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

During the month of November, the WOC Online Artist Residency was hosting inspiring international artists. During this online exhibition, you will have the chance to enjoy to the artworks created by Henry Detweiler, Kayoko Nakamura, Anastasia Scala and Ryan Zogheb.

Until 29th January 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.

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I would like to acknowledge the Traditional Owners of the land which inspired this work, the Yawuru people of Rubibi, and the land on which the work was made, the Noongar people of Wadjak Boodjar. I pay my respects to their Elders past, present and emerging.
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Colorless Green
Henry Detweiler

Colorless Green is an ongoing series of works on paper, based on aerial images of sports and games courts. Sourced from freely available satellite imagery, these pieces consider that these spaces designed for play, contain meanings beyond their intended function: courts as platforms for social discourse; courts as exclusive or exclusionary spaces; courts as compositions of line, form, and color when viewed from an aerial perspective; etc. The real-world references for these compositions are sourced from across the world, without regard to international borders, local contexts, or the slippery boundary between what constitutes public and private. As paintings, these real spaces are presented free from their original contexts of backyards, public parks, country clubs, or prison yards; and become abstractions into which new meanings can be read.

The title of the project comes from Noam Chomsky’s 1957 book Syntactic Structures, in which he uses the sentence, “colorless green ideas sleep furiously,” as a model of a sentence in english that is grammatically correct, but is semantically nonsense. Similar to Chomsky’s model sentence, these courts – which sometimes collapse the lines and markings of multiple games onto a single plane – can be “grammatically” deciphered, but become garbled when considered as a whole.

Colorless Green #1-50
graphite, ink, watercolor, color pencil
17×24 cm (each)

Henry Detweiler
Interdisciplinary, USA

‘My work, in various ways, is critically positioned within systems and flows of information. With it, I ask the questions: what happens when atomized personal data is made tangible? Is there inherent aesthetic potential in the technologies of mass surveillance? What happens to interpersonal trust when all that was private is public? What is our responsibility to each other when history is negotiable and revisable? What might it be like to have a pain-free past? What would it look like to cry? Maybe this time I’ll use an AI to find out. Or maybe a paintbrush. Recent projects have used personal and public archives to arrive at possible solutions.” Currently living in Berlin, Detweiler has exhibited work extensively in the US and internationally. He holds a BFA in Drawing Painting and Printmaking from Georgia State University (2012) and an MFA in Photomedia from the University of Washington (2021). He has work held in the permanent collection of the High Museum of Art in Atlanta.

Under Stone, Under Wave
Anastasia Scala

Broome (Rubibi) is a small town in northern Western Australia. Home to the Yawuru people, it’s known today for it’s gorgeous beaches and for being where the desert meets the se. It was originally founded in the late 1880s as a pearling port, however. Pearl diving was a dangerous industry in this time period, many of the divers dying of the bends or drowning. Cyclones in 1887 and 1935 resulted in the deaths of approximately 140 men. Many of the divers were immigrants and the descendants of immigrants from the Wakayama prefecture in Japan, and so Broome has a large cemetery where a sizable portion is dedicated to the local Japanese population. The unique nature of the cemetery is evident at first glance; Australian landscape meeting Japanese culture, beach rocks pulled from the nearby ocean and pearl shells embedded in the graves.

Cemeteries have always been places of interest to me. I have always enjoyed history, and the human history and sense of heritage evident in museums fascinates me. Unlike in large museums or at grand monuments, cemeteries usually show a very personal, human side of history. The people buried in them usually weren’t mentioned in history books or classes, but they are a line we can trace back through centuries to identify with the past. Cemeteries also have a unique atmosphere- or rather, they have many atmospheres depending on the time of day, the reason for your visit, and the mood of the visitor. They are designed to be places of remembrance and peace, but they’re frequently associated with fear and tension. I have a history of trying to explore those different atmospheres in painting.

