Category Archives: Artist in Residence

Meet the Artist in Residence: David Fludd

David Fludd, artist in residence at Main Street Arts during the month of June 2019, is working in one of our two studio spaces on our second floor. We asked David some questions about his work and studio practice:

Artist David Fludd

Artist David Fludd

Q: Please you tell us about your background.
I currently live and work in New York City.  I have a BA, in art from Morehouse College and an MFA in painting and printmaking from the Yale University School of Art. I have also attended Skowhegan.

The layering and building of textures is apparent in my paintings. I am interested in creating textures and working with color as well as black and white. I see the process of printmaking and painting as being related.

David Fludd, “Untitled”, 2018, Acrylic on Paper, 24”x30”

David Fludd, “Untitled”, 2018, Acrylic on Paper, 24”x30”

I am interested in printmaking and its multifaceted possibilities in terms of changing a single image from print to print. Printmaking is open to improvisation and experimentation; printmaking informs my painting practice.

I draw from life as well. This experience is important and adds to my art. The works are open to interpretation. In this manner, dialogue is invited. I also play the piano and compose music.

David Fludd, “Untitled”, 2018, Acrylic on Canvas. 50”x32”

David Fludd, “Untitled”, 2018, Acrylic on Canvas. 50”x32”

Q: What type of music do you listen to?
Music informs my work technically and in the way that I approach a canvas — with the ideals of exploration. I am constantly exploring music and experimenting with composition. Improvisational concepts are present in the works and basic musical compositional techniques such as retrograde motion and augmentation are present. I compose and perform as a pianist.

David Fludd, “Untitled”, 2018, Acrylic on Paper, 19”x24”

David Fludd, “Untitled”, 2018, Acrylic on Paper, 19”x24”

Q: What are your goals for this residency?
I plan to create works on paper and to work with drawing and watercolors. I am interested in experimentation. The art that I plan to create will be improvisatory and experimental in nature. The  compositions will be open to interpretation.

The works that I create are influenced by where they are created. By this approach the works express the experiences of where they were created. The art expresses the experiences of working by the sea or in a city, or more rural place in a unique way. In this regard multiplicity exists and thereby expresses many places, often simultaneously.

Untitled. oil on canvas, 2016, 18”x24”

David Fludd “Untitled”. oil on canvas, 2016, 18”x24”

Q: What is your process for creating a work of art?
I have an open sensibility in creating art and I am constantly learning, experimenting; trying new ways of creating and seeing. All of the parts of my compositions are carefully arranged in the process of creation. I am interested in a spontaneous methodology as a way of articulating compositions.

I explore color and texture and multiple approaches to painting and drawing. I make an effort to instill an awareness of seeing the fundamental basic shapes and structures in my art. I have studied many paintings throughout the world. I am fascinated by different approaches to painting and drawing and instill my own work with a vibrancy and sense of looking forward while understanding painting from a historical viewpoint.

Meet the Artist in Residence: Britny Wainwright

Britny Wainwright, artist in residence at Main Street Arts during the month of June 2019, is working in one of our two studio spaces on our second floor. We asked Britny some questions about her work and studio practice:

Artist in her studio.

Artist in her studio.

Q: Please tell us about your background.
Hi, I’m Britny. I grew up just south of the Finger Lakes region, in Owego, NY. It’s refreshing to not have to describe where the Finger Lakes are!

I attended Alfred University, receiving my BFA in 2012. In 2017 I received my MFA from Ohio State University. While both degrees are in fine art, I concentrated in ceramics for both of them.

I now live and make work in Columbus, OH. I first moved to Columbus for graduate school in 2014, and have stuck around for the amazing creative community. I love living in a vibrant city, and Columbus has many great opportunities for artists! I teach as an adjunct instructor at Ohio State and Capital Universities, and maintain a studio practice.

Enduring Blossom, 2017, terracotta, glaze, canvas, wood, foam, house paint. 64” x 54” x 60”.

Enduring Blossom, 2017, terracotta, glaze, canvas, wood, foam, house paint. 64” x 54” x 60”.

Q: How long have you been making artwork?
The earliest memory I have of my obsession with material and making things, was a field trip in preschool. I think it was some sort of career day, but what I lost my mind over was the sand art table! The scratchy sound the plastic spoons made dipping into containers of brilliantly colored sand has stuck with me. I think this experience was the first time I realized making art could be something primary in my life.

I really got serious about being an artist in college. I was very fortunate to attend a fantastic undergraduate program in art — Alfred University’s School of Art & Design. It provided me with a well-rounded art experience, and ultimately I concentrated in ceramics, although my secondary was painting. My minor was in art education, and I even finished my teaching certification before decided to pursue graduate school for an MFA.

Untitled. 2019, felt, painted canvas, trim, fiberfil. 27" x 43" x 6.

Untitled. 2019, felt, painted canvas, trim, fiberfil. 27″ x 43″ x 6.

Q: How would you describe your work?
I’d have to say my work is a granny’s dream of ugly couches, and floral prints, plus material play? Most of my academic training was focused on ceramics, and it deeply influences my work,  but I now maintain a much more hybrid practice of ceramics and fiber. I find both of these mediums, plus painting, are necessary to speak about the content in my work.

