Online Artist Residency

This December, the WOC Online Artist Residency was hosting seven international artists - Amalia Galdona Broche, Anikó Sáfrán , Maryam Khaleghiyazd, Chelsea Stewart, Lizzie Essi , Margaret R. Thompson and Siddharth Pathak. Below you can see their latest works created during the month in the virtual art program.

During the next days, you can watch the artist talks on IGTV @worldofcoresidency

  • Alex Braidwood – Tuesday (08.12) 17:00 UTC
  • Janine-Annette Littmann – Wednesday (09.12) 17:00 UTC
  • Juan Pablo Medina – Friday (11.12) 17:00 UTC

For the latest updates follow us on World of Co on Instagram and Facebook

Online exhibition space

Vol.6, October 2020

This October, the WOC Online Artist Residency was hosting four international artists -Anna Rose, Joshua Unikel, Megan James Goodman, Re Philips. Below you can see their latest works created during the month in the virtual art program.

On Friday, November -nd at 00:00 UTC ( 00am EST and 00am CST) you can watch the artist talk of Name and Name on IGTV @worldofcoresidency

For the latest updates follow us on World of Co on Instagram and Facebook

Online Artist Residency
Virtual Exhibition Vol.8
December 2020

Until 25th May, you can see the newly created artworks by the artists-in-residency Niamh-Erin Cusack, Rachel Henriksen, Riley Arthur, Osmeli Delgado, Sue Roh - who have participated in the WOC Online Artist Residency Program during March and April 2021.

During the next days, you can watch the artist talks on IGTV @worldofcoresidency

  • Osmeli Delgado – Friday (May 7th) 14:00 UTC
  • Rachel Henriksen & Riley Arthur – Saturday (May 8th) 14:00 UTC
  • Niamh-Erin Cusack – Sunday (May 9th) 14:00 UTC

For the latest updates follow us on World of Co on Instagram, Facebook and check our website.

I’m Tired of It (series) 20 pieces, paper, shredded books*

fabric, string, acrylic, and synthetic beads

~35×45 inches (~7×7 inches per piece)

The Seven Sisters
By Niamh-Erin Cusack

Nebulosity is caused by starlight being deflected and scattered by blue dust; meaning dust scatters blue light more easily than red. This discovery was prompted by Italo-Bulgarian opera singer & astrophotographer Emil Ivanov. Influenced by the Greek mythology of the Seven Sisters (also known as the Pleiades), constellations rise at near dawn from behind the sun at the start of Spring instigating a bright collective of colours.

The idea of blue dust scattering more easily than red compels me and I’ve been feeling very drawn to this theory since blue is such a prominent colour within my work. The use of the “Seven” creates a great dynamic of symbolism and I enjoy the transience of colour passing through a spectrum that separates the components of the pigments, showing a great bond that I believe occurs in outer space.

Niamh-Erin Cusack
Visual Artist, Germany

Based on astronomical theories and discoveries, Irish artist Niamh-Erin Cusack undertook the project “the _unseen series” in 2017 and has been working with the night sky ever since. Her belief in creating a body of work that combines both science and visual art in a spontaneous yet visually orchestrated way is a key motivation to her practice. She is determined to expand her knowledge in history and astronomy through her artistic works. Lines, brushstrokes and symbols are measured precisely and interpreted through gestures as Niamh-Erin’s discoveries are recorded and abstractly illustrated from under the night sky. She creates colourful contemporary patterns and designs from various star constellations and asterisms through paint, photography, drawing and research.

The _unseen series derives from what is unseen in our world, and what wonders lie above. Niamh-Erin portrays her idea of the night sky, time and space through ambiguous visual representations, with the help of ongoing research in astrophysics and theorised Celtic literature. She believes that symbolism plays a major role when associating with astronomical exploration.

In relation to her creative process, it is the empty space that represents her lack of knowledge to understand the greater aspects of our solar system. Growing up under the stars in the countryside and now living in a metropolitan area where the night sky is less visible, she enjoys the use of bright colours to illustrate her childlike curiosity and how she would imagine our solar system to look like.