For this project, I focused on the Japanese Cemetery in Broome. My reasoning was mostly that it’s visually unique from the European focused cemeteries I’ve painted before and because I have personal connections to Broome. Since this was an international residency program and I was the only Australian in my group, it also felt significant to share a piece of my home with my foreign colleagues. The photographs I worked from were ones I took myself while visiting and the soundscape was made from recordings I took myself at Cable Beach and the cemetery. The sounds are meant to be listened to while looking at the painting, ideally creating an immersive experience with a vaguely surreal and dreamy atmosphere. The colours in the painting were chosen to reflect the warmth of Broome- both metaphorical and literal, since the strongest sensory sensation visitors feel is probably the heat. I also wanted to create a sense of life and movement, like the waves.

Anastasia Scala
Visual Artist, Australia

”I’m a fine artist and painter with a background in illustration, living and working in Perth, Western Australia. Previously I have studied and practiced in New York and London, before returning home to Australia to complete my Master’s degree in Fine Art. My goal in recent years has been to evoke both empathy and a sense of stories being passed on through generations in my paintings. To do this, I often incorporate history and mythology into my works, to create connections between myself and historical artists. Research outside of painting is therefore an important aspect of my practice. I engage in a lot of reading and writing to broaden my understanding. I pair this with an expressionistic application of colour and texture. It is possible to trace the artist’s process through brush strokes and imperfections, forming a connection between artist and audience. I want my choices to be obvious in my paintings, from the application of thick paint to vibrant colours selected to assault the viewer’s senses. This process lets the audience feel connected to audiences of the past and makes distant figures from history and mythology feel relevant to contemporary life. ”

Kayoko Nakamura

“Thinker” is an experimental video, created based on interviews with five participants. I explored one audiovisual work using “thinking” as a motif.

I asked participants to respond to the following instructions. First, they are to recite the French philosopher René Descartes’ words, “I think, therefore I am”. Then next, they are to tell what they are thinking now. Finally, they talk freely about what they have thought about in the past and what they will think about in the future. I connected the words of these five “thinkers” as if they were musical phrases or as if they were spinning music. The visual image was created by transforming the sound waves produced when the participants’ voices were recorded.

Experimental Video
Duration: 07:44

Kayoko Nakamura
Multidisciplinary artist, Japan

I have made documentary films, experimental films, art films, and VR works as a filmmaker. I am interested in experimenting with different ways of expressing time-based works. The materials I use in my filmmaking include actual footage, archival footage, and a variety of other materials. Sound also plays a very important role as one of the materials. For the works in this exhibition, I have attempted to use sound, voice, and digital visual transformation. I also experimented with primitive pixel art. I will continue to work with time-based experiments.

I My Me Mine
Kayoko Nakamura

“I My Me Mine” is a project that represents self-portraits in pixel art. I represent my continuing
to be myself, transcending time and space. Like the protagonist that Virginia Woolf wrote about
in her book “Orlando: A Biography”, I empathize with a certain identity that lives on for
hundreds of years, changing appearance, transcending gender and age. I named it “I My Me
Mine”, a free creation that continues to transform its appearance through pixel art, yet remains
unaltered by the fact that I am still myself.

Self Portrait
Ryan Zogheb

Self portraiture, throughout art history, has shown artists’ most free and subconscious ideologies of painting. When creating a self portrait artists have no bounds except for depicting something that feels reflective of themselves, allowing them to paint in any kind of way they feel.

Within this self portrait series, grayscale and true expressionism hold the utmost importance. The portraits are lined up chronologically with the first painting made on the far left. With each painting I tried to stray further from using a reference photo and more so relying on my own intuition and intention for the painting, with the last painting on the far right having no photo reference. By limiting the aspects of painting to a monochromatic color scheme and by relying mostly on intuition, more subconscious and gestural outcomes come through. My paintings hold what I am experiencing and feeling at the time of creation with the hopes of unveiling what the true emotions are behind the piece.

Portraits of a young man, oil on panel, each panel is 22x30cm, 2022

Ryan Zogheb
Painter, USA

”By attempting to reach absolute perfection in myself and in my works, my paintings primarily focus on symbols of beauty in a means to either dispel beauty standards or bring viewers, and myself, into an eerie space of self-reflection. The process of creating my works holds unconscious truths about reflection and comparison, making the appreciation of the process a vital step in my artistic practice. With the strive for perfection, feelings of inadequacy and fragmentation shine through and dominate most outcomes. In discovering that perfection cannot be reached, I refute the image and embrace the unconscious.”