Arteles Short Term Residency

Silence Awareness Existence program

Amy Bernstein
Portland, USA

Painting, writing


Color and shape are powerful manipulators of the way we think and feel, creating a myriad of associations through the experience of geography, time, and culture. The use of color or lack thereof has come to represent quality, sophistication, sub cultures, and religion. What is the determining factor that infuses color with its respective connotations? Is it context or the way in which it is used, combined and contrasted against itself in certain recipes which determine meaning and influence? Is this simply the result of cultural habit or something inherent in the colors themselves?

These questions intrigue me endlessly. I keep countless color notebooks to remember combinations that pique discomfort or incite strange pleasures to remember for later use. My desire is that the composition will exacerbate the oddity or electricity of the color choice, and that the result is a designed tension – a random and candid snapshot of an abstract universe. At times the outcome is joyful, at others strained.

I struggle with elements of restraint and freedom, the traits required to be good in the world, to know when to speak, and when to celebrate silence. I believe these minimal paintings to be compiled of small moments, to embody notes on existence. As whole works, they vacillate between the histories of philosophy, art, and design, searching for the space in which they will take questions further. They hope for beauty, but are often simply attempts at depicting the unexamined.
Britta Albrecht
Denver, USA

Painting, Drawing


My art draws me to explore the connection between the physicality of mark-making and anxiety disorders. As I experience the outdoors, whether in harsh or pleasurable conditions-- landscapes serve as a catalyst in the discovery of these connections. Drawing and painting allows my mind to rest in these moments. I appreciate the company of nature for similar reasons. Creative mental space provides a safe, yet vulnerable avenue to express ideas that I cannot otherwise access fully through words.

Once inside this mindset, I am able to ruminate on more subconscious elements of my psyche. My own mental health manifests itself through repetition. I dwell on rows of the same image, usually trees or lines—the consistency highlights natural imperfections; failure becomes meditation.

Moreover, it is a space where I can experience solitude in a meaningful way. Accentuating blank spaces with simple, yet imperfect images brings to mind the daily struggles of human kindness and inter-personal connection. Simple ideals are difficult and mistakes are obvious. Repetition is staying the course. These visual challenges represent the very real and tangible challenges of personal connection. My art is a study in the building of community, a practice I personally pursuit as well. It is a study of how miscommunication is both a shackle in the present, but a tool for introspection and growth in the future.

Givan Lötz
Johannesburg, South Africa

Music, visual Art


"To Observe is to Destroy"

Multidisciplinary creative practitioner Givan Lötz escapes definition and can usually be found stretching, subverting or otherwise beguiling our understanding of the creative production. He is at once a visual artist and musician who lives and works in Johannesburg. He holds an honours degree in Information Design from the University of Pretoria. In addition to numerous exhibitions, talks and features Lötz has been included in the ABSA L’Atelier Top 100 in 2012, 2013 and 2014 as well as Design Days Dubai in 2014 and 2015. His most recent record, MAW, was released to critical acclaim on Miami-based label Other Electricities.

In his own words:
“I am an artist because I am uncertain, because I am searching. The moments of obsession involved in my process of art-making aspires to achieve a mood of catharsis. My art-objects are results of a philosophical inquiry - critical thinking about what it means to be human, a way to illuminate the relationship between the sciences and the arts with a new perspective on our emergence in the universe. I have a desire for innovative and dislocating descriptions of life through a willingness to confront it in all its contradiction and complexity.”
Walk in between /
Florencia Aguilera /
Magdalena Lanas

Santiago, Chile / Barcelona, Spain

Visual Arts, Performance, Sound

Our personal work has as a common Design base. Florencia Aguilera as a Mothion Designer and Dancer based in Chile and Magdalena Lanas as a Graphic and Lightning Designer as well as a Visual Artist based in Barcelona. Our exploration in the fields of communication and arts has drawn us to explore in the Experience Design; our interactivity and performance as a couple gathers us to make a statement about the relationship between dance, languages and means in the media arts, this time from silence.

Wir sind sehr müde. / müde: tired, fatigued.

From this state, ordinary and generalized in our day a day society, we wanted to generate a self-exile to Finland, where the silence, and timeless surroundings gives us the state to create and narrate with no pressures. Through digital and analog tools, the body, image and sound dialogue in contrast of noise, performance materializes, where to rumble has the tacit sense of finding poetry, beauty. To materialize a honest language that shows our fears from silence. To search light in our silence. Power the sound in silence. Find the dialogue in silence. Experiment silence as a co-creation. A relationship in between. Silence/Light and body/memory and soul/presence and existence. Give a step to silence as a language, where the searching act, the walking without a north transforms itself in our goal.

1. Means two.

2. To have time and space enough to do something.

3.Talk or write without a purpose.

The formula is revealed: two that have the enough time to do something.​
Erin Purcell
Oregon, USA

Mixed Media

I’m dealing with the uncertain and often intimidating vision of life, the unfathomable nature of time and change and the fleetingness and fragility of existence. Enigmatic yet familiar, my work arouses a sense of the physical to provoke an inner, unsettled feeling. Through the evidence of flux, it suggests that our experience of the world is a combination of the immediately perceived, partially concealed and the infinite connections made in between.