I am an artist because I have things to say. As a woman the very act of making work is a feminist act. I try to not discredit my voice before I speak! Placing floral pattern, stitching, embroidery, and bright colors in the gallery is an act of celebration of feminine things. I question the authority of these things in gender and art, and the conceptual consideration these practices receive, or don’t.

Studio shot. Clay motif "tiles" in progress.

Studio shot. Clay motif “tiles” in progress.

Q: What is your process for creating a work of art?
It depends on what I’m making, but most certainly heavy-repetition is guaranteed. When I make works that require ceramic motifs, or tiles as I call them, I start with producing them: rolling slabs of clay, cutting motifs, defining and drilling holes, drying, firing, etc. I then build the structure and stitch on the tiles by hand before upholstering. Ceramics is a long process and sewing is quite the opposite. It’s instant gratification! I’m able to walk into my studio and finish a piece in a few hours — totally unheard of in ceramics.

Lay Your Pretty Little Head. 2019, painted canvas & cotton, terra-cotta, thread, fiberfil. 5" x 15" x 15"

Lay Your Pretty Little Head. 2019, painted canvas & cotton, terra-cotta, thread, fiberfil. 5″ x 15″ x 15″

Q: What are your goals for this residency?
I’m starting a new body of work I’ve long wanted to make: examining women’s patriotism in America. I will be visiting Seneca Falls, where the Declaration of Sentiments was signed in 1841, demanding that women have equal footing with men under the constitution. I’ve also been collecting visual resources from the 1976 Bicentennial — in particular home decor. I’m intrigued by the trend of domestic patriotism of this time. Especially because women’s public patriotism is sometimes misunderstood as un-American! This local historical research paired with studio explorations of patriotic motif will leave me with a new body of ceramic and fiber work that grapples with women’s patriotism in America.

Also, I’m lucky enough to be able to install a new exhibition in the second floor gallery entitled, power. I will be showing a new ambitious sewing piece, and several other recent works. Exhibition reception is on June 14th from 5-7pm, and artist talk at 6pm!

Q: Where are your favorite places to see artwork?
I love DC. The variety of museums is astounding. The East Wing of the National Galleries is good, in particular the Matisse room. The Freer & Sackler is also great, I took a lot of non-western art history courses in college. A lot of very important ceramic history can be found in China, Japan, and Korea, so the Freer is almost always on my checklist. I also love the Lincoln Gallery in the American Art Museum. The Hirshhorn for really great contemporary stuff. Oh, and The Phillips Collection, that Wolfgang Laib beeswax room- drool worthy.

Recreation. 2018, terra-cotta, slip, fabric, wood, house paint, thread. 45” x 50” x 36”

Recreation. 2018, terra-cotta, slip, fabric, wood, house paint, thread. 45” x 50” x 36”

Q: What advice would you give to other artists?
In particular to artists thinking about going to graduate school — take time off after undergrad. Those few years are so valuable. I worked as a server, an assistant cook, a substitute teacher, a house sitter, etc. If you power through to graduate school, I’m not sure you’ll really convince yourself why you want to be an artist. That floundering will make you appreciate graduate school so much more!

Q: What’s next for you?
I have quite the busy summer! After my residency at Main Street Arts, I will be a visiting artist at the Torpedo Factory Art Center in Arlington, VA for the month of July. I hope to finish this new body of work while in residence there. I also have some upcoming shows for the 2019-20 season! Follow my social media for more information.

Q: Where else can we find you?
www.britnywainwright.com
Instagram: @britny_wainwright
Facebook: Britny Wainwright

Meet the Artist in Residence: Taylor Kennedy

Taylor Kennedy, artist in residence at Main Street Arts during the month of May 2019, is working in one of our two studio spaces on our second floor. We asked Taylor some questions about her work and studio practice:

Taylor in her studio at Pratt Institute.

Taylor in her studio at Pratt Institute.

Q: Please tell us about your background?
I was raised in Sodus Point, NY ( which is a 30 minute drive North of Clifton Springs). I attended the Rochester Institute of Technology and graduated in 2015 with my BFA in Fine Art Studio. While in my last year at RIT, I realized I was not done with my education. I was just hitting my stride in my practice and wanted the safety (haha) and challenge of a MFA program. I was very lucky to get into Pratt Institute, as I was even younger and less “experienced” in the art world then. So, I moved to Brooklyn in August of 2015. It was hard, but it was what I needed. I graduated from Pratt in 2017 with my MFA in Printmaking. I stayed in the city until this past February, when I moved back home.

I have been drawing ever since I can remember. My family has a “knack” for artistry; vocally, instrumentally, written and visually.  My generation has been the only one to pursue full fledged artistic careers. I think we saw how much our parents/uncles/aunts wished they devoted more time to the arts. That is not to say it is easy, making a career in the arts; because it is fucking hard. But I can’t see myself as anything else.

I’ve worked as a teaching artist. An artist assistant. A nanny. A dog walker. A house-sitter. Living the stereotype of an artist. But these are all jobs that add to your practice, that give you insight. Make you real. Currently, I work as a substitute teacher.

