Summer Arts BIPOC Residency

Jeanne F. Jalandoni
jeannejalandoni.com
June 24 to July 19

Jeanne F. Jalandoni (b. 1993) is a painter and textile artist born and based in New York City. In her work, she combines weaving and machine-knitting with oil painting in order to navigate the multifaceted experiences of her Filipino American identity. Thematically, Jalandoni reimagines, and deconstructs ancestral narratives, while quietly inserting historic events and objects within scenes. Her collaging of timelines cumulates into an emotion-coded storytelling of family and seeks to acknowledge overlooked Philippine history. Jalandoni received a BFA in Studio Art with a concentration in painting from New York University (2015). She has exhibited nationally in New York, California, Connecticut, Texas, Massachusetts, Michigan; and internationally in London, Hong Kong, Zagreb, Moscow, and Berlin. Her work is held in various private and public collections worldwide. Jalandoni was a featured artist in New American Paintings (issue #164, 2023), and her work appeared on book covers published with Duke University Press (2023) and University of Washington Press (2024). Jalandoni was an artist-in-residence at 36 Chase & Barns Residency (2018), Textile Arts Center (2021), and ChaNorth Artist Residency (2022).

Project Proposal: Alfred’s BIPOC Art Summer Residency would be such a benefit to my practice, in terms of providing more focused time and studio space for my work to grow. In the studio, I am currently working on creating spaces for my recurring, invented carabao (water-buffalo) figure. These spaces will present shape-knitted objects and furniture on my domestic knitting machine. Much like the piece, Hating Gabi (Midnight), I am referencing objects from life and family archives, and thinking about themes around family relationships, personal connections to culture, and migration. These works will also contain drawn and printed US-Philippine historic archives subtlety inserted in background objects. These archives will have associations that mark historic events, which my parents and grandparents lived through. During the residency, I plan on continuing this trajectory, and will arrive to the residency with knitted and woven pieces that I will sew together. The dimensions of these pieces will be medium to large-sized works, taking advantage of the provided studio space. These works would accumulate to a series that focus on scenes and moments around the carabao figure, and utilize knitted and embroidered techniques. By the end of the residency I intend to have at least 1-2 large pieces, and 3 medium-sized works, ready to present.

In between my projects at the residency, I would love to participate in the summer workshop classes that are offered, such as “Hand Turned Ceramics: Pinch Pots” and “3D Printing for Metal Casting”. Lately I’ve been interested in branching out of 2D forms, and creating 3D objects. Alfred’s facilities and guidance, would inspire me to relearn and experiment with new mediums, which I would continue to incorporate in my practice back home. The opportunity to delve in new mediums would be a great learning experience to help nurture my problem-solving abilities in manipulating and combining different mediums. During residencies, I always look forward to developing new relationships with the local and visiting arts community. Although having focused time to work is very important to me, it is also necessary in my practice to always have new perspectives of the work, and learn from other artists.

Sharon Norwood
sharonnorwood.com
June 24 to July 19

Sharon Norwood is a conceptual artist whose work spans several media to include painting and ceramic. Norwood  received a BFA in Painting from the University of South Florida and an MFA in studio Art from Florida State University. Norwood’s work investigates the ways in which race, gender, and cultural identity shape our perceptions of ourselves and other people. In her  work the curly line becomes a metaphor for the “black body”,  within this conceptual understanding, the curly line when paired with historical objects, creates spaces for conversations relevant to black life. Her  research is a continuous exploration of the narratives that surround blackness and femininity, challenging societal norms and representation.

As an active educator and lecturer, Sharon has shared her insights and showcased her work at numerous institutions, including OCAD University, Kent State University, Emily Carr University, Telfair Museums, Edna Manley College, and the Gardiner Museum. Her lectures typically address themes of identity, representation, and the interplay between art and cultural discourse. She has earned several accolades for her work, including support from the Canada Council for the Arts, a nomination for the Joan Mitchell Foundation "Painters & Sculptors" Grants, and various grants and fellowships. Her work is featured in art publications, academic textbooks, and is part of public collections at notable institutions such as the Gardiner Museum, Washington & Lee University Museums, The National Museum for Women in the Arts, and the TD Bank Collection.

