C3:PAPERMAKING RESIDENCY
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2020-2021 C3:PAPERAKING RESIDENCY
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Each year, four artists are selected for intensive, month-long residencies during which they work in the Portland, OR based Pulp & Deckle studio. Lead papermaker, Jenn Woodward provides guidance for residents to help realize their individual projects. She also educates and assists residents with all equipment use, fiber preparation, cleaning, and any other studio needs. Upon completion of the four month-long residencies, a group exhibition is held at c3:initiative or a partnering location.
The studio portion of the residency is an extension of the c3:initiative ethos of engaging with timely conversations. Creatives are encouraged to set up studio visits with their peers, and to explore topics and themes of inquiry around material and making. While this is a technical residency, it is a hands-on, deep learning experience where residents will learn the skills and knowledge needed to work independently in the papermaking arts. |
THE COLLABORATION
c3:initiative selected Pulp & Deckle as the 2012-2016 project incubator. As the inaugural incubator program, Pulp & Deckle occupied a space within c3's North Chicago location in the St. Johns neighborhood of North Portland. Pulp & Deckle continues to operate as an independent community studio beyond their time in our incubator program. Their studio provides artists and paper enthusiasts with technical expertise and access to an adaptive papermaking studio. 2020 APPLICATION Applications are closed. Thank you for your interest! --- Due to the public health crises of COVID-19 we are working on a revised schedule for this residency program. Please check back for updates. |
Residents receive:
- An introductory group orientation to the Pulp & Deckle studio
- Technical assistance from lead papermaker, Jenn Woodward
- A one-month residency at the Pulp & Deckle studio with 24 hour access
- A materials stipend of $250
- A group exhibition in spring 2021 featuring the 2020 papermaking residents
CONGRATULATIONS TO THE 2020 PAPERMAKING RESIDENTS
Antonius-Tín Bui (they/them pronouns) is a polydisciplinary artist currently based in New Haven, CT. They are the child of Paul and Van Bui, two Vietnamese refugees who sacrificed everything to provide a future for their four kids and extended family. Born and raised in Bronx, NY, Antonius eventually moved to Houston before pursuing a BFA at the Maryland Institute College of Art (MIC/A). Since graduating in 2016, Antonius has been fortunate to receive fellowships from the Vermont Studio Center, Kala Art Institute, Tulsa Artists Fellowship, Halcyon Arts Lab, Houston Center for Contemporary Craft, Yaddo, Anderson Center at Tower View, The Growlery, and Fine Arts Work Center.
Madelynn Dubin is an emerging multimedia artist who has been working in Portland for the past two years. After graduating from California State University Chico with her BFA, she moved to Portland to participate in the Ash Street Project Emerging Artist Mentorship Program, a year long ceramics-based mentorship led by artists Thomas Orr and Joanna Bloom. While in Portland, her practice has expanded to include textiles, installation, and performance. She has also exhibited locally and started teaching ceramics classes. This year she continues working at the Ash Street Project as the studio assistant and is also the ceramic technician for the ambitious city-wide Gather Make Shelter project led by local artist Dana Lynn Louis. She sees herself continuing these collaborative, socially engaged projects in her future artistic endeavors.
Garrick Imatani is an artist who uses embodied perception, fabrication, and performance to think through the role of landscape, collective history, and racialized bodies within the United States. Imatani’s process frequently stems from research, site visits and collaboration, resulting in sculptures, installations, drawings, photographs, videos, and public projects exhibited nationally and internationally. Imatani’s recent collaborative public work, The Watcher Files Project (with Kaia Sand), has been exhibited at Blaffer Art Museum at the University of Houston; Art, Design, and Architecture Museum at UC Santa Barbara; YNKB, Copenhagen, Denmark; and Portland Archives and Records Center, Portland, OR among others. Other recent exhibitions and venues include the Southern Oregon SITE Project at Schneider Museum of Art, Ashland, OR with Physical Education (keyon gaskin, Allie Hankins, Takahiro Yamamoto, Lu Yim); Triumph Gallery, Moscow, Russia; Ditch Projects, Springfield, OR; Incident Report, Hudson, NY; HAP, Portland, OR; and, the Portland Museum of Art Biennial, Portland, ME. Imatani holds an MFA in Visual Arts from Columbia University and a BA in Art Studio from the University of California at Santa Barbara. He is currently the Chair of Foundation at Pacific Northwest College of Art in Portland, Oregon.