I Want You in My Posse (Preliminary Layout), 2019

I Want You in My Posse (Preliminary Layout), 2019

Q: How would you describe your work?
Oh boy, I am laughing as write this. It is, for lack of a better word, my diary. I have gotten slack for my work being too “cathartic” or “therapeutic” as I speak so much of my personal background. I don’t think I would get that critique if I was a man, but I keep making it.

My work is my memory. Or memoir. Or ode to my family, as ironic as that may seem.  Or all of the above.

I think there is a universal language felt when looking at imagery that was created to speak to the poignancy felt in everyday family life. At least, that is what I am trying to poke at. I have seen and felt heartache and loss, divorce, suicide, addiction, alcoholism and mental illness. But I have also seen and felt middle class pride, true love, perseverance, and growth. They work in tandem, the dysfunctions and the functions. That’s life.

As families, we live our lives in cycles. In patterns. Sometimes, we think we break them, but I have come to find that we recreate those cycles in some other form. Across generations. Across bloodlines.

When I speak of family, I am not only speaking of my blood relations. I am speaking of my friends. Or the people I snap pictures of on the street that are sharing a moment. Or even animals. Inanimate objects telling a metaphorical familial story.

We are all related, in some way. That is what I want my work to evoke.

Chicken Soup, 2018

Q: What is your process for creating a work of art?
Right now, I have a bank of reference pictures I draw from. That includes old personal family photos, photos I have taken and stock images I find on the internet.

For a drawing, I lay out a piece of paper, print out what reference photos are speaking to me, and start a layout in pencil or vine charcoal. Sometimes, I cut out parts. Sometimes, I add aspects of other reference photos. Sometimes, I go on memories I can still visualize in my head. It depends on that exact moment. I have been trying to be more considerate of composition, leading me to make collages of the reference photos I am thinking of using.

I follow it. I try to not plan too hard. I make notes on the paper, or the walls if I can, if I have thoughts related to my practice (which, if you haven’t noticed, is everything in my life). If it calls for becoming sculptural or an installation, I listen to it. You have to listen to the work. Sit with it. I don’t like to kill work. That is the worst.

I Want You in My Posse (Preliminary Layout), 2019

Man’s Best Friend (Preliminary Layout), 2019

Q: What are your goals for this residency?
I am going to work on illustrating a children’s book that was written by my aunt, Sara Kennedy. It is going to be a challenge, seeing that I am not necessarily a “planner” and more intuitive in my process. But it is a challenge I look forward too, as it is going to be a way of learning to simplify compositions that are strong in their convictions. The imagery needs to read as if the text was not there.  The studio has printmaking equipment that I will take advantage of; I envision creating mixed media illustrations using drawing, collage and printing.

I also plan on getting some painting done. I am not a painter. Not at all. Painting is really hard. And not everyone realizes how hard painting is/that they should not be painting, because they are not painters. But, I have a ton of canvas and paint, so why not challenge myself even more? That will be more personally based. I am envisioning a large tableau-style painting of a pick-up truck right now. I’ll get back to you on if that comes to fruition.

Taylor in residence at Sodus High School, 2019

Taylor in residence at Sodus High School.

Q: What is the most useful tool in your studio?
My body. Your body is your number one tool. I have never been an athlete, never into exercise, but if you want to make it as an artist, you need to keep yourself healthy, physically and mentally. I have carpal tunnel in my dominate hand. Arthritis, MS, and Fibromyalgia run in my family. I am trying to get myself strong. What is the point of making large things if you cannot physically handle them?

Tape is good too. You can make anything with a roll of tape.

Q: Who is your favorite artist and why?
Celeste Dupuy-Spencer. Toyin Ojih Odutola. Nicole Eisenman.  Genieve Figgis. Kerry James Marshall. Egon Schiele. Alice Neel. Red Grooms. Marisol Escobar.

They are storytellers. They were/are transparent. I think it is honest. Their work is not trying to be “art”, it just is.

"Ven, To!" (Preliminary Layout), 2019

“Ven, To!” (Preliminary Layout), 2019

Q: Where are your favorite places to see artwork?
Kids make the best work. And they have no idea, which makes it even better. So schools, the backs of homework, scraps of paper, desks. Anywhere a kid would create.

Q: Do you collect artwork? Tell us about your collection.
I do, a little. I have work of my peers and of young artists (kids) I have taught. The adult work I have mostly because of trading them with my own work. The kid work I have is because it was gifted to me or I commissioned it. I would rather pay a child to make me something than an adult.

I suppose I am a sentimental sucker at heart. But that is the only way to be.

Town of Sodus, 2015

Town of Sodus, 2015

Q: What’s next for you?
At this moment, making dinner. I am trying really hard to not think ahead. I am an anxious person; I have to teach myself to live in the moments.

Q: Where else can we find you?
I am on Instagram @taylor_mica_kennedy and my website is www.taylormkennedy.com

Meet the Artist in Residence: Elizabeth Courtney

Elizabeth Courtney, artist in residence at Main Street Arts during the month of May 2019, is working in one of our two studio spaces on our second floor. We asked Elizabeth some questions about her work and studio practice:

Artist Elizabeth Courtney

Artist Elizabeth Courtney paining en plein air

Q: Tell us about your background.
Hi I’m Liz. I’m super excited to have the opportunity to paint here for the next four weeks. Let me tell you a little about myself and my work…

I have been painting in Eastern Connecticut, all my life. I decided to try to take my art to a more professional level my junior year of high school when I attended the RISD pre college program. I quickly realized I was out of my league there. So for my undergrad I did not want to go to an art school. I ended up at an environmental liberal arts college called Green Mountain College in Poultney, Vermont. I started there thinking I was going to go for environmental studies but something kept drawing me back to the studio. I still don’t know what it was.