Yikui (Coy) Gu
[email protected]
June 26 to July 21

Yikui (Coy) Gu was born in 1983 in Nantong, China and emigrated to the United States at the age of seven, growing up in Albany, NY. He has a BFA from Long Island University and an MFA from the Pennsylvania Academy of the Fine Arts. He has exhibited his work nationally in New York, Miami, Philadelphia, Washington, D.C., Boston, and St. Louis; and internationally in London, Berlin, and Siena, Italy. He has been an artist in residence at the School of Visual Arts, and has lectured at Tyler School of Art, Gettysburg College, and Fontbonne University. He has been reviewed in Hyperallergic, the Washington Post, KunstForum International, the Philadelphia Inquirer, Denver Art Review, and the Yale Daily News. His work has appeared on the cover of the Lower East Side Review, and in Fresh Paint and Art Maze. His work is held in the permanent collections of the Siena Art Institute, Wheaton College, Camden County College, and numerous private collections. He resides in Philadelphia and teaches as Associate Professor of Art at the College of Southern Maryland. The bulk of his time is spent in the studio, where he is currently plotting his takeover of the international art world, while remaining mostly harmless.

Project Proposal: To produce a series of portraits of BIPOC subjects from the Alfred University and local community using smart devices of their own as the surface. These devices can be older models, no longer used, and ideally with cracked or damaged surfaces. The wear and tear of their devices would echo the lived experiences of my subjects, and become an integral part of the finished portrait/object.

Lola Ayisha Ogbara
[email protected]
July 2 to July 22

Lola Ayisha Ogbara (b. 1991) is an artist, curator and writer from Chicago, Illinois. Her practice explores the multifaceted implications and ramifications of being in regard to the Black experience. Ogbara works with clay as a material in order to emphasize a necessary fragility which symbolizes an essential contradiction implicit in empowerments. Sculpture, sound, and installation art is the praxis of Ogbara's interdisciplinary practice. She holds a BA from Columbia College Chicago and an MFA from Washington University in St. Louis. Ogbara has exhibited in art spaces across the country including The Luminary, Hyde Park Art Center, Mindy Solomon Gallery, and Kavi Gupta Gallery. She also received numerous fellowships and awards, including the Multicultural Fellowship sponsored by the NCECA 52nd Annual Conference, the Arts + Public Life and Center for the Study of Race, Politics & Culture Residency at the University of Chicago, the Coney Family Fund Award from the Chicago Artists Coalition, and the Chicago DCASE Esteemed Artist Award. Ogbara is currently based in Chicago, Illinois.

Project Proposal: Throughout the course of Alfred University's BIPOC Artist-in-Residence program, I plan to engage the campus' large indoor ceramic kiln facilities to create a body of work incorporating large scale ceramic sculpture with the projection of sound and/or lithographic printing in mind. Particularly, I plan to expand upon The Black Haptic Consciousness, an ongoing interdisciplinary study of history, folklore, interconnectedness, matrilineage and the compulsion of haptic memory and embodied knowledge in clay practices.

Check out these featured artists in our Open Space Exhibit

Tatiana Florival / tatianaflorival.com / May 16th - June 12th

Tatiana Florival is a NYC-based artist-filmmaker. She graduated with a BFA in Painting from the Rhode Island School of Design in 2018. Her work has been shown in galleries such as Kunstraum Gallery in Brooklyn, NY, and Woods-Gerry Gallery in Providence, RI. She has also screened her work in theaters such as the Bijou Theater in New Haven, CT.
Her work aims to investigate and at times propose explanations for natural phenomena, such as death, origin, and the connection between mind and body. She's interested in the observation, imitation, and interpretation of those natural patterns, and translating those observations into imagined landscapes, characters, and stories.