The conceptual lexicon I've developed around the nature of existence has led me into an exploration of process, the third dimension and the power of the object. I hope to demand the viewer's involvement through emotion, suggestion and the unfamiliar to convey the poetic while acting as a reminder that it is more important to think of ourselves before death and that we all are hurtling towards death and nothingness.
Rowan Lear

Writing, Photography, Research


"‘Oh my!’ she said, starting."

I believe in a living, breathing politics. I’m interested in learning how systems operate, how social structures are formed, and what strategies and spaces are available to cultural producers to reimagine ideologies of the present. My practice shapeshifts between writing, research, critique and organising – though I create images and objects, these often relate to performances, presentations and periods of activity that remain largely invisible. Since 2014, I have dedicated much of my time to running an artist-led festival, Bristol Biennial.
Goyo Kwon
South Korea

Illustration, Comics, Drawing


"Seeking sustainable ways of mourning the dead, living and the dying-through art"

By dissecting rituals, objects, architecture and narratives of private and social mourning, Goyo seeks sustainable ways of mourning through visual narrative ranging from video experiments to comics and drawings. In a society constantly flooded with images of death and bodies in peril, Goyo believes it is essential to start building platforms that will enable better understanding of fragility, physicality and holding on.

From gothic narratives that romanticized grotesque to War-time narratives that seek the definition of human condition between gray zones, and to queer narratives juggling between exploitation and exposition- the subjects of Goyo’s work is nurtured through lineages of stories that sought to challenge possibilities in representations of human experience.

Goyo has received BFA from Rhode Island School of Design, and was a fully funded member of Royal Drawing School Residency in Scotland.
Alasdair Bayne
Edinburgh, Scotland

Film, Writing


Alasdair is an experienced short film writer, director and editor. Over the past 6 years he has made a bunch of independent and funded short dramas and documentaries. Interested in themes of adolescence, masculinity and social inequality he strives to create honest, personal work.
Jean Davis
Oakland, USA

Painting, Drawing


My work is based largely on the concepts of Emergence Theory, where to put it very simply, the whole becomes greater than the sum of its parts.

Place, or environment, interests me – but not simply as physical location, or the subject of a landscape or cityscape. I see shapes that bring to mind landscapes or buildings and rooms as I work, however unplanned their presence may be. My figurative paintings include elements of abstraction and lack any truly definitive setting – by intention.
Place is ambiguous, always changing. When place (or familiarity with it) is removed, paradigms shift. A person’s immediate environment is defined by his or her perceptions in both art and life; and perception is strongly influenced by both the subconscious and the unconscious.

I aim to reveal aspects of my subconscious as I work, by starting with intention but allowing creativity to subjugate conscious thought as I progress. By intentionally relinquishing control over the final outcome I aim to allow an unforeseen system to present itself.

I am not on a quest to find answers through my art. Rather, I look to find what is there that is as yet unseen and to give it physicality.
Kristin Bjornerud
Montréal, Canada

Painting, drawing


Kristin Bjornerud’s watercolour and gouache paintings examine our relationship to the natural world, the importance of community and the power of female relationships through the lens of magical realism. Kristin received her MFA from the University of Saskatchewan (2005) and her BFA from the University of Lethbridge (2002). She has been awarded grants from the Canada Council for the Arts, the Saskatchewan Arts Board and the Ontario Arts Council. Her work has been exhibited across Canada in galleries, museums, international art fairs, and artist-run centres. Her work is represented in the collections of the Saskatchewan Arts Board, the Bank of Montreal, the City of Ottawa, as well as the Canada Council Art Bank. In 2010 Kristin was recipient of the Brucebo Fine Art Foundation’s residency scholarship in Gotland, Sweden. The resulting body of work was exhibited at the Art Gallery of Hamilton (2012). Kristin will be artist in residence at the Klondike Institute of Arts and Culture in Dawson City, Yukon in the summer of 2017.
Amber Harmon
San Antonio, USA

Creative writing

"She is too fond of books, it has turned her brain." - Louisa May Alcott

I have always been in awe of silence. It is something everyone has known in some form and yet it can have such vastly different impacts on individuals. To me, there is no true or set definition of silence. It is multi-faceted. Silence can heal, silence can kill, silence can protect and do much harm. Silence is infinite and yet so easily disturbed. I hope to grow closer in isolating and understanding the various forms of silence and use that inspiration to create unspoken words.
Karen Briem

Costumes, Sculpture, Textile


In costume design I visually create characters. I read into a character´s life and soul and put it silently on the outside. Whether we like it or not what we decide to wear every morning for what ever reason tells something about us, I like to think of it as visual sociology. We are silently communicating information about ourselves, sometimes knowingly and sometimes unintentionally. The way we present ourselves is our first visual interaction with someone.

It has come to my attention in the past years that the traditional role of a costume designer is quite narrow and restricted in the eyes of most people, and more often than not comes as a supporting field to theatre and film for example. I see no reason for this and want to broaden the spectrum of how costume design is “used” and viewed by actively establishing it as an art form that stands on it's own.

The way I experience the difference between interactive art and traditional or non-interactive art is that normal art can warm me, give my soul and brain some energy and enhance an existing feeling. However, interactive art works on a different level, it does not just warm me but it creates a spark, that little extra push created when you take the step into actively participating. That little extra effort, in my opinion, enables new connections in your brain and if successful gives you a new perspective. Interactive art expects something from the you, I love that.
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