I graduated from there in three years with my BFA with a concentration in painting in 2016. After a little while I realize that not going to art school for my undergrad may have been a mistake career wise, not personally, so I decided to do a post bac in Florence, Italy. That was easily one of the best decisions I’ve ever made. Studying painting in Italy, not only got me to truly open up as an artist for the first time in my life but I also met so many other artists that introduced me so many new concepts and ideas I would have never been exposed to. Some of those artists even helped me get into other residencies and galleries. I am forever grateful for
that.

Elizabeth Courtney, "This Green Place II”, 2018, oil and acrylic on panel

Elizabeth Courtney, “This Green Place II”, 2018, oil and acrylic on panel

Q: How would you describe your work?
I am a plein air oil painter. I love painting outside. I have found that painting outside on site just helps me live in the moment. I truly appreciate where I am and what I came here to do. I know that I am not the best painter ever, but I love it. I don’t care that I am not the best painter, I just want to create an image that evokes an emotional response even if it is just for me.

Elizabeth Courtney, “Truth”, 2018, oil on canvas, 18”x24”

Elizabeth Courtney, “Truth”, 2018, oil on canvas

Q: What is your process for creating a work of art?
I feel like my process and style of painting are always changing but only the one thing that stays the same is that I take my paintings outside. Recently, I have been starting in the studio and experimenting with acrylic underpaintings so that I don’t start on the intimidating white surface.  Sometimes I completely cover that surface in a made up color of oil paint which I draw into, exposing layers of paint that I constantly change with more paint. Most people are afraid that it would get muddy and sometimes it does but I love finding the perfect top color and making it bright.

One of the biggest problems I have as an artist is knowing when to call my paintings done. I want to get better at that and I think I am.

Work by Elizabeth Courtney

Work by Elizabeth Courtney

Q: What are your goals for this residency?
I want to paint outside as much as possible during this residency. Possibly everyday if I can, even if it’s raining. Last summer I did some really cool paintings in the rain, in my car and under shelters at State parks.

I really want to drive around the area as much as possible, too. I want to get to Lake Ontario, Niagara Falls, and other state parks around the area to paint. I really want to do an en plein air painting of Niagara Falls—I just think that would be really cool!

I wouldn’t mind selling some of the paintings I do as this residency. I’ve recently started running out of wall space.

Work by Elizabeth Courtney

Work by Elizabeth Courtney

Q: What’s next for you?
As far as after this residency, I took a job with the Chautauqua Institute residence life department for the summer where, hopefully, I can keep painting there. I don’t have a ton of plans after that but I would love to someday get my masters in fine arts, maybe in Europe, but who knows. That might be my favorite part of being an artist. I don’t know what’s next.

Q: Where else can we find you? 
I am very active on Instagram @elizabeththeartist. I try to keep it as up to date as possible.

From The Director: Residency Alumni Exhibition

Residency Alumni Show  at Main Street Arts

Installation shot of the Residency Alumni exhibition at Main Street Arts

Our current exhibition is one that is fairly atypical for Main Street Arts — it’s not really thematic, it doesn’t necessarily have a large idea that brings the work together, it isn’t an invitational based on specific media, it isn’t a national juried exhibition or a solo show. The thing that brings these very different artists together is that they have all been artists in residence at Main Street Arts.

Residency Alumni Show at Main Street Arts

Some of the work by former residents included in the exhibition

The Residency Alumni Exhibition has been a wonderful opportunity for us to celebrate nearly three years of the residency program at the gallery. In June, 2016 we launched this program as a way to have a consistent place for making art in the gallery—to make it more of an active space where art was being made on a regular basis. That idea evolved over time to become what it is today: a program that provides artists dedicated time and space to focus on their work in a creative and supportive environment.

Residency Alumni Show at Main Street Arts

Ten of the  former artists in residence included in the exhibition along with two April 2019 resident artists. Pictured above, back row (left to right): current resident Becca Barolli, former residents Moira Ness, Mandy Ranck, Eve Bobrow, Ali Herrmann, Zoey Murphy Houser, Kaele Mulberry and Victoria Savka. Front row (left to right): current resident Rowan Walton, former residents Renee Valenti, Emily Long, and Emily Tyman.

Residency Alumni Show at Main Street Arts

Panel discussion before the opening of the Residency Alumni Exhibition

As of April, 2019, 54 artists have come from 17 states and Canada to work in the studios at Main Street Arts, and 42 of them are included in this wide ranging exhibition. It was a heartwarming experience to open up packages from former residents as we prepared for this show. So many of these artists are now friends of ours and this gave us a chance to see their work again, some of which was actually made during their time here!

