them new a life . We are currently in a time when excessive production of objects and the use of raw materials are harming the ecosystem. I think that this is the correct way in which I have to create my artistic work.
Who are some artists that have influenced your artistic practice?
I don’t have many specific references, but one artist who has influenced me is the Spanish painter Luis Gordillo. I’m interested in the evolution of his painting and the themes he explores. Another painter I admire is Eduardo Paolozzi. I appreciate the aesthetic approach of Paolozzi’s work, similar to Gordillo, but I’m more focused on the form and aesthetics rather than the concepts he used.
My biggest influence comes from elements I encounter in my everyday life—things I see on the street or during my walks, such as microchips, landscapes, cars, bicycles, and design posters from factories. I draw from these aesthetic forms to create my personal artistic language. I’m interested in developing a unique language from my own experiences rather than translating another artist’s work into my practice.
What is your relationship with the art market, and what do you think about it?
I’m currently working with Juan Silió Gallery, which has spaces in both Santander, my city, and Madrid. Through this gallery, I’ve participated in notable exhibitions in ArteSantander fair and at ESTAMPA fair in Madrid. I’m also involved with other galleries and artists in Spain, as well as in collective shows in countries like Morocco, Paris, and Germany, often working with groups outside my home country.
I believe that artists should not focus too much on the art market. Their primary focus should be on creating and developing their work, while galleries handle promotion and sales. Today, artists often find themselves juggling both their creative work and the responsibilities of marketing and selling their art, which complicates the process and takes time away from their creative practice.
How are you finding GlogauAIR as a resident? How is living with other artists?
I knew about GlogauAIR from other artists who had been here, either for a long or short time. I thought it would be a great opportunity to learn about the art scene in Berlin and gain insights into the art market.
The residency space is cool. We have a communal area for discussions and meetings, as well as personal workspaces. It’s very stimulating to be in close proximity to other artists, discussing each other’s work and exchanging ideas and concepts.
Living in a residency like this offers a fresh perspective on my work, overall, it’s been a very positive experience.
How do you like it in Berlin, and how do you feel it’s influenced your artwork?
First of all, my work always begins by collecting objects that I find on the street. When I arrived in Berlin, I started exploring the city during my first week, looking for interesting items or materials. I began gathering things I found, including discarded objects, which I used to inspire and develop the project I’m currently working on during this residency.
The city influences me significantly through how I navigate it—whether by bicycle, bus, or train. This way of moving through Berlin impacts the kind of art I’m creating here, understanding my own body as an object and its relationship with the city.
What plans do you have after the residency?
When I return to Santander, I want to start working with the new influences I’ve gained from this experience and try to improve my recent work. I see this residency as a period of evolution because being out of my comfort zone here feels like an exercise, and it’s likely that my work will change as a result. I plan to experiment with a new direction in my sculptures and paintings.
I would also like to find a way to stay connected with Berlin and continue exhibiting or working with galleries or curators interested in my work. While I know the art scene in Spain well, I’m excited to explore new rhythms and relationships within the art space, as this feels more stimulating to me.
Statement
Glogauair project
CV
Gallery
Statement
His pictorial and sculptural works in an aesthetic framework that reflects on industrial processes, the digital world and virtuality, using materials and parts of obsolete technological and industrial components to put them in dialogue with the most traditional artistic narratives of the landscape. In doing so, he poses questions to the viewer and himself about the idea of reality, the speed in the contemporary world itself. His work expresses concern about what digital technology and the internet will mean in the future, how it intervenes in the reception of reality itself or the current conception we have of the image. It is through the pictorial act itself that all these reflections are addressed, from technical solutions such as the frame or the support. His works sometimes approach the concept of expanded painting, organizing site-specific installations that fit the exhibition spaces that house them.
Instagram
GlogauAIR Project
The project that I will carry out during the residency at GlogauAIR will be a set of multidisciplinary works resulting from images and elements collected from the city. In my work, I usually start with the reuse of obsolete electronic components and industrial waste to generate new discourses and put them in dialogue with other materials and different elements. On the other hand, I like to work accompanying the sculptural production with a series of paintings, with which I seek to understand the difference between the object and its image. Therefore, I intend to make this multidisciplinary production the result of the city of Berlin itself and my time living in it.
CV Summary
EDUCATION
2024 To finalize Master in Artistic Production of the Polytechnic University of Valencia (UPV)
2013-2017 Graduated in Fine Arts at the UCLM University of Castilla la Mancha, Cuenca
SOLO EXHIBITIONS
2022 PAISAJISMO. Juan Silió Gallery. Santander.
2021 TITANIO. Foundation CASYC. Santander. IMAGEN AMBIENTAL. Solo project Juan Silió Gallery. Artesantander Fair.
2020 EL FIN SERÁ TELEVISADO. La Pause Residency, Marrakech.
2018 TRASFONDOS. Lamosa LAB. Cuenca, Castilla la Mancha.
COLECTIVE EXHIBITIONS
2024 “Hacia una Arquitectura Plástica” School of Architects of Cantabria. Santander.
2023 “GEN- Z. Spanish Wet Painting”. We collect Gallery, Madrid.
2022 Estampa Fair . Juan Silió Gallery. IFEMA, Madrid. “Bahía, el litoral como ágora”. DILALICA Gallery. Space Los arenales. Santander. “Pintura de los años 90 a nuestros días. Articulando el siglo”. Collection Los Bragales. Torrelavega. Cantabria.
2021 “BETWEEN-Sensing Potencial Worlds”. Zeppelin University. Friedrichshafen, Germany. “VÍSTEME CON ARTE.” Foundation Bank Santander. Santander. “IMAGEN AMBIENTAL” Foundation Caja Cantabria CASYC. Santander.
2020 “PROYECTO 20/20. FRONTERA < 40” – Casas del Águila y La Parra, Santillana del Mar, Cantabria.
