As part of the project I’m developing with Nadas, I’m going to make photo prints on recycled seed paper using the oil from plants found in the city in which we live. As the prints I’m going to be making won’t have any fixer, the designs will fade and the image will disappear entirely over an unknown period of time. After that, the seeds that begin growing will enter a new cycle and in place of the image, new life will emerge.

With this project, I seek to revive the value of places whose former functions have been forgotten as a way of drawing attention to urban dwellers who have become lost in the city and have forgotten their personal values, by taking the plants that go barely noticed between the concrete blocks of the city. This is done by using recycled seed paper and seeking a pardon with every life cycle each plant generates.

This project focuses on the possibility of transferring the therapeutic benefits of a psychodrama seance onto the audience of a video. Psychodrama is a group therapy method in which the participants stroll through their psyches with expressive and dramatic practices. 

It is believed that every person watching the seance, even if they have not participated in it, can benefit from the therapeutic effects. By shooting the seance with short film production, this project aims to create an identification in the audience, expanding the therapeutic effects beyond the restrictions of space and time.

This project brings together Alice’s painting and her work in humanitarian contexts, seeking to shed light on the courage of the women she met and elevate the voice of the unheard. Moving away from individual portraiture, this project depicts groups of women getting together and being educated on key health and empowerment topics. 

The gathering of a large number of women, the stark light and the vibrant colours seek to represent the energy and joy of these women, so often under-represented in western perceptions of African communities. It is a representation of women looking to make changes in their own lives, that of their family and their community, to pull themselves out of poverty and bring peace in conflict-stricken contexts.

Alice Janvrin grew up painting with her father and grandmother. She studied art at school and did an Art Foundation Course at Wimbledon Art School (UK). After that, she studied Psychology and Public Health and went on to do humanitarian work, leading reproductive and maternal health projects in humanitarian crises in the Central African Republic, Chad, Nigeria and D.R. Congo. 

During this time, she witnessed many accounts of women’s struggle and resilience, which has influenced her painting since. Her work in oil focuses primarily on portraiture, although she has also worked on still life and the human form in the past.

Having to stay at home in 2020 because of the pandemic, I never thought I would be so acquainted with my home and the schedules of the people around me. From the cawing sound that the Koels would make in the evening to the tile on the floor that strangely looks like the cat that visits my door every morning, my everyday felt new. Things that I found mundane and familiar have become things that bring me comfort, especially in a landscape that is rapidly changing. Where is home? Is it a place or the people that occupy it?

Amalia is an artist from sunny Singapore. She creates colourful art and digital illustrations inspired by the everyday people and scenery around her. Through the use of story-telling, her work focuses on bringing joy and comfort to people viewing them.

“My life as everything” is a narrative found footage film that uses documentary footage and 3D animation to tell a fictional episodic story: Dee remembers all of her past lives. She remembers her lives as a horse, African elephant, archaea, human, acacia, nettle. Through all these lives, the loneliness of memory follows her. 

The film recontextualizes non-fiction material as fragments of memory, embedding accurate documentary observation within an overall fictional narrative. In this field of tension, the question of material as witness and bearer of memory will be addressed.

The film is made in close collaboration with the filmmakers who donated their archive material for the making of the film. The project will extend the collective approach to the writing process.

Felix Klee (1990) lives and works in Munich where he currently studies directing for documentary film at University of Television and Film Munich. He is a graduate of the Academy of Fine Arts Munich. He also studied at the Academy of Fine Arts Nuremberg and was a guest student at Universidad de las Artes Aguascalientes Mexico. His current projects revolve around technology as a mediator between humans and other animals.

With my original plans of continuing and actually arriving at a finality for my painting and poetry collection 'In Loving Memory: My Love, My Melancholy' having been thwarted by the onset of the pandemic last year, I have been exploring creativity and vulnerability more inwardly and thoughtfully. 

Unexpectedly herded into a collective anxiety together with the rest of the world and losing touch with the concept of time, I have attempted to address dissolution/resolution through my affinity with painting flowers. With roots in my interest in vanitas especially that of its flower motif (decay), I'd like to explore grief, loss, paralysis and newness surrounding the brevity of life through a series of artworks of various mediums depicting the lily flower - a consistent subject matter in my artworks of flowers - that generally represents both death and newness. Through this project I'd like to explore how it is possible to incorporate floral remains into parts of my artworks, in a way it will not "unfold in vain". 

Accompanying these paintings would be poetry tailing after my last residency experience at Nadas exploring separation between geographies, and the collective surreality of this new normal/world order.

Experimenting with media

Lineworks in oil pastels / black crayon marker / gold paint / colored acrylic paints on mixed media paper

Impressions and Reflections of One Moment to the Next

Linework in black crayon marker and oil pastels

'Oh Lilly, How Gently You Lived and Died...' The fiery bloom and soft wilt of lilies across 7 canvas panels over 7 days

Black crayon marker, colored acrylics, and gold paint on used & recycled canvas, 13x20"

A Singaporean born and bred, Siettie always believes in the symbiotic pairing of Art and Literature, and has been drawing, painting and writing for as long as she can remember. She works in a local private art school in Singapore where she has been teaching art and sometimes poetry over the last nine years, constantly encouraging the awareness of thought process and creative experience to young children. Outside of work, she continues to make art and write on her own, focusing on portraits, flowers and places. 

A constant visitor to Istanbul over the last many years, Siettie has found the city's light, love and melancholy bewitching, and frequently makes paintings and pens poems surrounding this experience that combines both personal and public spaces.

Into the Blue will be a digital performance collage, which will combine film, site-specific solo performance, and the repetitive use of a single object (varying lengths and shades of blue fabric) and costume. Filmed in multiple locations, blue fabric highlights the blue - as water or sky - in every space. 

Combining voiceover and found sound design, there will be a poetic aural response to research conducted during the residency about water social inequality, water systems in everyday life and in the natural world, water mysticism, and symbology.

Kelsey Yuhara is a fourth-generation Japanese American based in London. She studied theater at Whitman College and location-based performance at Mountview and has contributed to various projects and collectives as a scripted performer, improvisationalist, director and costume designer in settings as varied as Seattle, Istanbul, Iran, Italy and currently the U.K. Her works are minimalistic in style and generally text or performance-based, involving elements either chanced upon, borrowed, recycled or repeated (as seen in a number of performance pieces).