Rosanna’s art practice is multidisciplinary, using audio, video, text and sculpture to create research-based installations. She often works in a site-responsive context, using place as material. This research-driven approach leads to the production of multi-layered installations that allow for simultaneity of different narratives and time frames, these being representations unlocked from the place of enquiry in order to reposition or subvert a hidden social or political historic context.
Marina is a multidisciplinary artist based in Cambridge, UK. She is interested in human behaviour and social construct and she uses her practice to explore these. She is the founder and director of Cambridge Sustainability Residency and she is also a PhD candidate for the University of Plymouth.
Bridget Harvey addresses ideas about making, mending, time and play in design through her studio practice, her work is rooted in textiles but crosses disciplines. Specialising in mixed media and exploring textile techniques and materiality, she makes wearable sculptures often using hand made multiples. Sourcing, working with and exploring possibilities of materials, investigating method and methodology she navigates the path of practice based research, seeking sustainability and protesting through slowness and the active hand-making of objects, looking at their material places and uses. The objects she makes are varied but linked through human touch – all have had a previous life in one form or another.
Kai Lossgott’s work investigates questions of personal and environmental health as human agency within the socio-ecological crisis. It has been exhibited at venues such as the Johannesburg Art Gallery and Museum Africa, Johannesburg; Arnot Art Museum, New York; Whitechapel Gallery, London; Museum of Contemporary Art Maracaibo, Venezuela; Austin Museum of Art, Texas; Casoria Contemporary Art Museum, Naples; Bell Roberts Gallery and blank projects; Cape Town.
Marco’s practice tends to reflect on the micro-landscape and micro-ecosystems based on the ecosystems and landscapes that we actually experience, using raw materials and items collected in the search to get in touch with Nature’s feelings.
Stefano Cagol (Trento, 1969) graduated at the Accademia di Brera in Milan and received a post-doctoral fellowship at Ryerson University in Toronto.
Angelika is a visual artist and interior architect. Her work deals with phenomena of human perception, and contains elements from both art and research derived from field studies within different cultural settings. Her artwork, ranging from eye drawing, video and installation, to photography, text and sculpture has been exhibited internationally; it has also been published in art magazines, scientific journals and books. She currently lives and works in Munich (Germany) and Bario (Sarawak/Malaysia).
Kelcy is a doctoral student at Anglia Ruskin University. Her practice and research involve deepening audience engagement and post-internet aesthetics.
My practice abandons the camera to mediate with lenses as diverse as microscope to satellite. In my practice I am often guided by questions such as What happens if oceans rise by 1 meter by 2100 as a result of global warming and 150,000,000 million people become flood refugees? How much land in the image would disappear? Sandstorms tear across the dessert within the image, how much dessert will there be if forests are destroyed? How much wildlife is becoming extinct through loss of habitat?
Andrea is a Brazilian designer with a strong focus on sustainability and innovation. She graduated first as an architect at Universidade de São Paulo, and then as a conceptual designer at the Design Academy Eindhoven, NL. Andrea believes design has to add something relevant to our saturated world, being a creative force for environmental and social change. One of her goals is to create objects that connect us to nature, to its timeframes and cycles, by experimenting with materials, shapes and processes. Since 2011 Andrea develops the project “Objects of the Forest” focused on the Amazon region. She tries to understand sustainability by immersing and looking at nature with fresh eyes, discovering possibilities that can inspire and enable the creation of ambitious design solutions for the future, which in fact reinvent the world we live in.
Maria Rebecca Ballestra
Based in Italy, Maria lives and works in nomadic conditions. Her work is focused on the reprocessing and resetting of social, political and environmental themes and on synthesizing ethno-cultural codes, investigated during journeys and several artist residencies program all around the world.
Is a Copenhagen/Singapore-based artist duo consisting of Jonas Rubin and Joanne Pang Rui Yun. YUNRUBIN’s practice focuses on the materiality, place and structure within a given environment.
Valerie’s works at the intersection of video, installation and sculpture practices. The focus of her work is our relationship with our environment, how a close relationship with elements essential to life can bring us back to our own sensory experience, and how knowledge gained from scientific fact impacts on the irrational and unfathomable.
I am a bio artist with an oblique practice stemming from the concrete materiality of living forms, exploring and communicating ideas around the imperative of relating to living systems as dynamic non-objectifiable others, working with synergy and stressing the need for collective risk taking and open ended improvisation whilst working towards an embedded aesthetics of sustainability. This implies a level of relationship to the future, making assumptions and predictions and developing a meta narrative, and equally to the past, addressing memory and loss, and equally to the present, addressing change. Cultural fermentation as a medium links all of these so I work with symbiosis in mycorrhiza, yeast and bacteria in several formats and contexts to investigate transformative potential.
Mariya’s original idea of a green metamorphosis of seeds transformed in itself into a nomadic garden, which was shown in the liminal space in between outside and inside, and presented as an ’emergency’ suitcase for nature withdrawal syndrome in the anthropocene.
I am interested in straw bale building and other sustainable building methods, alternative energy sources, waste management or farming techniques. While studying at the art academy I made a work which involved changing the name of the Gerrit Rietveld Academy to “Geld Academy” (which is Dutch for “Money Academy”) by taking of letters from the building. I sold the letters of the academy on Marktplaats, which is the Dutch E-bay.