Laying out the diverse array of work in the exhibition

Laying out the diverse array of work in the exhibition

Visitors to this exhibition will often remark about how diverse and eclectic this show is and I see that as a testament to the range of artists that have come through the program.  We’ve had painters, sculptors, potters, photographers, writers, printmakers, installation artists, a puppet maker, and fiber artists over the past three years. The exciting thing for me was seeing how all of this different work — over 100 pieces — pairs together in an exhibition. To have artists from 2016, 2017, 2018, and 2019 all together on the same wall and with work in a wide variety of media and style.

Residency Alumni Show at Main Street Arts

Opening reception for the Residency Alumni exhibition at Main Street Arts

While this exhibition will come to an end on Friday, May 17,  the residency program will continue and we will see many more artists come through the studios at the gallery. We plan to highlight the work of future residents in upcoming residency alumni exhibitions and we look forward to seeing how the program will grow and evolve in the future.


The residency program is an integral part of our mission as a 501(c)(3) nonprofit art organization to promote the work of regional, national and international artists, encourage the creation of art and foster art education. If you are interested in making a tax-deductible donation to the residency program, you may do so on our website: MainStreetArtsGallery.com/support

 

Meet the Artist in Residence: Rowan Walton

Rowan Walton, artist in residence at Main Street Arts during the month of April 2019, is working in one of our two studio spaces on our second floor. We asked Rowan some questions about her work and studio practice:

Artist Rowan Walton

Artist Rowan Walton

Q: Please you tell us about your background?
I grew up on a ridge of Mt. Tamalpais in Mill Valley, California; about 20 minutes north of San Francisco. A winding road snakes itself up to my house, often through heavy maritime fog, so it can feel like an island up there (which is why I tend to identify with the mountain and surrounding shoreline rather than the town below). As a kid on this conifer-covered island, I rarely enjoyed reading, so while my twin brother flew through books like a falcon, I drew or even just sat with our dogs and thought for an hour. My brother’s vocabulary grew to an intimidating extent, but so did my ability to draw—especially dogs! Did one of us benefit more than the other? The jury is still out. However, I have been exploring art ever since then.

Heading into college, I was well on my way to an extraordinary art school on the East Coast until I realized that as an artist, especially a young one, I need more than art. A month later, I was pursuing a degree in Environmental Studies in Seattle…as well as a degree in Visual Arts because…well…who I am kidding?…I can’t shake it.

"Yours", graphite, 2017, Rowan Walton

“Yours”, graphite, 2017, Rowan Walton

Q: How would you describe your work?
My work is a bit of a mixed bag. Pieces can be cheeky; charming; challenging; and often a bit peculiar. I have a tendency to convey concepts through something I’d put as “anatomical narrative”— gestures depicted by human or nonhuman subjects that serve as emphatic reflections of my own perceptions based off of assumed associations, be they conscious or not.

Moreover, I typically draw with a graphite pencil because it gives me direct control over what I am trying to visually articulate. I also enjoy challenging myself with other mediums like painting and sculpture if the materials and space are present. Similarly, if I have new materials and/or tools to work with, I am almost always inspired to use them.

"Tangerine Lizard", tangerines, wire, tape, papier-mâché, thread, net, 2015, Rowan Walton

“Tangerine Lizard”, tangerines, wire, tape, papier-mâché, thread, net, 2015, Rowan Walton

Q: What is your process for creating a work of art?
Complicated, but well worth it. Feel free to reach out for the full story!

Q: Do you collect anything?
Jars, exhibition cards, cafe cards, some records, and the odd thing or two.

 

"Alternative Self-Portrait", recycled plywood, graphite, charcoal, acrylic, 2014, Rowan Walton

“Alternative Self-Portrait”, recycled plywood, graphite, charcoal, acrylic, 2014, Rowan Walton

Q: What type of music do you listen to? How does music affect your artwork?
Music is vital to my life. Frankly, I believe that its power to connect and comfort individuals outweighs that of visual arts, but I also think it’s no coincidence that most musicians explore other artforms and vice versa. It’s a topic I shamelessly nerd-out about, but I’ll keep it to a minimum for now…

I worked for my university’s radio station as a disk jockey and booker, so I made a lot of promotional art for shows back then. Most recently, I created a drawing inspired by the macabre lyrics and cheeky wit of Marika Hackman, an all-time favorite of mine. Aside from that, I’m not usually inspired by music in that way, I use it more as a vessel for productivity and a soundtrack for “The Zone.”

The genre changes with the time of day, but I often need some kind of softness in the sound. For example, some classic go-to’s are Mazzy Star, Jessica Pratt, Stereolab, Shana Cleveland & the Sandcastles, John Maus, Natural Child, Widowspeak, Allah-Las, Celtic fiddling, and roots reggae.

"Indulge", Acrylic and ink, 2018, Rowan Walton

“Indulge”, Acrylic and ink, 2018, Rowan Walton

Q: What are your goals for this residency?
I am currently preparing to apply to graduate school, so initially, I had applied to this residency because I felt it would be a wonderful opportunity to help me discern what sort of program I want to pursue. In particular, if it would be a studio practice or a research program.

My goals for the residency are to champion some of my longstanding ideas, build up my portfolio, rollout my social media presence, and to simply grow.

