China 2016 - Charcoal Home - Zhanjiang
Charcoal Home is a health resort formed around a charcoal production kiln, based in a rural village on the outskirts of Zhanjiang, a coastal city in Guangdong facing Hainan island. The site was originally used for firing bricks until it was adapted for producing high-fired charcoal several years ago, with the kiln modified to create steam rooms on one side. Several other natural and traditional therapies are offered and they produce a line of various products using the charcoal.
The residency project was a unique opportunity for 8 visual artists to stay together at the resort for 2 months through September and October 2016. The focus of the residency project was to encourage exchange and interaction between the artists and local community, and to explore different ways of thinking and using charcoal and other local materials. A broad range of ideas and techniques are desired, working in both two and three dimensions.
Artists gave an artist talk, presenting their work at the start of the residency, and there will be an exhibition at the Zhanjiang city art museum at the end of October. Each artist will also deliver a series of paid workshops during their stay. Additionally, each artist is expected to donate 1-2 artworks to Charcoal Home at the end of their stay.
India 2006 - Aurovile -
Mobility has guided my artistic path. The concept of moving my workspace and thus getting to find and work with different materials and people, is the guiding line of my work. In Summer of2006 I stayed in Nellikuppam, in Tamil Nadu, South India. As I see it, in a way my work there was a turning point as far as I understand the concept of artistic settlement. The project was called “Utopia x Matter”, and focused on the duality of explosive physical material manifestations and the deep sense of spirituality felt all around in every little thing. All pieces resulting from this project were conceived exclusively with local materials, like religious pigments, handmade paint, artisan paper, etc. I believe this apparent difficulty to work with materials that are strange to my background is absorbed in such a way that enables an important process of constant learning and improving for me, as I adapt to my individual artistic context whole new ways of working and achieving my purposes aesthetically.