Innovation in Image Residency

Residency Dates: May 21 - June 1, 2021

For its fiftieth season, Pilchuck is introducing a brand-new Innovation in Image residency. This residency will create supported access for two image-based artists to Pilchuck’s unique vitreography and image-making facilities.

In 2020, Pilchuck introduced a new Digital Imaging Lab adjacent to the Print Studio. This residency presents an opportunity for inventive image makers to come and explore the potential of Pilchuck’s new facilities and experiment with groundbreaking ways to combine imagery and glass while surrounded by the stunning natural beauty of the campus.

Residents will have open studio space and access to the Digital Imaging Lab, Print Studio, and Cold Shop. Living accommodations, meals, travel reimbursement, and a $500 materials budget and $1,000 stipend will be provided. Each resident will be asked to donate a print to Pilchuck’s extensive print collection.

Applications due Friday, December 18, 2020 by 11:59 PM PST.

 

View a map of the Print Studio and Digital Imaging Lab. 

 

MEET THE 2020 JURORS 

NIKKI BARBER is a Seattle-based printmaker, with roots in Lebanon, focusing her woodcut prints on the Pacific Northwest and the peace found in reconnecting with the environment - both constructed and found.  

She primarily teaches printmaking at Pratt Fine Art Center, Seattle Artist League, and other art schools in the Seattle area. She is a fine art photographer, specializing in works on paper, at Davidson Galleries in Pioneer Square, and an active board member with Seattle Print Arts. She is currently collaborating with Amplifier Art Executive Director, Cleo Barnett, and Seattle Print Arts to develop a free webinar series centering BIPOC voices to unpack the harm that comes from cultural appropriation and the line separating it from cultural appreciation. She is represented by MESH Fine Art in Chicago, IL. 

Based in Seattle, Washington, BEN BERES works in sculpture, glass art, street performance, public art, and traditional printmaking. One-third of SuttonBeresCuller, a collaborative trio fabricating experimental guerrilla art to high-end commercial work for more than 20 years, Beres likes to play with what art is and can be.

He is a professor of printmaking at Cornish College of the Arts, founding member and vice-president of Mini Mart City Park — a community center and arts space, and creative director of Bellwether Arts Experience in Bellevue, WA.

Exploring ideas of home through language, culture and vernacular architecture, ERIN DICKSONS's diverse practice is connected through tongue-in-cheek themes of ‘Britishness’, particularly in relation to North East England. Using a variety of digital and analogue techniques, her works range from time-based performances and photographic glass reliefs, through to monumental sculpture and installation.

Beyond digital fabrication and traditional sculpture, Dickson uses contemporary tools such as social media and Google translate to engage in broader discussions about cultural constructions, and folk and craft histories. Her creative practice often takes place virtually, processing data to create 3D models and selectively delegating production.

Dickson studied at the Architectural Association, London, gaining her RIBA Part I in 2009. Funded by the Arts and Humanities Research Council, her PhD research, The Quirks of Intimate Space, was completed at the University of Sunderland in 2015. She is currently Postdoctoral Research Fellow at Central St Martins, University of the Arts London, working on the production of physical manifestations of scientific data to creatively embody climate change.

DAWIT N.M. is a director and photographer currently based in New York. Born in 1996 in Addis Ababa, Ethiopia, he later moved to Hampton Roads, Virginia, with his family at the age of six. After establishing a deep interest in the visual arts, he became an ardent autodidact, committing himself fully to learning the art of filmmaking and later photography. His subjects have taken audiences into worlds of loss, devotion, intimacy, and innocence. In the same vein, the images question the transparency of narratives that are shaped by western influences. This relationship between identity and stereotypes inspired his first self-published photography book, Don’t Make Me Look Like The Kids On TV  (2018).

His directorial debut—a visual accompaniment for Ethiopian-American singer/songwriter Mereba's debut album entitled The Jungle Is The Only Way Out (2019)—earned him a nod for Emerging Director at the 2019 American Black Film Festival. Dawit’s first exhibition, The Eye That Follows  (2020), was on view at The Chrysler Museum in Norfolk, VA, summer of 2020.