2019 “PARAISO NARUTAL.191219” LALONA Gallery, Gijón. “MODOS DE REPRESENTACIÓN AFK” JUAN SILIÓ Gallery, Santander. “DEL CUADERNO DEL COLECCIONISTA” artistas cántabros de la Colección Los Bragales. Castillo de Argüeso, Cantabria.
2018 X BIENNAL DÁRTS RIUDEBITLLES, Work in paper. Sant Pere de Riudebitlles, Barcelona. PREMIOS CASIMIRO SAINZ 1999-2017. Fondos Ayuntamiento de Reinosa. Castillo de Argüeso, Cantabria.
2017 Selected “X Premio Internacional de Grabado y Vino Fundación Vivanco” Briones, La rioja.
2016 Project “Situaciones” collaboration with the artist Jose Aja “Ejercicios de puntería” International meeting l LA SITUCIÓN 2016” Cuenca.
RESIDENCIES AND PRIZES
2024 GlogauAIR Residency Berlín.
2023 Artist residency Nautilus, Lanzarote.
2020 Artist residency CASYCREA. Santander. Program of International Residency Orbital, with destination in La Pause Residency, Marrakech.
2019 First prize MEET ME IN ARTS best artistic portfolio. Cantabria.
2017 First prize “ XXXVIII Concurso de Pintura Ayuntamiento de Villaescusa” Cantabria.
2016 First prize “ Concurso Nacional de Pintura Casimiro Sainz” Reinosa, Cantabria.
Gallery
August 18, 2025
Pádraic Barrett
Pádraic Barrett is GlogauAIR resident
from July, 2024 to September, 2024
My work is a response to techno-capitalist structures and explores alternative vantage points in the realm of the Anthropocene, that contains a mapping of futurity. By placing the queer body in a suspended and simulated space in time, I allude to the activation of a state of heterotopia and imagine other ways of being in the world.
I merge performance, film and installation to explore human and machine agency through bodily and technological frameworks that can open a space for reflection on the nature of our contemporary experience. These complex relationships are interrogated through nonhuman imagery and post-human landscapes, casting resonances on how the current world is constructed. This demonstrates how the body can mediate the tension between cinematic modes and how we live our lives.
Explorations of the social and spatial experience to the ubiquity of machines are impressed upon by fictional frameworks that have a direct port into our lives. The work seeks out political imagination and presents a modelling of worlds past and future as a mode of thinking, sensing and seeing across time.

Meet the Artist
Can you give us an introduction about yourself and tell us about your background?
I’m an interdisciplinary artist based in Cork, Ireland. My main mediums are performance, film, and installation. I typically respond to various entities of capitalism, including surveillance, extractivism, and neoliberalism. This often manifests through multimedia installations.
Tell us more about your fascination with post-industrial/post-human spaces, and how you integrate them into your practice?
The fascination came from a desire to world-build. I find these spaces offer a really interesting discourse between their historical production and their existing dilapidated nature. There’s a tension between permanence and impermanence. I also find their current state quite compelling. My strategy is to see these spaces as a stage, situating the body within a conceptually charged site for discourse to occur.
What are some artists who have greatly influenced your artistic journey?
My performance practice is deeply rooted in the Viennese Actionism movement of the 1960s. I’m really drawn to their immediacy and their oftentimes explicit nature. My work typically isn’t too concerned with duration but rather focuses on an enactment or something reflective of the current moment.
What is your relationship with the art world and the art market? What do you think about it?
I don’t see myself having a significant relationship with the art world or art market. In Ireland, it feels much more community-driven, and I prefer it that way. From an outsider’s perspective, it seems that many galleries hold a monopoly. I think it’s time for artists to regain some of that autonomy.
Regarding funding schemes, they are now more project-oriented, which really allows artists to maintain their own artistic integrity.
How are you finding GlogauAIR now that you are a resident? How is it living with other artists?
It’s amazing. It feels like being back in college with a strong artistic energy around the place. There is also the potential to collaborate with other artists, which is very fruitful. The artist’s life can be a lonely one, so being surrounded by other artists is incredibly enriching.
You’ve been in Berlin before, but how is Berlin influencing your practice?
Besides more access to this kind of space in daily life, as a queer person, I would say it’s been super informative. This is the first time I walk down the street and see myself reflected in other people and vice versa. You don’t really get that level of visibility or integration in other cities. And it’s not just in private spaces—it’s in cafes, bookstores, art shops. Utilizing a lot of queer theory in my practice, Berlin is definitely evolving my own artistic trajectory.
What plans do you have after the residency?
Post-residency, I’m working on two exhibitions with my collective Intercite. The first will be at Cork County Hall in November, focusing on the concept of vertigo. The second will respond to the housing crisis and will be situated at the Lab Gallery in Dublin.
Statement
Glogauair project
CV
Gallery
Statement
My work is a response to techno-capitalist structures and explores alternative vantage points in the realm of the Anthropocene, that contains a mapping of futurity. By placing the queer body in a suspended and simulated space in time, I allude to the activation of a state of heterotopia and imagine other ways of being in the world. I merge performance, film and installation to explore human and machine agency through bodily and technological frameworks that can open a space for reflection on the nature of our contemporary experience.
These complex relationships are interrogated through nonhuman imagery and post-human landscapes, casting resonances on how the current world is constructed. This demonstrates how the body can mediate the tension between cinematic modes and how we live our lives. Explorations of the social and spatial experience to the ubiquity of machines are impressed upon by fictional frameworks that have a direct port into our lives. The work seeks out political imagination and presents a modelling of worlds past and future as a mode of thinking, sensing and seeing across time.
