Arteles Creative
residency program

Catherine Rush
Seattle, USA

Writing, performance, clothing design


A self-described "artist hyphenate," I've done almost every job available in the American Theater: actor-writer-producer-designer-stage manager-director-janitor-gofer. Theater is where my voice feels the most sure and true and clear. At present, I am interested in digging deeper, embracing failure, and re-defining my meaning of success. In this last chunk of my life I want to utilize everything I have become thus far to create something uniquely me. I want to divest myself of self-consciousness by being relentlessly self-aware and overwhelmingly self-accepting. My goal at Arteles is to dive into the biggest artistic challenge of my life and see what I discover.
Jan Oliver Lucks
Dunedin, New Zealand

Film, Writing


"Ollie. Makes films. Gets naked."

Kia Ora! I am a New Zealand based documentary director. My work often plays with genre conventions, challenging the line between fact and fiction.

After completing my BA and MA in filmmaking (University of Otago), I made two short films: THE CHARACTERISTICS OF C-MINOR (for the BBC) and WILBUR FORCE. The former screened at 20 international film festivals (including Teheran, Colorado and Byron Bay) and the latter premiered at the 2015 New Zealand International Film Festival while raking up more than a quarter of a million views online.

I just released my first feature WILBUR: THE KING IN THE RING which got selected by the Stockholm Independent Film Festival 2017. I am thrilled to be attending Arteles to write my second feature film. A documentary (sort of) about relationships and sex.
Lucía Cristóbal Marín


"Painting, digital images and consum"

Lucía Cristóbal Marín works with digital press images, consumer products and the digital space where these are consumed. Her language experiments with extreme fields: image-objects, pictorial support-digital support and hand-technology.

Her work is based on the crisis of the digital model, its volatility and painting as a means of reflection through the distancing of the primitive image. She interprets and manipulates the picture and seeks the boundary between the descriptive limits of an image, the relationship with its title and the critical capacity of the viewer.

The painting is based on two processes. Construction, is the veneration of the image and of painting as a fact. And distancing, is a conscious and unconscious world that poses questions that the figurative image itself is not able to provide. She creates work rules which move the image away from its primitive fact until she turns the painting into a space that can accept absolutely everything to question fact, image and painting.

Yinon Avior
Copenhagen, Denmark



"The best sex you ever had"

The process of creation is fundamental for me. I create from a strong sense of idea and obligation. My aim is to reach a certain visual accuracy by relaying on personal conceptual and aesthetic principles. My work contains autobiographic elements yet it is not what defines it. Conflicts and impossible cooperation stand at the base of my work and characterize it. I am driven by control, while the artistic process is uncertain. In order to investigate the world, I do not confine myself by choosing a certain technique or media; therefore my work and action is interpreted across different disciplines. Sometimes part of the result is the procedure itself and that, apart from being the mediator between the viewer and me, is an integral part of the body of the work.
Mirel Torun
Izmir, Turkey / Australia

Photography, Drawing


I presume that both the object interacting with the body and the body are naked. How do they interact? How do the objects, one is living and the other is non-living, without domination each other, associating with its environment, yet wishing to disappear in it can exist? These are fragile structures.

Almost all of the objects used in the photographs are mislaid, unattached, used garbage pieces, appearing out of nowhere... The body being open to the object and this association being open to its environment and interactions. And to be primitive as possible.

Connecting female body with unexpected and distinguished objects and spaces. And building new visual structures.
Nakedness of the trio (Body, Object and Space) build new experimental fields.
Gabriel Gould
Huntingdon, Pennsylvania, USA

Music Composition


"Trying to find new solutions to old problems."

I am a composer and a pianist, not necessarily in that order. For most of my career, I have created “concert” music for traditional orchestral instruments and voices. But I am increasingly drawn to improvisation, and new (to me) ways of making music. I am excited by the wealth of opportunities afforded by working with found sound, computer manipulated sound, ambient (for lack of a better word) sounds, and live improvisation. I am especially interested in finding ways to meld recorded soundscapes and human voices with live and/or recorded performances on piano. Instead of writing for the concert hall, much of my recent work has been for other spaces, and I am interested in pushing against the boundaries of genre and categorization that can be so stifling in music (or indeed in art in general).

Because my training is not really in this area, the work I am doing now is mysterious and sometimes profoundly uncomfortable to me. However, that discomfort can be a source of inspiration and a sign that I am challenging myself with finding new solutions to old problems. I am at a very transitional point in my arc as a musician, and I hope that my time at Arteles helps provide a path through that process.

Originally from New York, I now live in the mountains of Central Pennsylvania and teach english and music at Juniata College (where my wife is also a professor), and am father to a precocious and beautiful 8-year-old daughter.
Tina Sejbjerg
Holstebro, Denmark



As having grown up in Scandinavia my relationship to nature is a close and strong one, based on a mixture of deep respect and fear. The sea, mountains and woods in the North are wild, dark and seem unending. You can easily get lost. Nature is the powerful one; human being must find a balance and submit. Or is that a romantic Scandinavian approach?
Nature in the Netherlands, where I have been living the last 20 years, is extremely cultivated. The balance is turned around. Here nature is made to submit to human being – land reclaimed from the sea, trees planted in straight lines, the sea controlled by sophisticated dyke systems and so on. Human being is in control. Or so it seems at the first glimpse.