I am currently working on a series of ¼” plywood pieces that are inspired by the air fresheners that hang in cars. Each piece is a painting of one of my favorite vintage car models (like a 1970 Ford Bronco), about a foot or so in height and 2-3 feet in width. The final products will have a resin finish with a secret ingredient, so you can hang the car on a wall and get a whiff of something pleasant as you walk by (fingers crossed). I am also working on concept art for a hypothetical children’s book about crows.

A few of the pieces I am currently working on.

A few of the pieces I am currently working on.

Q: What advice would you give to other artists?
Lean into it. If you want your artwork to go anywhere, it’s your responsibility and no one else’s.

Move at your own pace. Whether it be quick or slow, let it happen and trust it. Life is ultimately a matter of timing, so the sooner you can accept that not everything is in your control, the better off you’ll be.

Keep learning more. Artists should not be boring.

Cultivate that sense of humor. You can virtually forgo the aforementioned tips if you honor this with all you’ve got. Humor is the flesh that connects us to ourselves and gives us patience.

Challenge the traditional/societal notion of the artist. Unless you want to make money off of your art, the only person who truly needs to know you’re an artist is you.

"Seacret Puppets", acrylic print, graphite, 2015, Rowan Walton

“Seacret Puppets”, acrylic print, graphite, 2015, Rowan Walton

Q: What’s next for you?
Graduate school!? Also, hopefully a show this summer to unveil those cars pieces.

Q: Where else can we find you?
On Instagram @slowwag. It’s a bit misleading due to a lack of posts, however they’re on the horizon and I am indeed in the background of it all. Please feel welcomed to reach out!

Meet the Artist in Residence: Becca Barolli

Becca Barolli, artist in residence at Main Street Arts during the month of April 2019, is working in one of our two studio spaces on our second floor. We asked Becca some questions about her work and studio practice:

Becca Barolli, San Francisco Art Institute Open Studios, 2016

Becca Barolli, San Francisco Art Institute Open Studios, 2016

Q: To start off, please tell us about your background?
I’m originally from North Granby, Connecticut and currently live and work in the San Francisco Bay Area. In 2010 I earned my BFA in photography from the University of Connecticut. After graduating, I spent four years teaching experimental art and digital photography classes at the Mansfield Community Center. In 2016 I received my MFA from the San Francisco Art Institute working in sculpture.

Bad Seed, 23" x 22" x 22", recycled tire soaker tubing, 2015

Bad Seed, 23″ x 22″ x 22″, recycled tire soaker tubing, 2015

Q: How would you describe your work?
I make abstract sculptures using craft techniques like weaving and braiding with raw industrial materials like rebar tie wire and recycled tire soaker tubing. My work is very labor-intensive, fueled by a compulsive need for repetition and reverence.

Through endurance based processes I repeat stereotypical feminine gestures that defy the initial industrial function of these materials. My work involves variations in tension and density to consider vulnerability and explore the differences of being open or closed off, relaxed or uptight without passing judgement on either condition.

Untitled (ripple), 36" x 36" x 5", 16.5 gauge annealed steel wire, 2017

Untitled (ripple), 36″ x 36″ x 5″, 16.5 gauge annealed steel wire, 2017

Q: What is your process for creating a work of art?
I spend a lot of time in the studio. I usually focus on one piece while taking breaks to try out other ideas that are still being formed. Some sculptures are comprised of one object that builds up over time while others consist of pieces that were compiled and connected over time.

Q: What are your goals for this residency?
For my time at Main Street Arts, I would like to further develop new construction strategies I have been working on to create a range of small objects and at least one finished, labor-intensive piece. While working recently, I have been considering the intricate connections and relationships found in tight-knit communities and what it means to be existing within such contexts.

Right before coming to Clifton Springs I was working on a piece that is basically a free-standing, corrugated wire tube I’m weaving where each tier is a similar but slightly different iteration of the previous sections in the stack.

Untitled (vessel), 23.5" x 14.5" x 14.5", 16.5 gauge annealed steel wire, 2018

Untitled (vessel), 23.5″ x 14.5″ x 14.5″, 16.5 gauge annealed steel wire, 2018

Q: Who is your favorite artist and why? Who are your favorite local artists?
My favorite artist is Ruth Asawa and I learn something new from her wire sculptures every time I see them in person. Not only is her work amazing but she contributed a lot to art education and public access to art in San Francisco all while raising six kids. I have too many favorite artists frequently showing in the Bay Area to name them all, but I would recommend Sahar Khoury, Alicia McCarthy, Ben Venom, Lucien Shapiro and Windy Chien.

Untitled (lumpy), 69" x 60" x 19", 16.5 gauge annealed steel wire, 2017

Untitled (lumpy), 69″ x 60″ x 19″, 16.5 gauge annealed steel wire, 2017

Q: What’s next for you?
I am excited to continue where I left off in my studio back home but with the experience I’ve gained during my time here. I am also looking forward to being in a group show at SHOH Gallery in Berkeley that opens on April 27th.

Q: Where else can we find you?
You can find me on Instagram @beccabarolli or visit my website www.beccabarolli.com.

Meet the Artist in Residency: Andrew Palladino

Andrew Palladino

Andrew Palladino

Q: Please you tell us about your background?
I am a Boston based printmaking artist, I recently graduated with a BFA in printmaking from the Massachusetts College of Art and Design.  I’ve been making art for about the past five years now but my time printing goes further back than that. Before MassArt I attended vocational school for production commercial printing, specializing in offset lithography and silkscreen.