Pádraic Barrett
GlogauAIR Project
I am proposing a new performance and multimedia installation during my time at GlogauAIR. The work is an interdisciplinary response to the extractive means of capitalism in contemporary life. The implications of industry, machinery and contemporary systems on the body and environment, and the relationship between living and nonliving as put by Debord, aims to question the tension between progress and regress. I wish to draw on the Situationist’ theory of counteracting the Spectacle, by means of constructing live moments, as well as employing Debord’s use of détournement, which involves the use of spectacular imagery to disrupt the flow of the spectacle. The aim for this form of public engagement is to rethink how we view extractive capitalism, labour and the environment. How does acceleration impact the body and planet, and what does it mean to slow down? This is a question I am asking through the performative aspect of this work, drawing agency back to the human.
CV Summary
Education & Training
2020-2021 MA (1:1) Art and Process, Crawford College of Art and Design
2020 IMMA Summer School Art and Politics #Statecraft
2015-2019 BA (1:1) Fine Art, Crawford College of Art and Design
Exhibitions
Upcoming
The Lab Gallery, INTER_SITE exhibition, Dublin, March 2025
Solo
Machination, The Municipal Corporation of Culture of San Joaquin, Santiago, Chile, April 2023
The Engineering of Consent II, Marina Warehouse, Cork, July 2021
Group
Error: /Undefined, Pallas Projects Artist-Initiated Exhibition, Dublin, October 2023
Oscillation: An Altering Rhythm, Stamp festival, The Counting House, Cork, May, 2023
Sluice Screens, IMT Gallery, London, December 2022
Lisbon Art Fair, PADA x Sluice curator-led project, Lisbon, November 2022
PADA Studios exhibition, Lisbon, August 2022
After Light: These Dark Citizens, The National Sculpture Factory, Cork, June 2022
Quare, Cork Midsummer Festival, St. Anne’s Park, Cork, June 2022
INTER_SITE x Timpeall, K-fest, Kerry, June 2022
INTER_SITE x Old Queen’s Castle, Cork, May 2022
Pulsating P(l)ace, Faoin Spéir, Backwater Artists Group, Wandesford Quay, Cork, April 2022
OUTSIDE, National Sculpture Factory, Cork Centre for Architecture, Cork, November 2021
Oileán, Battery Observation Point, Spike Island, Cork, September 2021
Standstill, Uillinn West Cork Arts Centre, Cork, August 2021
A Soft Rupture, GOMA, Waterford, July 2021
Inter_Site x Timpeal, The Marina Market, Cork, June 2021
Oileán, The Lord Mayor’s Pavilion, Cork, June 2021
COM,MA, No. 46 Grand Parade, Cork, December 2020
CONFLUENCE, The Lavit Gallery, Cork, January 2020
Backwater Artists Group, Members Show, Studio 12, Cork, December 2019
Dismantle, CCAD, Sharman Crawford St, Cork, June 2019
PRINT.ED #5 Espai Cultural Eina, Barra De Ferro, Barcelona, April 2019
TAUTOPHONY: Why do we rattle? Why do we sweat? The Kino, Cork, May 2018
Trouvaille, Wandesford Quay Gallery WQG, Cork, October 2015
Awards
Arts Council of Ireland, Project Award, 2024
Cork City Council Individual Bursary Award, 2024
Arts Council of Ireland, Individual Artist Bursary Award, 2023
Cork City Council Individual Bursary Award, 2023
Culture Ireland funding, 2023
K-fest Screaming Popes Prize Finalist, 2022
Cork City Council Individual Bursary Award, 2022
Arts Council of Ireland, Agility Award, 2021
Arts Council of Ireland, Project Award, 2021
RDS Visual Art Awards long list, 2021
Postgraduate Residency award, Sample Studios, 2021
Valerie Gleeson Development Bursary Award, 2020
The Ciarán Langford Memorial Bursary, Backwater Artists Group, 2020
RDS Visual Art Awards long list, 2019
Lavit Gallery Student of the Year Award, 2019
Residencies
PADA Studios Artist-in-Residence, July/August 2022
The Gallery at No. 46 Grand Parade Curatorial-Residency, 2019
Visiting lectures
Artist talk, Crawford College of Art & Design, November, 2023
Artist talk, inter_site collective, Crawford College of Art & Design, December 2021
Artist talk, inter_site collective, Sample Studios, August 2021
Gallery
August 18, 2025
April Widdup
April Widdup is GlogauAIR resident
from July, 2024 to September, 2024
April’s practice has been focused on the political potential of art and its ability to challenge and encourage critical thinking. Envisaging an arts practice that aims to not only create, but to generate meaningful dialogue with their viewers.

Meet the Artist
Who are you?
I am an early career multidisciplinary artist from Australia, currently living and practicing in Europe. I graduated from the Australian National University, School of Art and Design in 2022, with a Bachelor of Visual Arts. During my degree, I also studied anthropology, where I became interested in how culture shapes everything including our behaviours, lifestyle, values, and even how such elements physically manifest in our rituals and how we build and design our surroundings.
How would you describe your artistic practice?
My emerging artistic practice is situated somewhere between my areas of interest and the political and experiential potential of art. I am interested in themes of identity, social and physical mobility, embodied and spatial interactions, memory and remembrance, phenomenology, and the intersections of structural power and human experience and agency.
My work ranges in tone and varies in medium, it is the conceptual themes that are the focus, and the rest follows. I created this pyramid diagram to visualise how I see my areas of interest in relation to one another. I am drawn to the lived experience segment, and how the sections above inform how that manifests for both individuals and society, minorities and majorities.
I consider myself a multidisciplinary artist, with a particular interest in sculpture, installation, and video art. I also have a background in glass, and so it is a material element often but not always found in my work.