My photographic work evolves around the relationship between humankind and nature, and our existence in it. The longing towards a natural wilderness, which might have disappeared in the human obsession with controlling and cultivating all living around him. Nature has been turned into a theater set, where plants and trees have become props, and the human figure, the director of the stage.

It questions identity, the human condition and the cycle of all living.

The final work is photographic, but it has as well reference to portrait painting, performance and sculpture.
Liz Wierzbicki
Indianapolis, IN, USA

Video, performance, printmaking


"Emotion, from the very start, has no solid ground. It is unsupportable. Emotion is marked by impotence. It is connected and disconnected to the body simultaneously. The complicated immaterial landscape and language of a feeling or thought, and its relationship to the body motivates my work. I create moving and still images that begin to describe the space between the physical and emotional self."

Liz Wierzbicki is a multi media artist whose work touches on notions of intimacy and the female identity. Through investigating the interactions and disaffections of emotions and the body, Wierzbicki's work reveals some truth about our awareness and attachment to ourself and others. Her work is influenced by language, philosophy, and the contemporary practices of romance and social communication.

Nerine Martini

Sculpture, installation, drawing


"Sydney based visual artist working in the fields of sculpture, installation, drawing and public art."

Nerine Martini is a Sydney based visual artist working in the fields of sculpture, installation, drawing and public art. Martini’s practice involves a continual shift between a studio / exhibition practice and working on community-based, public art projects. She has an interest in working cross-culturally and creating artworks that respond to stories of migration, dislocation, cultural identity and home.


Martini is currently undertaking a PhD at Sydney College of the Arts, University of Sydney. Her research explores the potential for socially engaged art to empower immigrant communities. Her previous public art projects that involved processes of social engagement, often resulted in the final artworks being located in the public spaces such as the town square, a community center or a public library. Recently Martini has been working on a large-scale sculptural installation involving processes of creativive engagement with diverse communities in Western Sydney. For the studio residency Martini will be creating drawings that reflect on shared stories of travel, migration, settlement, home and belonging.

Agnieszka Jakubczyk
Poland / Ireland

Weaving, mixed textile arts, paper art

"True beauty is often hidden deeply or under an ugly cover. For me, a great joy and fulfilment is to find it, to grasp it and to show it in its best manifestation."

My primary interest and way of expressing myself is weaving. I look for ways to combine weaving with other fibre arts.

Recently my approach to weaving has changed significantly: from being focused on showing different, contrasting structures borrowed from nature, I gradually moved to being interested in the art of weaving as a language to communicate with, using symbols and allusions. I am aiming to communicate through my art about issues touching a human as an individual and as a part of society. Firstly, I want to speak through my art about environmental issues, which have to be addressed and dealt with, and urgently. Secondly I would like to contribute through my creations to spreading awareness of mental issues.

Nature still remains a great inspiration for my woven creations (the lines of landscape, macro and micro structures, ethereal forms of water, mist, wind, rain, light...). I am also very fond of minimal photography in general, I find it usually to be a starting point for working on a new piece.

I am inclined to use natural materials (paper, animal and plant fibres) and also to include up-cycled materials, which normally are not considered valuable, i.e. paper packaging, old unravelled knitwear etc. These things, usually disregarded, have a lot of artistic value as a material, if used in a thought-through and well planned way. Saying it more simply: I am interested in the process and results of transforming something unimportant, even ugly, into beautiful, harmonious and evocative pieces.
David Dominique
Richmond, VA, USA

Music Composition, Performance, Theory

"Who are you, and what have you done with furniture Daniel?"

I am a musician and composer in perpetual transition. I arrived at what I do circuitously, via ska, punk, and reggae bands in New York, which led me to jazz and indie rock in LA, then contemporary classical composition in Boston, then back to jazz in LA, and now toward pop genres in my new Virginia garage. I hope my twisted journey results in tangled music. While at Arteles I'll be working on an album of solo synthesizer songs under the moniker furniture Daniel. When performing this music live, most often singing in falsetto, I use two synthesizers, a drum machine and a loop pedal. Somehow, I have a PhD in music composition and theory, and am now an assistant professor at the College of William and Mary.
Justin Greene
New York / Baton Rouge, USA


Justin Greene is an MFA candidate concentrating in fiction at Louisiana State University. A graduate of Wesleyan University with degrees in English and anthropology, he’s interested in the relationship between fiction and ethnography, how cultural theory and anthropological methodologies can be utilized to create fiction that troubles the perceived discrepancy between the creative and the critical. More recently, he’s been playing with ideas of abjection, body horror and queerness. He was a student poet on the Connecticut Poetry Circuit and currently serves as the editor in chief of New Delta Review.
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