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

Virtual Exhibition

As always, the WOC Online Artist Residency is hosting an array of inspiring international artists. During this online exhibition, you will have the opportunity to enjoy to the artworks created by Emily McLennan, Frances Allen, Maria Picone and Mollie Rose Chislett.

Until 30th November you can see their newly created projects on our website! Stay tuned during the next days and watch the following artist talks on our Instagram page: @worldofcoresidency

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

By setting up community gatherings The Roots Collective began to build a support system allowing communities to thrive.
People stopped seeing themselves as separate to or above nature. They learnt to work with nature. A strong rewilding movement followed.
Communities took ownership of land to grow food and to improve biodiversity. There was a significant rise in access to common land.
Soil health became a huge priority led by the Farm Soil Network. Growers re-learnt how to feed soils naturally.
As local food producers connected with their communities there was a massive reduction in food miles and unnecessary packaging.
People saw themselves as custodians of the land, there to improve the environment for future generations.
Community networks globally succeeded in ushering in global wealth tax laws, just 10% of billionaires’ wealth provided free education for all worldwide.
Thriving community networks realised taking less from the planet brought so many more benefits; loneliness was rare.
Politicians started to prioritise the needs of the majority and universal basic services improved the lives of billions of people.
Economic growth measured by GDP was no longer relevant. Degrowth became the accepted philosophy resulting in a just future for people and the planet.
Flourishing without growth was accepted leading to significant change. Life started to get easier once people lived within planetary boundaries; peace and balance was restored.

gwisin habitat
dorm singles kids pass by & stare

bed of no visitors grave of no attention

garden level hideouts activate night
& cat footsteps trace the frolic of roaches

tall grass waving arthritic house goodbye

plastic bottle achieved liftoff

bustling porch of pictured family

roadsides with broken down fuel
stations pity none & no one’s care

city studios where life is art

a place arrived to anyone can sit

Korean Girl Ghost

ghostgirl plays: sijo
summoning her best pronunciation
emulating Korean lips in right words or left turns
she understands the simple maneuvers
that elementalize her very vessel
directing the driver to the post office
there to mail small trinkets to her friends

ghostgirl plays: salmunori
mechanically she is always beating
the same rhythm on the same instrument
it is not her favorite to play
but it accompanied her like a shadow
dragon lurking in the DS cartridge her mom
unpacked from one envelope to mail in another

Let me think

found family
-a Hangul abecedarian

grateful to be both &

now with survival skills
developed to cope

ring a translation friend
memorize directions
bring snacks

she navigates fear
-ing the spiteful
judge inside her
chiding her poor
Korean skills

talk is cheap

plus she now knows
heart is enough

Pigeon and Seagull
Home Pigeon
House Magpie
Native Pigeons
Plovers Outside
Plover Roundabout
Fairy Wren

Flourishing Without Growth.
Emily McLennan

I am inspired by the way nature is interconnected, the complex systems in place that support balance, the way mycelium communicates through the roots of trees providing a network of intergenerational support. For the World of Co residency I wanted to create artwork to inspire people to see degrowth as a positive philosophy that can support people and the planet to thrive in the future. At the beginning of the month I was unsure how to communicate m chosen narratives. In the first week I decided to add a series of short fictional statements set in the future to be displayed with my paintings. This decision has helped me relax and be quite free and experimental in the studio working with my visual ideas. I have chosen a bright and vibrant colour palette because I want the work to feel positive, hopeful and highlight the possibility to think and live differently. For the background of my paintings I build up the layers of paint using palette knives, I then put the roots I have collected onto an overhead projector and paint the shadows.

By combining my fictional future statements alongside bright and positive paintings I hope to inspire people to ask what they can do now to make connections. To start small, build their community, improve resilience, create tangible improvements that can inspire politicians of the future. Culture is often cited as upstream of politics, I hope that my work is one step in the journey of shifting the Overton window towards a just and equitable future living within planetary boundaries.

Emily McLennan
Visual artist, UK

Emily McLennan is an abstract painter and mixed media artist based in Scotland’s Central belt. She studied a BA (hons) degree in Ceramics at Loughborough University (2000-2003). Over the years she has worked on a variety of projects using photography, paint and stitch.

Last year Emily looked back at historic protest movements, celebrating the journey and connections people made in order to improve people’s rights; not just their own but for future generations. More recently Emily has focused on telling positive degrowth narratives. Working with palette knives and brushes, she builds up expressive layers of paint in bold colour combinations that create a dynamic surface, to which she then adds shadows of roots and networks. The work is accompanied with short fictional statements imagining future communities making the changes needed to live within planetary boundaries. By looking back, creating uplifting positive work in the present Emily hopes to inspire the journey towards a just and equitable future.

Cygnus A Solstice
Frances Allen

Inspired by avian myth, astrology, Takashi Kokubo, and vibrational medicine, Cygnus A Solstice was an attempt to combine the ephemera of all these things in a semi-melodious form. It neither asks the listener to identify with a lyrical narrative or analyze a hyper-intellectual exercise in sound design. It is music created intentionally for the solo headphone listener.