As my practice is conceptually informed, I find my most used mediums reflecting associated ideas. For example, tools or extensions of perception, such as film, photography, audio, and glass, which can inform how we perceive, engage, learn, and generate ideas of worth. Whereas, my interest in embodied and spatial interactions can be seen in my form and display methods, such as creating physical sculptural forms, some with interactive elements, and installations. I do this to engage my viewers in more than just looking, instead creating something physically tangible, something that requires their presence to complete the work, or a bodily experience. An example of this is my work You Lived, and I will Remember that (2024), which consisted of two large interactive sculptures that asked the viewer to lend themselves to the experience of queer bodies. The works were presented as large plinth-like structures, which viewers either had to crouch down low and peer into, or physically recline into. By physically engaging with the space, and feeling potential discomfort and vulnerability, viewers were confronted with how space is experienced by other bodies.
What is your methodology or process for creating a new project?
My process often begins with a line of enquiry, usually regarding themes or areas of interest, the methodology for then starting and completing a project is comprised of four stages:
Stage 1: Research and early project development
This is where I begin my research, visiting libraries and museums, mapping my field of interest/enquiry, and engaging in relevant critical conversations to establish a position, concise objects and prepare ideas for work.
Stage 2: Material tests and Maquettes
During this stage I begin making and testing, drawing from and building upon developments made in stage 1. I will usually experiment with materials and media, form and display, as well as experiential sensory phenomenology. The tests and Maquettes made during this stage are key in preparation for stage 3.
Stage 3: Feedback and Adjustments
This stage focuses on viewer experience and interpretation, requiring critical assessment. Historically, this stage leads to the greatest conceptual and aesthetic changes and developments. I often consider my practice a form of communication, so it is crucial I understand how my work is understood and interpreted. If my intentions are misinterpreted, I will gain insight and feedback on what, how and why. This stage provides the opportunity to reassess and refocus myself and the project so that I am ready for stage four.
Stage 4: Fruition of work
The outcome of this stage will reflect the development and work put into the research, testing, feedback, and objectives developed in the previous stages of the process. Resulting in the creation of a new work or the continued development of a work.
Tell us about the project you are working during your online residency at GlogauAIR
My residency project will explore how the lived experience is affected and formed through the manifestation and projection of power and privilege, onto the body, and spatial design.
I will create an audio archive that will include self-conducted interview recordings with members of the queer community, which I will edit and use together to create a non-linear narrative that underscores the profound influence politics and structures of power have on our surroundings, bodies, and behaviours. Ultimately exploring how these elements shape our lived realities, experiences, and feelings.
The participatory project will be an intergenerational anthology of queer reflection and storytelling. Accompanying the audio, will be charcoal portraits of those who have participated in the project. Drawn onto building materials like bricks and stone, which will be stacked to meet the viewer’s gaze, taking the form of pillars. Designed spaces can be understood as a physical means of storing memories, thus calling into scrutiny the erasure of queerness in built environments. The sculptural portraits and auditory encounter will weave together stories, experiences, and queer feelings, to foster a sense of togetherness and continuity.
I am interested in incorporating storytelling through prosthetic visuality and memory in the development of this project. ‘prosthetic memory,’ is a concept describing a memory that is not based in autobiographical experience but on exposure to vivid meditations generating an emotional response (such as empathy or hate) toward people and experiences of the past whom one has no connection with. Like prosthetic memory, prosthetic visuality is situated between personal ways of seeing and seeing that has been historically and socially constructed by political structures of power. Considering the collective past, much public discourse has been informed and become the product of aestheticized and meditated stories, demonstrating how societal memory is fluid and often politicised.
To remain relevant in the social consciousness, our prosthetic memories are in constant need of activation and transformation, which provides an opportunity to challenge and shift previous beliefs and alignments to such memories.
Statement
Glogauair project
CV
Gallery
Statement
April Widdup is an early career multidisciplinary artist from Australia, currently living and practicing in Europe. Widdup’s practice has been focused on the political potential of art and its ability to challenge and encourage critical thinking. Envisaging an arts practice that aims to not only create, but to generate meaningful dialogue with their viewers.
Widdup’s works often range in tone from playful to more serious, as they explore our relationship to the world at large, from our relationships with ourselves and others, to how we engage with the natural and built environments we inhabit. Exploring the intersections of structural power and human agency to better understand the roles we [can] play as individuals and communities.
April Widdup
GlogauAIR Project
Politics and structures of power impact our surroundings, our behaviour, and our experiences in built environments every day, often unbeknownst to the majority. My proposed project for this residency will investigate the relationship between (i) power and privilege (ii) the body (iii) spatial design and effects, and (iv) specifically how they relate to and inform the lived experience and our experiences of life and death. The project will draw on memory studies and the ethical imperative or role of an artist. Employing strategies such as prosthetic memory and visuality, as well as decentring and activating the viewer as a means of creating knowledge. The development of this project will be divided into four stages: Research and early project development (1), Material tests and Maquettes (2), Feedback and Adjustments (3), and Fruition of work (4).
CV Summary
Education
2022. Bachelor of Visual Arts, Australian National University School of Art and Design
Exhibitions
2022. IMMATERIAL #2, Sideway, ACT
2022. SEEN, Tributary Projects Gallery, ACT
2022. GradShow Exhibition, Australian National University, ACT
2022. GradCollect Exhibition, Gang Gang Gallery, ACT
2023. View2023, PhotoAccess, ACT
2023. Sensory Bodies, M16 Artspace, ACT
2023. Cruel Optimism, Tributary Projects Gallery, ACT
2023. Concurrent 5, Concurrent Gallery, ACT
2023. Unseen, Studio Altenburg, NSW
2023. IMMATERIAL #3, Sideway, ACT
Awards, Grants and Residencies
2022. Art Monthly Australasia Award (EASS Award)
2022. Studio Altenburg Exhibition Award (EASS Award)
2023. ArtsACT Grant: Arts Activities Funding up to $5k
2023. ANU x Corning Museum Sponsored Scholarship
2023. Lincoln City Residency
Gallery
August 18, 2025
Bob Landström
Bob Landström is GlogauAIR resident
from July, 2024 to September, 2024
Bob probs into the intricate dialogue between science and art, with a profound nod to physics and metaphysics. The Earth itself is his painting medium, and in particular, pigmented crushed volcanic rock.