Empty in the Cave, Intaglio, 12.5x23.5in, 2018

Empty in the Cave, Intaglio, 12.5×23.5in, 2018

Q: How would you describe your work?
A majority of my current work is etchings and silkscreen prints. My prints are abstractions working off of maps and diagrams. I use observation and pre-existing information to create completely impossible forms and uninterpretable figures. I look at things very analytically yet display them with more open readings, swinging the real into my own pieces of art.

Q: What is your process for creating a work of art?
I work heavily with layering, the pieces build themselves that way. I make a lot of components in a drawing that may not even appear in the final print, but the contribution to the overall drawing is important to me. The image builds and thickens, usually to the point of being over-done, but that really shows how my mind works while creating. I tend to get fixated on my work and bring it past the point where my initial intention would be to stop.

Margin Treader, Intaglio, 12x8in, 2017

Margin Treader, Intaglio, 12x8in, 2017

Q: What are your goals for this residency? 
This residency for me is most about experimentation. I’m mostly looking to get as many things on paper in different ways. While I normally publish works in formal editions I want to stray from keeping things looking uniform and really just take some time to print and collage and reprint.

Untitled, Intaglio with Chine Colle, 12x8in, 2018

Untitled, Intaglio with Chine Colle, 12x8in, 2018

Q: Who are some of your favorite artists? 
My favorite artists currently are people like John Walker, Terry Winters, Anselm Kiefer, and Julie Mehrutu. They all demonstrate the ability to tackle small marks translating into extremely larger compositions, which is something that captivates me when looking at art.

Q: Do you collect artwork? 
I have a small collection of other artists’ works, I really only limit myself to things I could show in my home and on my studio walls as opposed to having things locked away in storage. Mostly I just find myself getting pieces from local artist friends back in Boston, though a few works are from artists I did print publishing projects for such as John Walker and Kiki Smith.

I, Intaglio, 5x9in, 2017

I, Intaglio, 5x9in, 2017

Q: What’s next for you? 
Currently, I am building and improving an in-home studio in Boston while making work there. I mostly show around that area as well though always looking to reach out to new spaces.  I would like to venture further onto getting an MFA, but that seems a ways away for me at the moment.

Q: Where else can we find you? 
My website is cargocollective.com/andrewpalladino and you can find me on instagram: @apalladino309

Meet the Artist in Residence: Rachel Siminoski

Rachel Siminoski, artist in residence at Main Street Arts during the month of March 2019, is working in one of our two studio spaces on our second floor. We asked Rachel some questions about her work and studio practice:

Rachel Siminoski

Rachel Siminoski

Q: Please you tell us about your background.
I grew up in a small town in central Ohio, and after graduating high school I went to the University of North Carolina at Greensboro for my BS in biology. During my sophomore year I decided that as much as I loved science (and still do!), it wasn’t what I wanted to pursue. I graduated with my BFA in drawing and printmaking, worked at an art gallery for a year, and recently I’ve been working for a screen printing company in the Charlotte area. I also started an online art magazine called Reciprocal in 2017, and I’m currently working on the fourth issue.

Rachel's studio

Rachel’s studio

Q: How would you describe your work?
My work stems from my interest in biological systems and the intersection of protection and separation. Most of my paintings depict ambiguous enclosures in which biomorphic and structural forms interact symbiotically. While I’m influenced by various structures that I see on a daily basis (fences, enclosures, walls, etc.), I’m not actively attempting to depict anything from life. I’m more interested in the function that those forms are associated with- such as protecting, covering, holding, or supporting the things around it.

"Octagonal", 2018, acrylic on canvas, 36.25  27 inches

“Octagonal”, 2018, acrylic on canvas, 36.25 x 27 inches


Q: What is your process for creating a work of art?
I start with small, simple sketches, although I never feel obligated to stick with my original plan. I like to work on multiple pieces at a time- if I try to focus on just one image, I feel like I end up drowning in ideas that don’t belong crammed together in one single painting. I also like to stop and take a moment to write about what I’m working on, ask myself questions about the decisions I’ve made so far, and gain some clarity on where I want to take the painting next.

Q: What are your goals for this residency?
I’ve been thinking about how things evolve over time, and how the abstract characters and environments within my paintings fit into that idea. I think in the past I’ve thought about each of my paintings as separate, individual representations, whereas now I’m more curious about how they interact in relation to one another, and depicting them in a way that makes them seem less static.

I’ve also been playing with the temperature of the grays that I mix, and I want to explore how I can push that further while still staying true to the parameters that I set for my work. I’m hoping to continue exploring these ideas and make some smaller paintings that will lead to larger works once I get back to my studio in North Carolina.

Per Kirkeby

Per Kirkeby

Q: Who is your favorite artist and why? Who are your favorite local artists?
I really love Per Kirkeby’s paintings. He made sure to emphasize the importance of having structure within a painting, and that has always resonated with me. A few of my favorite North Carolina artists include Felicia van Bork, Marvin Saltzman, and Mariam Stephan.