The work started with the question of formulating a healing sonic realm within space, a place where sound as we know it does not exist. Nasa recordings of black holes and Cygnus A “frequencies” supported this effort along with studies on sonocytology and the Schumann resonance. A binaural frequency thought to mimic the ( surprise! ) Schumann resonance is a feature of the piece.

Thanks Nasa. The rhythmic and ghostly fluctuating visuals are courtesy of Marco Ciceri. It is oddly reminiscent of the radio waves, those ghostly spectral patterns that I imagine emanate from Cygnus A. Thanks to the WOC team for providing critical and supportive feedback throughout the construction of the piece.

Frances Allen
Sound artist, USA

“Music should allow for experiences that are spatial, almost spiritual in nature.” Sound is a healing modality and a commodifiable phenomenon. Inspired by the ancient Temples of Sleep, Panpsychism, and ritual music, Yew Haiku crafts meditative pieces in addition to dabbling in pop in the spirit of exploring sound as an interactive and powerful tool for healing and dreaming. Her ambient work integrates a frequency layer, binaural patterns, and environmental samples with sine wave dreamscapes that are made for meditation or daily rituals. This is music that presupposes an audience of the lone individual in vigil or healing spaces. This is sound for sacred wells and ephemeral grail castles, where the wounded can transcend a virtual reality through virtual listening, embracing, and transforming human centers. Pairing visuals with sound is a creative imperative for Yew Haiku’s Fuschia Smith, who creates visuals for each piece released to a public forum.

Maria Picone

Adoption has been the work of rewiring the self, healing from an unremembered but ever present trauma. In this collection I write about the idea of being “both/and,” mining the concept of ghosts/gwisin to describe the place in society I, an adoptee without language or cultural competency, embodied when returning to Korea as an adult to teach English in what should have been, and, in many ways, is, my native country. It is hard to be both/and, to accept that self can be one yet also more than one. Writer and artist. Korean and American. This chapbook, a presentation of my artwork and poetry, whose form is integral to its art and whose inception and value integrate with ideas of equity and meanings of being “free,” is my love letter and testament to the work not yet finished. The art forms draw upon multimodal brush painting and mixed media techniques with an eye to texture, pattern, iteration and experience inspired by my photographs and recollections of Korea.

Maria Picone
Writer, South Korea / USA

Maria S. Picone—수영—(she/her/hers) has three forthcoming chapbooks, Anti Asian Bias (Game Over Books), Adoptee Song (Game Over Books), and Propulsion (Conium). Maria is the recipient of an Emerging Artist Grant from the South Carolina Arts Commission. She won Cream City Review’s Summer 2020 Poetry Prize and Salamander’s Louisa Solano Memorial Emerging Poet Award. Her work has been supported by Lighthouse Writers, GrubStreet, VONA, Kenyon Review, The Watering Hole, Tin House, and Juniper. She attended a residency at Hambidge in 2022 as a Leadership in the Arts Distinguished Fellow. She is the managing editor of Chestnut Review and edits at Uncharted Mag, Foglifter, and The Seventh Wave. Maria was selected for Best Small Fictions 2021. She holds MFA in fiction from Goddard College and degrees from Princeton, Rice, and Western New Mexico University. She is an alumna of GrubStreet’s Novel Generator and is working on her first novel and a poetry collection.

Urban Birds
Mollie Rose Chislett

This project represents my ongoing creative research into the relationship between humans and animals in urban landscapes. As an Australian artist, I have focused mainly on native bird species found in the state of Victoria, such as Masked Lapwings (plovers), Willie Wagtails, Australian White Ibis (Bin Chickens), Crested Pigeons, Magpies, Fairy Wrens and Seagulls.

During my time with World of Co, I explored themes of urbanization, the Anthropocene, biophilia, and narrative through various artistic mediums including drawing, painting, and sculpture. The works I produced reflected these core themes, resulting in a culmination of pieces that showcase my artistic vision.

Upon closer inspection, it becomes apparent that the birds are not entirely anatomically correct. Perhaps it is the slight asymmetry in their wings or the unusual curvature of their beaks, but there is a certain quirkiness to their appearance that is both captivating and endearing. This unique characteristic draws our attention and inspires us to take a closer look at the animals that share our world, raising awareness of their presence and the importance of protecting them.

Mollie Rose Chislett
Visual artist, Australia

Mollie-Rose Chislett is an emerging artist living and working in the city of Melbourne (Naarm), Victoria, Australia. She received her BFA from RMIT University in 2022. The artworks Mollie-Rose creates consider the relationship between animals and humans within an Australian context. Emphasis is placed on understanding the animal experience within themes of urbanization, species adaptation, biophilia, and the Anthropocene. Her works utilise the animal body to unpack and explore narrative connections between the relationships of animals and humans. Both together and with the landscape. The works contemplate the contexts of Aestheticization and Natural History. Within the works, Mollie-Rose creates there is a fluid transition between the subject matter and how it comes to be represented through different mediums, such as paintings, drawings, and altered objects. These works push the representation of the animal body, transforming it into a vessel for communication and awareness.