Meet the Artist

Statement
Glogauair project
CV
Gallery
Statement
Bob Landström, a matter painter in Atlanta, Georgia, USA, probes into the intricate dialogue between science and art, with a profound nod to physics and metaphysics. The Earth itself is his painting medium, and in particular, pigmented crushed volcanic rock. This unique technique imbues his works with a rugged, almost geological texture, where each grain of rock is individually colored before being affixed to the canvas, creating a topography that invites tactile exploration.
Landström’s compositions resonate with echoes of ancient glyphs, reminiscent of those found in cave art, interwoven with snippets of mathematical formulae, fragments of poems, and impassioned ruminations. Through this textured palimpsest, he explores the interconnectedness of human experience across time and space, where layers of meaning converge and diverge like currents in a cosmic stream.
Bob Landström
GlogauAIR Project
Most think of static as noise. ‘An annoyance tolerated between bits of information.
Static is information in its own right, revealed with a bit of patience. Random clicks and pops give way to sound emerging ever so faintly. As noise leans into recognized sounds, the mind gradually sharpens. Information is there, just beyond reach, wanting to be understood. In a quantum sense, static is the transition from electromagnetic waves into observable matter.
During my residency at GlogauAIR, I will further explore this notion of static as a pre-manifestation of materiality. ‘To understand its role in the emergence of physical reality out of the spectrum of natural cosmic energy. That is, not merely noise, but a process of reality forming.Through this, I expect to discover new applications of my materials in ways not seen previously in my work.
CV Summary
2024. Morton Contemporary, Philadelphia, PA- “Static” (Solo Show)
2023. Alan Avery Art Company, Atlanta, GA- “Florum Somnia” (Solo Show)
2023. Santa Monica Art Museum, Santa Monica, CA- “Looking West”
2022. BG Gallery, Santa Monica, CA- “Multiverse” (Solo Show)
2022. The White Room Gallery, Bridgehampton, NY- “With Certain Uncertainty”
2021. The White Room Gallery, Bridgehampton, NY- “Stray the Course”
2020. Cobb Museum of Art, Marietta, GA
2019. Alan Avery Art Company, Atlanta, GA- “Conjuring Secrets” (Solo Show)
Gallery
August 18, 2025
Emma Todd
Emma Todd is GlogauAIR resident
from July, 2024 to September, 2024
Emma Todd’s sculptural art practice is rooted in the intersection of space-making and object-creation, characterized by an interdisciplinary approach. Her work emerges from experimental material play, guided by her transdisciplinary philosophies on phenomenology. Todd’s pieces focus on the embodied, interactive, and affective qualities they evoke in viewers, integrating sensorial immersion and subjective experience as central themes.

Meet the Artist

Statement
Glogauair project
CV
Gallery
Statement
My art practice is sculptural: a combination of space-making and object-creation marked by interdisciplinary overlaps. I follow circularities of methods through experimental material play. Stemming from my transdisciplinary philosophies on phenomenology, I orient my pieces around the embodied, interactive, and affective qualities they facilitate for viewers, integrating sensorial immersion and subjective experience as subject matter. Through a refusal of precision in material application, I incorporate the authenticity of materials and artistic labor, straying from representational legibility.
Emma Todd
GlogauAIR Project
For my project, I envision creating a series of sculptural, environmental installations that are human-sized and enterable. Through qualities of spatial-sensorial immersion, I will encourage embodied, affective, and tactile viewer experiences. The first pieces I’ve completed in this body of work are my stepping stone to exploring how new themes and materials can produce diverse subjective experiences and sensations for viewers. Through these installations, I aim to investigate the capacities of a phenomenologically oriented approach to artmaking and sensorial interactivity in art viewership.
CV Summary
EDUCATION
2020-2024. BA with Distinction in Studio Art (Concentration in Sculpture), BA in Cognitive Science (Concentration in Psychology), Minor in Design. University of Virginia, Charlottesville, VA, USA
FELLOWSHIPS AND RESIDENCIES
2024-2025. Aunspaugh Post-Baccalaureate Fellowship, University of Virginia, Charlottesville, VA, USA
2022. ArtLab Student Artist in Residence at Mountain Lake Biological Station, Pembroke, VA, USA
2019. Virginia Summer Residential Governor’s School for Visual Art, Radford, VA, USA
EXHIBITIONS
2024. Home, Ruffin Gallery, University of Virginia, Charlottesville, VA, USA
2024. Wanna Play Heap & Seep?, Two-Person Thesis Exhibition, Ruffin Gallery, Charlottesville, VA, USA
2024. On a Scale, McGuffey Art Center, Charlottesville, VA, USA
2023. We Are Resilient Together, J & G Innes LTD Booksellers, St Andrews, Scotland
2023. Hearts: A UVA Exhibition, McGuffey Art Center, Charlottesville, VA, USA
2022. A Summer at Mountain Lake Biological Station, Ruffin Hall, University of Virginia, Charlottesville, VA, USA
2022. 1515 Art Show: Revelations, 1515, Charlottesville, VA, USA
2019. Steel Pier Classic & Surf Art Expo, Virginia Beach Oceanfront, Virginia Beach, VA, USA
2019. Hampton Roads Student Gallery, Chesapeake Central Library, Chesapeake, VA, USA
EXPERIENCE
2024. Studio Assistant to Conrad Cheung, Charlottesville, VA, USA
2023. Teaching Artist, Ix Art Park, Charlottesville, VA, USA
2022. Creative Director, Scratch Zine, Charlottesville, VA, USA
2021-22. Graphic Designer and Illustrator, Empathable, Charlottesville, VA, USA
2022. Write Climate: Art and Engagement Course Assistant, University of Virginia, Charlottesville, VA, USA
2022. Arts Mentor, Madison House at University of Virginia, Charlottesville, VA, USA
2017-18. Art Camp Teaching Assistant, Virginia Museum of Contemporary Art, Virginia Beach, VA, USA
Gallery
August 18, 2025
Mab.ko
Mab.ko is GlogauAIR resident
from July, 2024 to September, 2024
Mab.ko’s practice is rooted in research on a personal vocabulary, composed of different patterns and archetypal forms. She follows a two-dimensional working protocol in which drawing is the fundamental medium. It engages in a systematic, ritualistic approach where each design research results in a collection of illustrations.