#ArtInTheStreetsOf (Berlin)
By Niamh-Erin Cusack

I undertook the Instagram #ArtInTheStreetsOf project when I was approached through Instagram by Austrian artist Kathrin Ferner-Wenzl, who founded the project in June 2020. I began exhibiting my work outdoors from February 2021 and showcase my work as the representative for Berlin. I choose various locations around the city. With galleries closed due to lockdown, being part of this project is a great way to use nature as an exhibiting space.

I am using both canvas paintings and a sheet of plexiglas as materials to paint on and then photograph submersed within the street art of the city, creating a chaos within a chaos. I chose to locate in the district of Friedrichshain for these public displays as it was where I began with this project. Through this way of working with the environment I can portray the scale of our planetary system and how it interacts with the world around it. We are only a fraction of what potentially exists in the depths of the universe.

Layers of Contradiction
By Rachel Henriksen

“I always think that such a great weight with its tremendous pressure somehow has the task of forcing us into a deeper, more intimate layer of life so that we may grow out of it all the more vibrant and fertile.”

I began this series of paintings after stumbling across this quote by poet Rainer Maria Rilke. In light of recent events with the pandemic, political unrest, and social injustices, among many other things, I, like many, have witnessed grief and loss and the heaviness of sorrow. And I have yearned for a better way to mourn with those that mourn. As I began this work, the concept evolved, as it does continually throughout my process of making. There are elements in these paintings that have carried through from my previous bodies of work— an ongoing exploration of the grid, of repetition, of pattern, of color. And while the desire to develop and inspire greater empathy is at the core of my work, this series led me to an unexpected exploration of contradiction: the visual contradictions in the organic vs inorganic shapes, rigidity vs looseness, flatness vs dimension, vibrant vs muted, all became representations of the everyday contradictions we encounter. Whether in the conflicting emotions or desires we hold simultaneously within ourselves, or the incongruousness of facts presented to us from the polarized media, the world is full of opposing forces. But this opposition is inherent to being human, and it is in the space between the layers of contradiction that the weight is lifted.

Rachel Henriksen
Visual Artist, USA

Rachel Henriksen is an artist currently based out of Utah, where she received her BFA in Studio Art from Brigham Young University in 2020. Henriksen’s interests as an artist lay in the porousness of culture, perception, and identity. Her current body of work, primarily painting and drawing though expanding into the realm of sculpture and immersive installation builds visual narratives that grow from an engagement with pattern and shape. The work provides a way to explore and process her experience, in relation to those of differing backgrounds, by establishing systems and hierarchies which are ruptured and interrupted to generate new forms for navigating visual experience. Henriksen aims to challenge the notion that identities and cultures, and our individual perceptions of the two, are unalterable, fixed. As she confronts, breaks down, and builds upon her ideals, she feels the freedom to construct hybridized and evolving forms. This process, and the corresponding forms that emerge, relate to the way her awareness evolves as she seeks for greater empathic connection and navigates the world visually, emotionally, and culturally.

RENAISSANCE
By Osmeli Delgado

“RENAISSANCE” in an on-site installation made up of a series of tar-on-paper paintings and a sculpture. This work is strongly influenced by my connection with my place of origin and the recurring events that take place there on a political and social level.

The material plays a fundamental role in this installation because said derivative has a strong impact on my memories, longings and losses. Such effect became part of the piece.

The thick black liquid that holds genetic information from the past represents a cycle, life and death, static and movement, that ambiguity to which we are constantly exposed. For many years I have represented the heart with materials and colors that make it vibrant and full of hope. However, this time I wanted to give myself permission to show the dark part of my heart. I felt that not doing so would keep me halfway to really knowing myself.

Osmeli Delgado
Visual Artist, USA

Osmeli Delgado is a Venezuelan artist and architect who has lived in New Jersey for the past 10 years. She obtained a Bachelor’s of Science in Architecture from the Universidad Central de Venezuela in 2008 and a Certificate in Visual Arts from the National Academy School of New York in 2015. Her work has been shown at the renowned Villalon Gallery and the Museo de Arte Contemporaneo del Zulia in Venezuela, Tatiana Pages Gallery in NYC, Woodward Gallery in NYC, Union City Museum in NJ, and at The National Academy Museum of NY. Her artworks have also been part of the Bailey House auction for three consecutive years, selected winner in the 2014 and 2015 ArtSlant Showcase of New York, and have been featured on popular design and art blogs like Trend Hunter.com, Sculpsite.com, Art-NerdNY.com, Widewalls.com, Artefuse.com, and Wall Street International.

