Inuit Artist Creative Residency
- Inuit Artist Creative Residency 2021-22
- Inuit Artist Creative Residency 2020
- Inuit Artist Creative Residency 2016
- Residency Recipients 2022-23
- Scholarship & Fellowship Residency Recipients 2021-22
- Scholarship & Fellowship Residency Recipients 2020-21
- Scholarship & Fellowship Residency Recipients 2019-20
- Scholarship & Fellowship Residency Recipients 2018-19
Visiting Artist Residencies
Scholarship & Fellowship Residency Recipients 2019-20
Don Phillips Scholarship Residency Recipient
Lavinia Lindsay grew up in Niagara Falls Ontario, which has been a major source of inspiration for her work. She is a recent graduate of the University of Guelph Bachelor of Arts program, where she was first introduced to printmaking in 2015. She is now focused on intaglio etching, mezzotint, and how printmaking and animation can work together.
Drawing inspiration from the degradation of her hometown, Lavinia strives to contrast the advertised ideals of Niagara with the uncanny realities of what growing up there was actually like, from her perspective. Her work often begins as a political commentary on the tourist industry and attempts to expand into a more poetic reflection of comfort. Lavinia thinks storytelling and knowledge are important elements of art, and she tries to capture these notions in her work: be it through the titles of her prints, or by creating intentional variations within an edition. Her practice is very process-driven, and sometimes becomes physically demanding, especially when rocking her mezzotint plates by hand. With this residency, she plans to continue creating animations from prints, and she would like to continue analyzing her hometown and Niagara Falls tourism through a critical lens.
Hexagon Special Projects Fellowship Residency Recipient
Alison Judd’s practice is rooted in printmaking at the intersection of print, sculpture and language. She uses earthly phenomena to ruminate on transience, impermanence, and loss, as well as the slow accumulation and distillation of knowledge.
A ‘fact’ is a thing that is known, or proved to be true,
a ‘fracture’ is the act or process of breaking or the state of being broken,
and ‘facture’ is the manner in which something is made.
During the Hexagon Fellowship Residency, Judd will work with these definitions as concept, materials and process. She will create a series of works where scientific texts and geological descriptions are mined for poetry and pair this with letterpress, relief and etching processes. Judd is interested in the discrepancy between logical language and the ineffable and how we struggle to find and express meaning. She is particularly compelled by how such representations can strip away emotional and relational complexity, how metaphor and materiality can restore a nuanced understanding to what is and is not.
Judd holds a diploma from the Ontario College of Art, Toronto, a BFA in Printmaking from Concordia University, Montreal, and completed her Masters of Fine Art in Print Media at York University. She has exhibited work nationally and internationally and has been awarded residencies at the Kloster Bentlage Cultural Centre, (Rheine, Germany), the Klondike Institute of Art and Culture, (Dawson City, YK), the Banff Centre for the Arts (Banff, AB) and the Druckwerk Printmaking Studio (Basel, Switzerland). She is Assistant Professor in Printmaking at OCAD University in Toronto.
Jeannie Thib Mentorship Residency Recipient
Victoria Day creates screenprints, murals, and drawings that examine themes of gender, self-indulgence, and mental health through an autobiographical lens. She is inspired by the duality of the internal – the mind, identity, thought – and the external – the body, society, action. Her practice explores the fluctuating relationship between these elements through self-portraiture, bridging her interior landscape with her exterior form.
During the Jeannie Thib Mentorship Residency, Day will be combining her drawing and printmaking practices to produce a series of images that have been passed through repeated digital and analog manipulations. She hopes that her experiments will lead to work that gives pause to the rapid image consumption of the times and will raise the question …what is this? …how was it made?
Nick Novak Fellowship Residency Recipient
While not technically considered a printmaker, Michelle Forsyth employs a wide range of copying in her practice and calls attention to the nature of the multiple. Her current work consists of photographic prints depicting hand-crafted items such as screenprints, lithographs, paintings, weavings, and sculptures. These items are copies of things that are dear to her and she outlines those sentiments in text passages that accompany her work when exhibited.
The work she will complete at Open Studio will follow along this trajectory but will more specifically address the self, performing in the home, and the body in relation to illness and disability. Forsyth will complete a series of six life-sized self-portraits. Each work will focus on repeat patterns, printed on fabric and on papier-mâché forms. The textiles will be sewn into tight-fitting garments and the sculptural forms will be made to wear as jewelry or accessories. Ultimately this work will be reproduced as digitally-printed self-portraits. In the finished works, the printed matter will be predominant.
Inspired by the figures captured in interior decorating and lifestyle magazines, the work will picture her body interacting within her home. Here the body will uncover her struggle to perform once mundane tasks. Ultimately the work will be performance-based. Here her body, with all its renewed achievements, will seem beautiful, transcendent, and effervescent through the exploration of the qualities of movement that are unique to it.