Meet the Artist

Statement
Glogauair project
CV
Gallery
Statement
Mab.ko’s practice is rooted in research on a personal vocabulary, composed of different patterns and archetypal forms. She follows a two-dimensional working protocol in which drawing is the fundamental medium. It engages in a systematic, ritualistic approach where each design research results in a collection of illustrations. Her body of work mainly takes shape in multiple series of three-dimensional objects, from micro-scale totems to more domestic and large, freestanding sculptures. These objects are both the apparatus and the artwork itself, linked to a reminiscence of sacredness.
Mab.ko
GlogauAIR Project
In the continuity of the creation of those objects, how can I develop a practice around them? By questioning processes that can subconsciously immerse the observer in a sacred atmosphere, I aim to stimulate sensitivity and collective memory through mediums such as sounds, scenography, movements, inducing specific behaviors inherent to my works. During my residency at GlogauAIR, I intend to document these experiments with texts, videos, or drawings that would constitute a sort of inventory of protocols around these artifacts, with the objective of proposing an installation or a performance.
CV Summary
2024 – Artist residency at FAAP University, São Paulo, Brazil
2024 – Artist residency at Duplex Air, Lisbon, Portugal
2024 – Solo exhibition Sanctuaire at Allmo Space, Porto, Portugal
2022-2023 – Founder of MACS – Artistic and Cultural Association : a place for exhibitions and cultural events, as well as a creative coworking space for artists and craftspeople, Porto, Portugal
2022 – Winner of the National Young Creators Exhibition in the Sculpture category, Lisbon, Portugal
2022 – Finalist in the National Young Creators Exhibition in the Ceramics and Sculpture categories, Lisbon, Portugal
2022 – Solo exhibition Contemplation at MACS, Porto, Portugal
2021 – Group exhibition at the Maracujália art event, Porto, Portugal
2021 – Honourable mention in the Library Illustrazioni illustration competition, Italy
2017-2021 Production of illustrations for architectural studios, France
2017 – Graduated from the National School of Architecture in Versailles, France
Gallery
August 18, 2025
Konstantina Mavridou
Konstantina Mavridou is GlogauAIR resident
from July, 2024 to September, 2024
Konstantina’s art is a dialogue between the constants of nature and the ever-evolving landscape of technology. By interweaving the physical with the digital, the real with the illusionary, she aims to create a poetic reflection on space, time and perception.

Meet the Artist

Statement
Glogauair project
CV
Gallery
Statement
My art is a dialogue between the constants of nature and the ever-evolving landscape of technology. Drawing heavily from the realms of science, mathematics, and philosophy, my work seeks to explore and question the current technological acceleration and its trends. By interweaving the physical with the digital, the real with the illusionary, I aim to create a poetic reflection on space, time, and perception. My projects delve into themes of movement, transformation, and the interplay between the tangible and intangible. Through my art, I invite viewers to contemplate the nature of experience, the fluid boundaries between technology and nature, and the endless possibilities that lie in interpretation and creation. This journey is not just about observing the world but about engaging with it, challenging our perceptions, and imagining new realities.
Konstantina Mavridou
GlogauAIR Project
Through this residency at GlogauAIR, I am aiming to continue to evolve my exploration of (solar) kinetics and interactive media in new conceptual territories, while drawing inspiration from my Greek rich heritage, inviting viewers into a multisensory dialogue with space and perception. My aim is to explore the poetic interplay between light, technology, and natural forces, leading to an immersive installation or views of it that challenges and expands conventional perceptions of space.
CV Summary
Colour Your Dreams In 60 Seconds., January 13th – 31st, 2024, Fotografisk Center, Staldgade 16, 1699, Copenhagen V., Danmark. (The Wrong Biennale)
Public screening on Friday, October 13th, 2023, Skabelonloftet on Refshaleøen, Culture Night, Copenhagen
ELO (Electronic Literature Organisation) Conference 2023 in Coimbra, Portugal, 12-15 July, 2023 (Via the Unmoving show)
Broadcast RietveldTV @AT5 Dutch tv channel, 29-30 April, 2023
Tweetakt Festival, Utrecht, Fort Ruigenhoek, 25 June – 10 July, 2022
Rotterdam Art Week, The New Current, 17-22 May 2022
next beginning, Galerie Wundersee, Dusseldorf, 13 May 2022
The Unmoving show, The Wrong biennale, online-worldwide, 2021
Invisible: Rake Collective, Online residency, online-worldwide, 2021
LekArt Young Talent, Werk aan het Spoel Culemborg, 2021
Homepage Art Fair, Mrs Home Page, online-worldwide, 2021
The Seed Is Planted, sculptural installation, TAK ART SPACE, 2020-present
Graduation Show 2020, Gerrit Rietveld Academie, 2020
Gallery
August 18, 2025
Erica Zhan
Erica Zhan is GlogauAIR resident
from July, 2024 to September, 2024
Erica Zhan, a Chicago-based artist from southeastern China, uses performance, video, and writing to critique consumerism and competitive culture. Their work examines how capitalism limits freedom, blending humor, melancholy, and play to reclaim authenticity.