Lucia Monge is a Peruvian artist and educator whose work explores the way humans position ourselves within the natural world and relate to other living beings, especially plants. Some of her recent projects include adapting and re-performing Darwin’s experiments with climbing plants, mycoremediation rituals in urban tree pits, a “fungi broadcast” about deforestation in Peru, and sending potato seeds to space as messengers of diverse and non-colonial visions of the future and space travel. For the past ten years she has organized Plantón Móvil, a yearly “walking forest” performance that has led to the creation of public green areas in cities such as Lima, Providence, Minneapolis, London, and New York. In 2019, Plantón Móvil took place at the Queens Museum in collaboration with local communities and focused on human and plant migrations. Monge has shown her work internationally, including at the Museum of Contemporary Art in Lima, Whitechapel Gallery in London, and the United Nations Climate Change Conference (COP20). She holds an MFA from Rhode Island School of Design and has taught at Brown University and Rhode Island School of Design.
Antonius-Tín Bui (they/them pronouns) is a polydisciplinary artist currently based in New Haven, CT. They are the child of Paul and Van Bui, two Vietnamese refugees who sacrificed everything to provide a future for their four kids and extended family. Born and raised in Bronx, NY, Antonius eventually moved to Houston before pursuing a BFA at the Maryland Institute College of Art (MIC/A). Since graduating in 2016, Antonius has been fortunate to receive fellowships from the Vermont Studio Center, Kala Art Institute, Tulsa Artists Fellowship, Halcyon Arts Lab, Houston Center for Contemporary Craft, Yaddo, Anderson Center at Tower View, The Growlery, and Fine Arts Work Center.
Madelynn Dubin is an emerging multimedia artist who has been working in Portland for the past two years. After graduating from California State University Chico with her BFA, she moved to Portland to participate in the Ash Street Project Emerging Artist Mentorship Program, a year long ceramics-based mentorship led by artists Thomas Orr and Joanna Bloom. While in Portland, her practice has expanded to include textiles, installation, and performance. She has also exhibited locally and started teaching ceramics classes. This year she continues working at the Ash Street Project as the studio assistant and is also the ceramic technician for the ambitious city-wide Gather Make Shelter project led by local artist Dana Lynn Louis. She sees herself continuing these collaborative, socially engaged projects in her future artistic endeavors.
Garrick Imatani is an artist who uses embodied perception, fabrication, and performance to think through the role of landscape, collective history, and racialized bodies within the United States. Imatani’s process frequently stems from research, site visits and collaboration, resulting in sculptures, installations, drawings, photographs, videos, and public projects exhibited nationally and internationally. Imatani’s recent collaborative public work, The Watcher Files Project (with Kaia Sand), has been exhibited at Blaffer Art Museum at the University of Houston; Art, Design, and Architecture Museum at UC Santa Barbara; YNKB, Copenhagen, Denmark; and Portland Archives and Records Center, Portland, OR among others. Other recent exhibitions and venues include the Southern Oregon SITE Project at Schneider Museum of Art, Ashland, OR with Physical Education (keyon gaskin, Allie Hankins, Takahiro Yamamoto, Lu Yim); Triumph Gallery, Moscow, Russia; Ditch Projects, Springfield, OR; Incident Report, Hudson, NY; HAP, Portland, OR; and, the Portland Museum of Art Biennial, Portland, ME. Imatani holds an MFA in Visual Arts from Columbia University and a BA in Art Studio from the University of California at Santa Barbara. He is currently the Chair of Foundation at Pacific Northwest College of Art in Portland, Oregon.