Sally’s artwork is currently focused on exploring the interplay between the virtual and material and reflects an underlying interest in how the digital age is impacting on the way that people think and behave, particularly in its imitation of ‘reality’. She has been turning the digital devices back on themselves to reveal them for what they are. This can include utilizing software such as photoshop in an obvious way to draw attention to the digital intervention.
Seven days into the Residency and after going through videos of the participants, walking in the City of Panjim, Goa and places nearby, reading text and a Skype conversation, I feel its all about awakening a new sense / perception towards things.
Through a manipulation of nature and mixed media, I aim to explore the possibilities of our future environment. The interaction of humans with their environment interests me – primarily the conflict with our natural world. There is often a lack of respect for the natural world and nature constantly cries out for protection from human consequence. Through my practice I explore the deterioration of the natural world, not just from an environmental perspective, but also the dissipation of the human relationship with nature.
‘In my recent works I have used different kinds of corporate documents, attempting to extract and hijack their compact non-referentiality through repetition, displacement or reconfiguration. By focusing on, for example, the Swedish Post or a factory of fertilizers in Lithuania, I investigate interstices between the official communication by the company and the reality, either the everyday reality of the employees or the actual effects of on the environment.
This young Italian graphic designer will be joining us for part of the 2014 residency.
Vanessa is a PhD candidate at the University of Arts London, Chelsea College of Art and Design. Research Title: ‘Sustainability. A New Sensitivity in Contemporary Art’. My curatorial practice investigates the possibility to stimulate an alternative knowledge capable to overcome the dualism between art and life, as between nature and culture, and thus finds its poetic force in the humble and in the ordinary, addressing contested matters through a collaborative, networked and interactive approach.
Susie’s work and research is influenced by minimalism, geometry, light, balance and architecture. It explores how the viewer experiences space, form and light. Her installation work alters, highlights or creates space for the viewer to interact with. Inspired by the materials she uses to make her sculptures and installations, Susie produces abstract photographs which become optical illusions or make space ambiguous and encourage the viewer to rethink the way they perceive. She uses scale that is recognisable to the viewer, evoking architecture but to a smaller scale, so that the space becomes more intimate. Material processes are important in her work and she believes that technical skill and quality is important alongside concept in a body of work.
Pia’s practice involves architecture, site-specific ephemeral architecture and photography. She is drawn to the use of natural materials with low impact for the environment such as straw bales, earth, timber, bamboo and canes. Her practice aims to connect architecture, the community and the cycles of nature whilst prioritizing the creation of healthier spaces taking into account ecological benefits, high performance and the people who inhabit the space. She obtained the Master of Architecture (M. Arch.) in 2008 at the Polytechnic University of Catalonia (School of Architecture of the Valles) with the Master Thesis “Therapeutic Water Bathing Resort in Salinas de Añana”
In the years after my graduation my work has developed from paintings on paper to installations with wallpaper and organic floor carpets called ricecarpets. My work shows domestic scenes with emphasis on the temporary state of things and patterns. In 2008 I received a grant from the Fonds BKVB to study Batik in Indonesia, where I spent one month. I met a lot of great people from the batik industry and the art scene. On my blog De reis naar Batik (The journey to Batik) I write about Batik, Dutch (colonial) history, folk-art and Temporary Art.
Hiroki is a PhD candidate at the Research Centre for Transnational Art, Identity and Nation, Chelsea College of Art and Design, London.
My work investigates the inevitable entropy of all things, particularly the entropy of human connections, those with each other and with objects, notably the eroding effects of time on the significance of these connections. Objects people and feelings that once held value are forgotten and lost. Using the language of the object itself I aim to reveal in objects the residual emotional significance, to see time captured. The resulting works are often evidence of the process of creation and erosion.
‘I have a background in theatre, and transitioned to becoming an environmental journalist while living in the Middle East for 5 years, and am now finding a cross over into film and visual communication. My practice is to explore the underside of life, the edges; the darker spaces. I am a village kid at heart, wanting to roam and explore woodlands, water and fields. This meant that becoming an environmental journalist while based in the Middle East was a natural step. Living in such a radically different place, I grew to love desert life and how cultures have adapted to it.’
‘I am a composer and sound designer for various media such as games and films and a software developer interested in Human Computer Interfacing (HCI) in particular in Brain Computer Interfacing (BCI). My current research is on the development of a Neuro-Feedback Training (NFT) software with sound/music for therapeutic use. Besides my academic research I am interested in visual arts and photography.’
Raw-Tag is a collaborative venture of artists and educators working in the field of sustainability, Carmen Lamberti and Beatriz Acevedo.
Domestic silk moths are closely dependent on humans for reproduction, as a result of millennia of selective breeding. If the animal is allowed to survive after spinning its cocoon and through the pupal phase of its lifecycle, it releases proteolytic enzymes to make a hole in the cocoon so it can emerge as an adult moth. These enzymes are destructive to the silk and can cause the silk fibers to break down from over a mile in length to segments of random length, which seriously reduced the value of the silk threads but not silk cocoons used as ‘stuffing’ available in China and elsewhere for doonas, jackets etc. To prevent this, silkworm cocoons are boiled. The heat kills the silkworms and the water makes the cocoons easier to unravel. Often, the silkworm itself is eaten.