LUIS A. NAVAS-REYES
July – September 2020 Residency
Luis A. Navas-Reyes is a visual artist whose work is a translation of abstract compositions that build upon his unique and personal visual vocabulary. His work is rooted in his identity, culture, environments, abstraction, power structures, familiar and historical histories. Utilizing media such as printmaking, drawings, ceramics, and bookmaking Luis explores themes, narratives, and forms. In 2018 Luis was awarded “Jurors Choice” at Artworks juried show. He was also selected to participate in the DOLPH project that contextualized contemporary art practice. Luis completed his BFA at James Madison University in 2018. Received a research grant to go to Sevilla, Spain 2019.
October – December 2020 Residency
Fanni Somogyi is a multi-disciplinary artist currently residing in Baltimore, MD. She has recently completed her BFA at the Maryland Institute College of Art in Sculpture and Creative Writing. Her work explores organic and inorganic networks, the effects of technology on memories, and how space and distance affect relationships. She is drawn to the foundry process, specifically lost-wax aluminum casting and metal fabrication. When she is not fabricating metal sculptures, she can be found researching or avidly composing her next poem. She has one public sculpture at the Franconia Sculpture Park in Minnesota installed in the summer of 2019 and she recently exhibited at Art Market Budapest, the biggest contemporary Eastern European Art Fair in October 2019.
“Themes that often occur in my work are networking systems, modes of connection and acts of remembering. More specifically, inspired by the formal qualities of organic and inorganic networks I investigate how humans relate to nature and one another. A symbiotic relationship exists between mycelium, a fungi and tree roots. Within this web there is a mesmerizing amount of activity: nutrients and information rhythmically transferred between trees and different plant species. In a sense, mycelium is the biological internet. Humans are located in a more overarching network with these beings and relating to them emphatically is important in developing a more sustainable relationship.
"Processes, such as metal fabrication and casting are integral to my work. These include welding, aluminum casting, mold making and image manipulation. I am drawn to metal specifically because of its malleability and durability. Steel contrasts with the more organic materials, such as plants, included in my work, however, this juxtaposition is crucial in thinking about possible sustainable futures. Moreover, casting is a process of care and transformation, which are qualities that are also present in the environment. This act of care and labor is necessary for the nourishment of natural areas.
"Becoming Still is an example of a dystopian-looking object functioning as a memory box of earth. Speculative in its nature, it is constructed for a time where nature is no longer pristine and is not readily available. The sculpture is built from steel and holds an LCD screen with video footage of the Patapsco River’s smaller branches, and the surrounding trees. The landscape is calm and human less, which contrasts with the context of the hypothetical viewer, who is missing nature. At the top of the sculpture is a small planter box housing aromatic basil. The work offers a fragment of nature in the hopes of inducing the viewer to seek out more. Questions of our ever-evolving relationship with nature, and the role of technology in salvaging our environment continues to motivate my art.” -- Fanni Somogyi
January – March 2020 Residency
Vi Trinh graduated from the University of Richmond in 2019 with a Bachelor's in Visual and Media Arts Practice & Leadership. A Vietnamese-American artist based in D.C., she works in digital and traditional media to examine the relationship between ecological and social patterns. She synthesizes data to confront ideas of colonialism and white supremacy within our current social context.
Her work explores ideas of rich aesthetics in ecological emergencies and the temporal reality created by large-scale phenomena. Much of her work is based in the internet and comes from the ethos of the internet as an illusionary space and the interaction with its interface. The internet as it appears; democratic, and free, and the reality of exclusionary design by the very few and the profits they gain from it. It has become the new ground of a very old problem. Between the environment and people, the disenfranchised and society, the user and the internet. She seeks a balance between technology and the internet not as antagonists created by colloquialism, but as multidimensional characters and potential allies.
The storyline for much of her work derives from a focus on objects and spaces surrounding humanity, without actually showing humans, architecture, design, aesthetics, technology, even A.I. trained by humans, built by humans, and strangely human themselves, it is about what is left behind and what that says about us and our archeological legacy.
July – September 2020 Residency
Ashley Llanes is an artist born and raised in Miami, FL who moved to Washington DC to earn her BFA in Fine Art Photography from the George Washington University Corcoran School of Art and Design. Her work focuses on personally political work about her Cuban American identity, her affinity with Miami, her queer identity and cultural pressures. These topics are represented through her photography, performative self-portraiture, collage, and mixed media.
"The title, Isole Scisse (Separate Islands), specifically references the Caribbean islands as well as the fragmented memories over generations of miscommunications and silence. A common post-traumatic stress reaction to diasporas.
"This series is the investigation of intergenerational trauma comprising found objects, family photos, and archived objects. Through this I’ve been able to map out history of my family’s experiences, my upbringing, and how I can be mindful and more intentional about my legacy.” -- Ashley Llanes