Meet the Artist

Statement
Glogauair project
CV
Gallery
Statement
Erica Zhan (b. southeastern hills in China) is an interdisciplinary artist and writer based in Chicago, US. Swallowed by their experiences of intensive consumerism, celebration capitalism and dynamics of competition, Zhan explores the paradigm of contemporary games and sports, as well as the vulnerability shaped by competitive intensity in the context of late capitalism. Weaving the mediums of performance, video and experimental writing, they simulate and provoke the authentic living situation, scrutinizing the zones of freedom in human society that have been eroded by professionalism and commodification, returning them to their original state of nakedness. Zhan is devoted to transcoding humor, melancholy, sentimentality, play, and poetry.
Erica Zhan
GlogauAIR Project
During this residency I hope to work on my ongoing research-based artistic project “Whole Olympics Catalog”, which is inspired by the visual components of the Olympics and the paradigm of their generating and molding. The title draws inspiration from the American counterculture magazine “Whole Earth Catalog” from the 1960s. I try to elaborate the spirit from the magazine and connect the visual appearance of the Olympics, the representation of the contest, with its strategy of worldwide consumption. This project will mimic the format of a merchants catalog, digging into the historical materials in a playful and unconventional manner, aiming to craft new prosthetics for the Olympics of their banal nationalism and commodification.
CV Summary
Education
2023 MA, Visual and Critical Studies, School of the Art Institute of Chicago
2021 BA, International Business with Communication Studies, University of Nottingham (Ningbo)
2019 Summer Study Abroad, Art History, Criticism and Communication, Central Saint Martins
Exhibitions & Performances
2024 White Heat, {\}() {\}∆‡!(){\} Tangential Unspace Art Lab, Chicago, IL
2024 knock, and the doors of perception shall be opened unto you, International Museum of Surgical Science, Chicago, IL
2023 and the home of the [placeholder]—S1E3, Terrain Biennial 2023, Chicago IL
2023 Exquisite Corpse Video Project, Gene Siskel Film Center, Chicago, IL
2023 and the home of the [placeholder]—S1E1, Comfort Station, Chicago, IL
2023 The time has come, to talk of many things, ACRE Projects Gallery, Chicago, IL
2019 Becoming, Became, I am what I am, Central Saint Martins, London, UK
Professional Experience
2023-Present Exhibition Assistant, Comfort Station, Chicago
2023 Works of Art Collection Support, Arts Department of Chicago Public Schools, Chicago
2022 Teaching Assistant, School of the Art Institute of Chicago, Chicago
2019-2022 Intern Editor & Public Event Assistant, The Art Newspaper China, Shanghai
2019-Present Freelance Writer
2018 Gallery Assistant, Long March Space, Beijing
2018 Gallery Assistant & Graphic Designer, Magician Space, Beijing
2018 Research Assistant, University of Nottingham, Ningbo
Publications
Walking on A Moment So Fleeting—Watching the Mystery of Jiang Jie’s Life, The Art Journal, August 2023
Artists Haven’t Forgotten—20 Years Since 9/11, The Art Journal , September 2021
Starting Anew at the Crossroads—Choices and Futures of New Art Graduates, The Art Journal, July 2021
Inspiration of Exceptional Status—A New World of Online Art in the Post-Pandemic Era, The Art Journal, April 2021
Contemporary Art Leaps Into The Digital Era—The Emerging Global Digital Map of Art Events, The Art Journal, April 2021
Sisyphus and The Ship of Theseus—Li Binyuan’s Decade-Long Journey of Self-Sculpture, The Art Journal, December, 2019
Gallery
August 18, 2025
Zoë Robertson
Zoë Robertson is GlogauAIR resident
from July, 2024 to September, 2024
Canada and Finland

Meet the Artist
Coming soon
Statement
Glogauair project
CV
Gallery
Statement
I’m a multidisciplinary artist who often works with sound and story. My art explores themes of identity, memory, legacy, and agency, often through personal experiences, like my dual-nationality and growing up with two languages. I also reflect on grief and the responsibility of remembering. I work across various mediums like paper, ceramic, and print, blending my background in journalism, creative writing, and audio production to create artworks that weave narrative into material artefacts.
Zoë Robertson
GlogauAIR Project
In this project, I question the firm edges and boundaries of self, exploring the fuzzy in-between spaces of how we self-identify. Defining our identity is the process of a lifetime, and our idea of who we are continues to morph with time. There are countless ways to categorize and interpret, no end of frames to look through. In an exercise that attempts to represent my own self and self-identification, I am re-interpreting the idea of self-portrait through novel perspectives, in a series of a pieces made from different media.
CV Summary
Residency
2024 Online Artist-in-Residence at GlogauAIR, Berlin, Germany
Curation
2023 Helsinki Design Week, Helsinki, Finland – Artefakti inaugural showcase for graduates of the MA Contemporary Design from Aalto University
Selected Exhibitions
2023 Finnish Glass Museum, Riihimäki, Finland – glass – hand formed matter (group)
2022 The Glass Factory, Boda, Sweden – glass – hand formed matter (group)
2022 Bröhan-Museum, Berlin, Germany – glass – hand formed matter (group)
2022 Glasshouse, Helsinki, Finland – Wild Garden (group)
2022 EKA Art Academy, Tallinn, Estonia – The Seaweed Ceremony (group)
2022 Väre, Espoo, Finland – Soil Horizons (group)
2021 Beta Space, Espoo, Finland – Origins (group)
Grants and awards
2023 Production funding for Artefakti exhibition from Aalto University
2023 Aboagora Symposium Presenter & Travel Grant
2022 Travel Grant from Aalto University
2018 Ontario Creates IDM Development Fund Grant
2013 Aarhus Short Film Challenge Grand Prize
Articles and Publications
2024 “Where the World Meets the Earth.” Rescue Party: A Graphic Anthology of COVID Lockdown. Pantheon Press with Desert Island Comics, New York, USA
2023 glass – hand formed matter Catalogue, Berlin, Germany
Teaching
2023-2024 Guest Lecturer, Department of Design, Aalto University, Espoo, Finland
2022-2024 Teaching Assistant, Department of Design, Aalto University, Espoo, Finland
Education
Ongoing Master of Arts Contemporary Design, Aalto University, Espoo, FI
2015 Master of Arts Journalism, Media, and Globalization, Aarhus University & University of Hamburg, Aarhus, DK, and Hamburg, DE
2012 Bachelor of Arts English Literature, McGill University, Montreal, CA
Gallery
August 18, 2025
Tiphaine Scott de Martinville
Tiphaine Scott de Martinville is GlogauAIR resident
from July, 2024 to September, 2024
France

Meet the Artist
Coming soon
Statement
Glogauair project
CV
Gallery
Statement
I structure my work around language, blending narration and a displacement maieutic to explore a supposedly better world. To embody this exploration, I paint, sculpt, cut, draw, write, record, transform, and animate, all while pursuing a hoped-for horizon.