I Miss Your Face Artist Statement
By Riley Arthur

Isolation, and distance found deeper meaning with the force of COVID-19. Millions of people confined themselves home through mandatory lockdowns, curfews, or quarantines. 

To decrease exposure many like myself moved from a metropolitan city to a rural town. Without the routine, bustle and the community I had begun to build there, I had much time to reflect on the loved ones far away. I haven’t seen my family in over a year and half. For many of my dearest friends, it’s been even longer. Travel during the pandemic felt reckless and unwise. The distance between us, causing real pain. 

This project started with a simple text. “I miss your face, send me a selfie.” I sent one in return. 

This was a way to connect in an effigy, if not in person. Phone photography is the latest in the affordable, and disposable photography medium first popularized by Polariod. Many people don’t actively save images on their phones, nor do they print them- least of all selfies. But when memories and photos are all that’s tangible, their value changes. 

I collected these snapshot portraits and gave them permanence. Manually printing them I blended a new technology of digital phone photography with cyanotypes- one of the oldest photography mediums. Cyanotypes distinctive blue matched the somber emotions I felt when I began the project. 

Yet, working hours with these portraits of people I care about, brought joy. 

Riley Arthur
Photography, USA

Riley Arthur is a documentary photographer and art director. Her work explores cultural nostalgia, gentrification, and communities on the margins. She has traveled the world photographing stateless people, folklore traditions, and cultural commodification. She is interested in exploring nontraditional methods of printing and exhibiting art for a more tactile experience. She is a National Geographic Explorer and Fulbright Fellow. Her work is in the permanent collections of seven museums and has been exhibited in juried shows in six countries. Arthur’s work has been published in The New York Times, Der Spiegel, La Repubblica, The Guardian, National Geographic, and L’Oeil de la Photographie. Her forthcoming book: Photo Photography for Everybody, iPhone Photojournalism Techniques will be published in the Spring 2021 by Amherst Media Publishing.

Monsters and other friends
By Gail Winbury

What is meaning. Why do we do what we do, what is it that makes life simple or makes it complex. Why and what does it mean? These are the questions I cherish. I started this residency with a lack, with not knowing even what the questions were, with a malaise that strikes an artist when a body of work is done , we are tired, and know not what is next.

Some call it “creative block, others the emptiness before that which will spill out next. It had been months of trying to make art, going to the studio, where I felt lost and uncertain. What is to come next ?. Still this whole year, I never lost the discipline of making art. Since the last two months spent with my fellow residents, I still have no answers. What I have gained is an excitement about making art, a new community of artists and an ability to work longer in the studio. I trust in time the rest will come.

I began three bodies of work during the residency. One is a continuation of paintings started December/January. Big gestures, large physical movement, bold, strong, emotional, assured oil paintings. Another series, a quiet voice, pared down. A language of silence, of minimal, of what is not there. A different aesthetic. The third, my collage practice which I always carry in scraps of paintings, drawings and maps.

Snowstorm upon snowstorm broke my practice, interrupting painting. But so too there was also an ennui, a wish to work small, intimately and quietly ,to conserve. The past year, for us all has been monstrous and exhausting, it’s also been a time of connection. Four weeks ago, it was knowing that I was about to receive the second vaccine, allowing me to paint the exhaustion and relief.

Gail Winbury
Painter, USA

As we are amalgams of our history, so my art is parallel. The materials and process I use combine to emphasize the layers that make us human. It is my task to put into visual language, that which dare not be uttered aloud.

One a bitterly cold and gray day, in 2014, I returned from Woodstock, New York. Walking into the studio, I was overwhelmed by the bright vibrant colors of my oil paintings. Having no idea why, I suddenly stopped using warm colors, painting only in blues and blacks. Two weeks later it was the anniversary of my parents’ deaths. For two years, my art concerned aging, death and the ensuing losses that come with time’s passage. In another series, I struggled with the male gaze in art. I loathed de Kooning’s depiction of women as aggressive slashes, gorgons and medusa. Yet I was influenced by his work. Taking back his luscious pinks and salmons and strong gesture, I painted a series about female sexuality from an empathic viewpoint.