Clare Hu / clarehu.net / May 16th - June 5th

Haptic skips of woven textiles gone awry, the distortion of image dictated by the hand, and games of hide and seek, inform the use of weaving, mended imagery and installation, to examine false histories and notions of the South. By utilizing slow craft, Clare Hu dissects how Southern myths are acted and re-enacted in the stories and objects surrounding them, and particularly, the kinds of debris left behind.
Hu completed her BFA with a focus in Fiber and Material Studies at the School of the Art Institute of Chicago (SAIC), and has received additional training in textiles from the Gerrit Rietveld Academie in the Netherlands. Clare has shown widely in Chicago, IL at No Nation Gallery, Gallery No One, Dfbrl8r, and Sullivan Gallery, and has recently shown at the Textile Arts Center in Brooklyn, NY and Dream Clinic Project Space in Columbus, OH. She is a recent Hambidge Center fellow, and a past resident at the Textile Arts Center in Brooklyn.

Adrian Aguilera / adrianaguilera.com / July 18th - August 7th

Born in Mexico's industrial capital of Monterrey. Aguilera immigrated as a young adult to the U.S. where he settled in Austin, Texas in late 2000's. He received his BFA (2004) from The Autonomous University of Nuevo León, México. Working with a variety of mediums that include sculpture, text-based work, print media, video public art, and installations, he researches the intrinsical essence that resides in objects. With an interest in scientific observation, cultural history, and social issues, Aguilera's work aboard our relationship with the physical and cultural spaces in which we (co)exist. He has exhibited both nationally and internationally at The Philbrook Museum, The Contemporary Austin, Artpace San Antonio, the Fusebox Festival, The Blanton Museum of Art at the University of Texas, The George Washington Carver Museum, and The Instituto Cultural de México in Paris, France. In addition to his practice he is an active member of the Austin-based contemporary arts collaborative Black Mountain Project. He currently lives and works in Austin, Texas.

Jacoub Reyes / @jacoubreyes / Jul 27th - Aug 10th

I am a printmaker and installation artist based out of Orlando, Florida. In my current practice, I find and make materials and tools as part of an experimental aspect in my process. I salvage and transform found wood as a reflection of how marginalized and oppressed communities have been cast aside throughout history. With these, I carve detailed large-scale allegorical woodcuts based on the acculturation of the Caribbean and the world at large. From the sides of forgotten buildings to interactive handmade structures, my installation work incorporates sound recordings, prints, and video elements that meld personal histories with global shifts. Through this method, I can prioritize bridging the gap that connects our present and past with the hope of preventing historic recurrences. My work, built from found objects, holds and preserves history that viewers can experience firsthand.

Up to $2,500 sliding grants will be provided to cover travel, meals, or supplies.

• 2 weeks $1,500 grant
• 3 weeks $2,000
• 4 weeks $2,500

Housing: Complimentary, furnished 1-bedroom campus housing with access to full kitchen and laundry facilities.

Studio spaces are provided within Cohen Center for the Arts on Main Street, with available options on the 1st (2900 sq ft) or 2nd (3300 sq ft) floor.

There will be opportunity to exhibit or present in one of the galleries or performance spaces at Alfred University following the residency.

We are now accepting applications until February 1, 2024. All artists will be notified of their application decision by April 5, 2024.

Please submit one PDF file, consisting of CV, portfolio (max 20 slides), and letter of interest (max 2 pages) detailing: 1) project proposal during the residency program, 2) personal/artist statement, and 3) contact information.

Apply Here

Artists are granted the option to participate in a fully funded 1-day, 1-week or 2-week Summer Arts workshop during their residency. For more information on these workshops, please visit the Summer Arts Workshops webpage.

All artists must be fully vaccinated against COVID-19. Fully vaccinated is defined as having received their final dose of the vaccine two weeks prior to the event date. Representatives must show proof of vaccination in order to enter any building on campus. All guests must follow the University's safety protocols.

Selected artists may be required to take headshots for a temporary University ID card.