Spudnik Press Cooperative is excited to announce the five Resident Artists in 2022 who will bring new research, programming, and experience to our community: Cameron Mankin, Susy Bielak, Elizabeth Rose, Hale Ekinci, and Hui-min Tsen. The Residency gives mid-career and established artists full access to our studios for the completion of new print-based artwork, along with a stipend and support from our staff of professional printmakers. Each Resident also engages our community in unique public programming that is connected to their practice and open to all.
In addition to these five artists in residence, we are also excited to be hosting artists re-scheduled from 2020. Stay tuned for an upcoming announcement welcoming these artists!
Resident Artist Project Statements:
Cameron Mankin, March/April 2022
In 1633, printmaker Jacques Callot made his Miseries of War – a series of 18 etchings depicting the invasion of his home, Lorraine, that would go on to inspire the works of artists like Francisco Goya and Otto Dix. At the same time, he was developing an incredibly rigid system of etching, preserved in Abraham Bosse’s Manual of Etching. In Covid after Callot, my goal is to produce a series of copper etchings, applying Callot’s etching system to news images circulating today – using the precursor thought-technology of Callot’s work as an archeological tool through which to examine the system of design that informs today’s imagery.
Susy Bielak, May/June 2022
Susy Bielak will use a residency at Spudnik to create a suite of portraits of people in the act of listening. This is part of an ongoing series that draws relationships between people and infrastructural and natural disasters.
Inspired by Pauline Ontiveros’ expansive understanding of listening as an act of meditation, tuning, and focus, and R. Murray Schafer’s concept of hearing as “a way of touching at a distance,” Bielak will photograph choreographers, musicians, and poets as they stage acts of listening in their homes. Bielak will translate the resulting images into a series of prints, with accompanying short texts based on conversations with the artists.
Elizabeth Rose, May 2022
Working with intaglio, relief, and risography processes, I will produce a series of unique and editionable works on paper based on my recent experiences living in Poland.
I am interested in ecological shifts as they relate to Northern latitudes within the broader global context, with specific attention to the correlation between Poland’s landscape and the United States.
I will work from my photographic archive along with bright and colorful resource materials I collected while in Poland to create my new work at Spudnik Press.
Hale Ekinci, July/August 2022
Collage and techniques of transference are integral to my multidisciplinary practice. As an immigrant female artist, my work deals with acculturation, hybrid identity, and ideas about gendered labor. Influenced by Islamic ornamentation, my visual language references a mixture of coded symbolism such as oya (lace edging that traditionally contained meaning in the patterns on a headdress) and kilim rug symbols. As a resident at Spudnik Press, I plan to continue my mixed-media works on textiles and add printmaking to my visual vocabulary.
For this residency, I have a range of processes I would like to experiment with to expand my mixed-media mark-making. I plan to use silkscreen printing and transparent inks instead of solvent photo transfer, which would allow me to layer and play with colors while reducing toxic exposure. I will also use linocut motifs to create repeated patterns and textile materials to make impressions for monotypes. I have a collection of textiles, mostly from thrift stores and my dowry that I want to use to translate onto surfaces. After printing on fabric and/or paper, I will layer embroidery and hand painting as I typically do in my work.
Hui-min Tsen, September/October 2022
I will use the residency to develop a series of small, riso-printed books. The series is part of an ongoing project that brings the reader across a successive line of frontiers, starting with the Illinois prairie and heading westward across the American interior. Individually, the books tell specific stories of prairie remnants, Ronald Reagan’s boyhood home, the crossing of the 100th meridian, and how-to-find-the-frontier (among others). Taken all together, the books use moments of westward migration to explore the identities and paradoxes of the American narrative, forming a loose story about the ways in which imagined and tangible landscapes can co-occupy a single space.