The recent work,“ The Other Side”, is based on my childhood memories. Each painting uses one memory and translates it through color, gesture, texture and form. Large canvases intimidate by their sheer size recreating a child/parent relationship. Creating a veiled distance cold wax reveals, distorts and shields history. Brushwork mirrors the fragmented way we recall the past. The gestures of the brushes, knives and hands, suggest movement, activity and spontaneity implying that the story is occurring now. These paintings are layered, parts obscured, appearing as faint ghosts of color or line. It is as if truth is surely hidden or tucked somewhere away.

My art stems from sources personal, societal or in the natural world. However, ultimately the work speaks of a world deeply emotional, psychological and universal.

Experiments in Time and Density
By Janine-Annette Littmann

Experiments in Time and Density is a collection of in-progress studies that explore formal and metaphoric the relationship between time and density as a mechanism to document my experience during the tumultuous past nine months. Referencing Henri Bergson’s concept of la durée ― that time is experienced qualitatively as a continuous sensation, as felt through the act of tracing one’s finger along a line ― I employ various mediums to examine how time appears to halts, skips, yet unflinchingly continues to evolve.

The Paper Negative is an analogue photograph that I took early in the summer. It is an image that frequently returns in my thoughts, and as such, I chose it as an emblem that anchors my subsequent explorations.

The Sketch marks my initial investigation into transposing the photograph’s imagery into other visual mediums.

The 2 hr Handstitching Study represents my prologued tactile study of the Paper Negative’s textures and density.

For Cyano-photograms Density Study, I use my textile as a negative to produce a new photographic print. This print reveals an inversed image: highlighting the support stitching, hidden threads, and alternative perspectives; hence, accentuating the relationship between time and accumulative density.

Lastly, for the Minute Line drawing Study, I drew one continuous line for a series of incrementally long durations― ranging from 1 to 104 minutes ― thus linking the sentiments of boredom and creative futility to the built-up social aggravations that surround me.

Altogether, these initial studies form testaments for the tensions and suspended sentiments that mark these present days in which we live.

Janine-Annette Littmann
Visual Artist, Canada

Janine-Annette Littmann uses photography, textiles, and drawings to investigate how our interactions with the natural environment reflect our internal thoughts and social values. Her artworks purposefully re-enact everyday activities including gardening, sewing, documenting, tracing, and mapping in an attempt to understand how these activities symbolise profound philosophical questions and psychological needs.

Janine-Annette Littmann is a Canadian artist who has lived in Vancouver, Montréal, Iqaluit and currently resides in Winnipeg. She has most recently exhibited at La Maison des Artistes Visuels Francophones and the C2 Centre for Craft.

The Caryatid Rebellion
By Sue Roh

In New York City, there are only five monuments of named women but hundreds of anonymous ones such as caryatids, architectural columns in the form of feminine bodies. The male monument is allowed individuality while her body is an allegory, inexpressible and unable to exist independently as flesh and blood. Looking for the original women behind the sculptures, I found Audrey Munson, Hettie Anderson, and Doris Doscher, three models who posed for many of the unnamed sculptures found in New York and across the United States.

The Caryatid Rebellion is a 7-minute video experience based on Hettie, Audrey, and Doris and their uprising against the buildings and institutions they have been forced to carry. With music by Violet June of Machine+, the experience begins with the caryatids’ current state, holding up buildings and institutions that continue to exclude and oppress, and documents their eventual rebellion and reclamation of the built world. Creating this world also involved my own process of rebellion by 3D modeling Korean architecture and designing avatars that looked more like me and other people of color, subverting the encoded white standards of beauty in Neoclassical architecture.

Sue Roh
New Media Artist, USA

Sue Roh is a new media artist and creative programmer based in Brooklyn researching the historically omitted womxn and people of color behind our built environment. Working primarily in XR and the web, Sue is focused on creating virtual and physical experiences that explore the nuances of identity by fabricating her own utopian spaces. As an educator, Sue focuses on teaching programming in a more accessible and collaborative way beyond the traditional computer science approach. She is currently pursuing her last semester at NYU’s Interactive Telecommunications Program and holds a BA from Columbia University.