Oscillating between gravity and lightness, I create artistic devices around three fields: visual art, language spaces and playgrounds. By intertwining them, I aim to disrupt logical thinking, conditioning and habitual thought patterns, providing better access to our unconscious resources. It is said that we could discover the words for our authentically desired actions in this realm.
I regularly draw inspiration from the stories of those seeking to change paths, driven by desires or necessities that transcend fears and adversities. From there, I create an exploratory corpus linked to displacement: rolls of movement, transitional logograms, hypothetical maps and trajectories, portraits of walking minds, games that are not games, contradictory rules, hypnotic protocols, displacement or onomatopoeic dice, initiatory or allegorical paintings.
The resulting corpus create transitional and metaphorical spaces where spectators, through their movement, embody their journey in a complex and uncertain world.
In my painting, lively and energetic brushstrokes, drips and diluted hues create a visual movement that resonates with the ephemeral and dynamic landscapes resulting from displacement. These elements also evoke the intense flow of images that saturate our imaginations.
This corpus aims to impart meaning by developing knowledge models that connect me with artists who seek to order the world, such as Hilma af Klint, Fabrice Hyber, and Suzanne Treister, to whom I dedicated a master’s thesis.
Several other artists particularly inspire my approach: Boris Achour, Christian Boltanski, Claude Closky, Brigitte Cornand, Hélène Delprat, Eric Duyckaerts, Öyvind Fahlström, Joan Jonas, Violaine Lochu, Matt Mullican, Tino Sehgal, Louise Siffert, Jeanne Susplugas, and Sarah Tritz.
Tiphaine Scott de Martinville
GlogauAIR Project
My project for the residency is to lay the foundations for an artist’s book on exploration. It will integrate transitional logography, explanations of logograms, allegorical images of movement, bases of a maieutic towards a supposedly better elsewhere, modalities of play, and proposals for trajectories in a complex and uncertain world.
I also expect the residency to help me formulate a political orientation for this corpus, to better engage it in the field of art. Specifically, I am considering the relationship with the world of work, given my long-standing involvement in relational and strategic mediation within companies.
Additionally, I want to discuss ways of communicating to better identify targets within the nebulous art world.
CV Summary
Education
2024 DNSEP, received with high honors, TALM-Le Mans Under the direction of Christophe Domino and Mathilde Ganancia
Master 1 EDAM (Ecology of Arts and Media), received with distinction, Paris Under the direction of Aliocha Imhoff and Tania Ruiz (master’s thesis on Jean-Pierre Bertrand)
2023 Master 1 Art, Beaux-Arts de TALM-Le Mans Paroles Gelées workshops with Ch. Domino and Peindre Ici with M. Ganancia (master’s thesis on Suzanne Treister)
2022 DNA with honors, Beaux-Arts de TALM-Le Mans Certified in Neurosciences for Coaches and Psychologists, L’Arche
2017-2021 Ateliers des Beaux-Arts de la Ville de Paris With Luc de Banville (animation), Olivier Meyer and Dominique Bramanti (comics) and Olivier di Pizio (creating a contemporary approach)
2019-2021 Graduate in NLP and Ericksonian Hypnosis
2014-2017 Ecole des Beaux-Arts de Paris Auditor courses with Dider Semin and Jean-Françols Chevrier
2011-2013 Training in Systemic Approaches Cycles of Creativity, Intuitive Agility, and Hypnotherapy
2006-2011 Master Classes in Creativity through Painting, San Francisco and Paris With Michele Cassou, Influenced by Amo Stem
2002-2005 Sculpture Training with Sylvie Katuszewski and Brigitte Segovia, Paris
Exhibitions and Collective Actions
2024 “Pensée Magique Opus I,” performance “Prophéties Auto-réalisatrices,” private space, Aubervilliers Invited by Nour Awada, Mauro Bordin, Bettie Nin, Odonchime Davaador, and Anuradha Delacour
“Emballages,” performance “Boite à Langage,” Le Bateau Lavoir, Paris Invited by Julle Genelin
2023 Long Art Project, Chapelle Saint-Julien, Rouen Collective performance invited by the Czech gallery Luxter
“Cercles de l’Impossible sur I’Hypnose,” Théatre de La Nef, Pantin Research seminar invited by Simon Delattre and Juliette Verga Laliberté
2022 “Cartables,” exhibition and collective edition, La Maison du Rendez-Vous, Le Mans
“Effervescience,” collective exhibition, Maison Pour Tous, Le Mans
“Raconter I,” Maison de l’Édition, Paris
Research seminar invited by Nour Awada and Luca Glacomoni
“A propos des Run-Spaces,” radio “Duuu, Paris
Program conception with Bagnolet, Pauline Perplexe, and W, invited by Théo Robine-Langlols
Since 2007 Minion seisera or solone pothomao maproaches,
2020-2024 Member of LAP, Laboratoire des Arts de la Performance, created by Nour Awada
Gallery
August 18, 2025