Untitled, 2018, acrylic on canvas, 36 x 28 inches

Untitled, 2018, acrylic on canvas, 36 x 28 inches

Q: What was your experience like at art school?
I had an amazing experience in school. My professors were tough yet supportive, and I was surrounded by talented and driven peers. The environment wasn’t competitive in an unhealthy way like I think some people assume.

"Small Enclosure 2", 2018, acrylic on canvas, 8 x 10 inches

“Small Enclosure 2″, 2018, acrylic on canvas, 8 x 10 inches


Q: What’s next for you?
That’s a big question! Hopefully I’ll be attending more residencies later on this year. I’m also starting to think about going back to school for an MFA in painting, so we’ll see where that leads me!

Q: Where else can we find you?
You can find me on instagram, or on my website www.rachelsiminoski.com

Meet the Artist in Residence: Sam Rathbun

Sam Rathbun, artist in residence at Main Street Arts during the month of February 2019, is working in one of our two studio spaces on our second floor. We asked Sam some questions about her work and studio practice:

Sam Rathbun

Sam Rathbun

Q: Please you tell us about your background.
I grew up on a multi-generational farm in Naples, NY. After graduating high school, I pursued a degree in international development from Tulane University, however after taking a required drawing class, I dropped my major and transferred to SUNY New Paltz where I received my BFA in painting and drawing. I currently work at Salem Art Works (SAW), an artist residency, sculpture park, and community arts hub on the border of NY and Vermont.

Heimlich, paint, ink, muslin. Variable dimensions. 2016

Heimlich, paint, ink, muslin. Variable dimensions. 2016

Q: How would you describe your work?
In school I focused almost exclusively on painting and drawing and developed a method of utilizing drawn interiors to examine the boundaries of memory and perception. A few months after graduating I participated in a residency at SAW where I began working three dimensionally. During the first week of my residency, my family’s oldest barn caught fire and completely burnt down. This event changed the trajectory of both my subject matter and material use.

Currently, my work concerns processes of production, manufacturing, transportation, and marketing of goods, particularly those rooted in agriculture. I’ve found a reservoir of absurdity while examining my own ignorance as a consumer, especially considering I was raised by production.

Recently, I have limited myself to ink drawings when working two-dimensionally, but have no material restrictions when working sculpturally — although I do have a fondness for gummy materials like beeswax and rubber.

Once We Carried. Used conveyor belts, re-used and new elevator bolts, 11" x 25" x 6 ". Salem Art Works, 2017

Once We Carried. Used conveyor belts, re-used and new elevator bolts, 11″ x 25″ x 6 “. Salem Art Works, 2017

Q: What is your process for creating a work of art?
Research and play compose the foundation of my work. I latch onto bits of information that I read, hear, or see and store them until I find one or more complementary components. I think finding the link between these seemingly exclusive ideas or materials is the soul of my practice.

 Memory Merchandise. Fabricated steel, cast iron, paint, 14’ x 20’6” x 12’9”. Franconia Sculpture Park, MN, 2017

Memory Merchandise. Fabricated steel, cast iron, paint, 14’ x 20’6” x 12’9”. Franconia Sculpture Park, MN, 2017

Q: Who is your favorite artist?
Currently I’m really into the work of Janine Antoni. I’m most interested in her process. She’s able to transform rudimentary, visceral actions into poetry. Viewers see her sculptures as remnants of a transformation and are left to imagine the steps in between. Other artists who are constant sources of inspiration are Martín Ramírez, Mika Rottenberg, and Ambera Wellmann. Ramírez’s drawings are a testament to his need to make work and both Rottenberg and Wellmann share this absurdist humor that I obsess over.

Janine Antoni: Eureka. Bathtub, lard, soap, and Dorian, 1993

Janine Antoni: Eureka. Bathtub, lard, soap, and Dorian, 1993

Q: Who inspires you?
Within the past two years, I’ve noticed how integral reading is to my practice. Two of the most influential books that I reference are the Poetics of Space by Gaston Bachelard and The Jungle by Upton Sinclair. The project I’ll be working on at MSA was almost entirely conceived from a paragraph in the Jungle where Sinclair describes why slaughter houses were built vertically. Animals would walk up a ramp to the top floor and by the time their bodies came back to ground level they were completely transformed, packaged, and ready to ship.

Creamery. Ink on paper , 36.5" x 95", 2018

Creamery. Ink on paper , 36.5″ x 95″, 2018

Q: What type of music do you listen to?
I will try pretty much any type of music. I’m looking at my recently played songs and I have everything from FIDLAR to Erykah Badu. I also listen to podcasts and audiobooks while I work– I just started Murakamis, Kafka on The Shore.

Q: What are your goals for this residency?
I made several large wooden frames that roughly represent the layout of factories where raw goods are transformed. During my residency I anticipate creating ink drawings to hang within the framework. I also hope to add to this installation by creating a space to hold several glass and latex sculptures.

Water rehab "grassholes", Ink on paper. 36.5" x 93", 2018

Water rehab “grassholes”, Ink on paper. 36.5″ x 93″, 2018

Q: What’s next for you?
I anticipate working as Salem Art Works for another season as the Young Artist Coordinator and using my winter to participate in more residencies.

Q: Where else can we find you?
My website is www.samrathbun.com and I just started an Instagram: @sathbun.