Lucia Monge is a Peruvian artist and educator whose work explores the way humans position ourselves within the natural world and relate to other living beings, especially plants. Some of her recent projects include adapting and re-performing Darwin’s experiments with climbing plants, mycoremediation rituals in urban tree pits, a “fungi broadcast” about deforestation in Peru, and sending potato seeds to space as messengers of diverse and non-colonial visions of the future and space travel. For the past ten years she has organized Plantón Móvil, a yearly “walking forest” performance that has led to the creation of public green areas in cities such as Lima, Providence, Minneapolis, London, and New York. In 2019, Plantón Móvil took place at the Queens Museum in collaboration with local communities and focused on human and plant migrations. Monge has shown her work internationally, including at the Museum of Contemporary Art in Lima, Whitechapel Gallery in London, and the United Nations Climate Change Conference (COP20). She holds an MFA from Rhode Island School of Design and has taught at Brown University and Rhode Island School of Design.
FREQUENTLY ASKED QUESTIONS ABOUT THE PROGRAM
Q: When does the application open?
A: We will post the application info in December 2020 with a deadline to apply in January 2021, and the schedule is generally the same for following years.
Q: How much papermaking experience do you need to apply?
A: None. We welcome applicants who have prior papermaking experience but prioritize working with creatives who are new to the medium. If you have an existing papermaking practice and are looking for studio access we recommend contacting the Pulp & Deckle studio to discuss studio rental.
Q: If I’m not accepted can I re-apply another year?
A: Yes! We welcome prior year applicants to re-submit.
Q: Do you accept applications from artists who live outside of Portland, OR?
A: Yes! We welcome applicants from around the globe, however we do not provide living accommodations during the residency, nor do we cover travel expenses. During the 2020 jury process we decided to focus on local applicants due to the Covid-19 pandemic.
Q: How physically demanding is the studio work?
A: Papermaking can be a physically challenging process (lifting buckets of water and pulp, cutting up large amounts of fiber from cloth and plants,etc) but we strive to support a range of physical abilities.The Pulp & Deckle lead papermaker, Jenn Woodward, will assist residents with all equipment use, fiber preparation, cleaning, and any other studio needs.
Q: What is your interest in providing this type of residency?
A: The c3: Papermaking Residency began while Pulp & Deckle was in residence as a c3: Project Incubator. When the incubation term ended, c3 wished to continue supporting the program for a variety of reasons- here are just a few: To illuminate the use of a traditional craft form that is often overlooked in the contemporary art field. To support a makerspace within our region. To provide artists with an opportunity to create new-work outside of their usual practice/medium. To invite artists to consider how they can integrate eco-friendly art making materials and tools into their practice.
Q: When does the application open?
A: We will post the application info in December 2020 with a deadline to apply in January 2021, and the schedule is generally the same for following years.
Q: How much papermaking experience do you need to apply?
A: None. We welcome applicants who have prior papermaking experience but prioritize working with creatives who are new to the medium. If you have an existing papermaking practice and are looking for studio access we recommend contacting the Pulp & Deckle studio to discuss studio rental.
Q: If I’m not accepted can I re-apply another year?
A: Yes! We welcome prior year applicants to re-submit.
Q: Do you accept applications from artists who live outside of Portland, OR?
A: Yes! We welcome applicants from around the globe, however we do not provide living accommodations during the residency, nor do we cover travel expenses. During the 2020 jury process we decided to focus on local applicants due to the Covid-19 pandemic.
Q: How physically demanding is the studio work?
A: Papermaking can be a physically challenging process (lifting buckets of water and pulp, cutting up large amounts of fiber from cloth and plants,etc) but we strive to support a range of physical abilities.The Pulp & Deckle lead papermaker, Jenn Woodward, will assist residents with all equipment use, fiber preparation, cleaning, and any other studio needs.
Q: What is your interest in providing this type of residency?
A: The c3: Papermaking Residency began while Pulp & Deckle was in residence as a c3: Project Incubator. When the incubation term ended, c3 wished to continue supporting the program for a variety of reasons- here are just a few: To illuminate the use of a traditional craft form that is often overlooked in the contemporary art field. To support a makerspace within our region. To provide artists with an opportunity to create new-work outside of their usual practice/medium. To invite artists to consider how they can integrate eco-friendly art making materials and tools into their practice.