2024 Studio Residency Programming
Announcing this year’s Studio Residency programming lineup!!! We are beyond excited to welcome these amazing artists into our space and community in 2024!
Be sure to mark your calendars and keep an eye out for upcoming talks, workshops, and other events with our Artists in Residence. Read below to learn more about what they’ll be working on at EE Studios!
February 2 – March 16, 2024
My art works are continuing development in the direction of decentering Western documentation and mapping traditions, and toward anticolonial documenting practice. I am interested in what mapping and documentation looks like without Western cartographers and extractive industry involved. I am interested in what maps look like with kin-network and intimacy informing the shapes of place and strength of sense in direction, as the leading foci. Can a map be created as a “thing” that is experienced? Can a map to a particular point be created in an atmospheric way, by evoking the senses until the map-reader knows they have arrived to the attended place? What does a multi-functional map look like? I wonder and imagine what documenting and record keeping look like when it’s us, the people of the place who live here day-to-day in embodied relationships with each other and the land, keep the notes and focus the perspective. I am interested in expressions of place, expressions made by places in the forms of flora, fauna, water, textures. How a place makes more of itself. How this = home(s), or at least the feeling of a home place.
Nadine Baldow, Alive Matter (TOPOPHILIA V): Landscape Investigation in Newfoundland and Labrador
March 29 – May 11, 2024
Nadine Baldow’s practice is informed by the current geological era, known as the Anthropocene where traces of human activity become embedded within planet Earth. Are we still part of nature? Or have humans created a new kind of nature? Perhaps estrangement from nature started with a fence: did the first artificial boundary create a gap between man and nature?
In preparation for her upcoming solo exhibition “Alive Matter (TOPOPHILIA V)” at EASTERN EDGE, Nadine will focus on the Landscape Investigation of the surrounding environment of the area Newfoundland and Labrador. Structures, that carry a heavy human handprint are layers of value in an altered landscape. In time these forms establish diverse geological strata, each layer betraying the sedimented yet shifting values of the cultural forces that produced them. With these layers, Baldow seeks to gain a deep understanding of the place and the relationship between “nature” and “culture” in this landscape.
May 24 – July 6, 2024
m’lk collective, made up of three siblings, Motheo, Lele and Kutlwano. Are interested in material culture and how it becomes a port of inquiry into stories and relations which would otherwise be illegible to them and perhaps others. Born in South Africa to a Xhosa mother and Mopedi father and raised in spaces which would be considered white or heavily influenced by the western world means they have been faced with multiple material worlds, sometimes simultaneously, most of the time in very close proximity. This has allowed for there to be a gap between what they have been and seen themselves as and what world they exist in/as. This gap has always been filled with enquiry, uncertainty and exploration. This has developed into a practice of observing, archiving and investigating material culture. In South Africa the fascination is how culture manages to persist in circumstances where it is told not to, they would like to bring this practice to Eastern Edge and get to understand how certain cultures have laid dormant, gone through transit and found itself in St John’s, Newfoundland. From objects, to rituals to ways of communicating. In this archiving they would like to use their technical background of architecture, ceramics, film, landscape architecture, lighting design and photography to find ways of making legible what they feel is to be documented. This requires collective practice and building of relationships which they are deeply interested in.
July 19 – August 31, 2024
Cranky signifies an erratic vessel, liable to capsize. This nautical meaning serves as a central metaphor for this proposal: I will relief print the hull of a discarded punt, alongside other sea jettison, and turn the printed impressions into textile kites to be flown along the coast. Cranky presupposes the strange and irregular flight of these soft vessels. It also alludes to the volatile consequences of globalization, consumerism, and climate change on coastal communities.
September 13 – October 26, 2024
During the residency I intend to visit the location of the Valentine mine and to research the processes and consequences of extracting gold from the landscape. I will speak with environmental groups and local community to discover the community reaction to this mining project, the environmental costs of resource extraction and the colonial legacy that these disruptive processes continue to enact. I will gather rubble and other materials produced by this extraction process.
November 8 – December 14, 2024
During this residency I will be furthering my research into Power Dressing, and the systems of misogyny
within professional expectations and environments. I plan to use these resources and space to develop new
performances as PROFESSIONAL WOMAN, explore developing bodies of work regarding Power Dressing
and professional fashion, as well as use the time to connect and work directly with the community.