February 2026 Cohort (Late) Recap

Written By Assets for Artists

Residency Session: February 26 — March 10, 2026

Artists-in-residence

Studio 1

Caroline K. Fulford

Caroline K. Fulford is a librarian and writer from New Jersey living in Brooklyn. She received support from Sundress Academy for the Arts in 2024. In 2019, she won the Indiana Review Fiction Prize and an NYC Emerging Writers Fellowship from the Center for Fiction.

Her fiction is speculative and historical, finding the porosity between humanity and nature. She is working on a collection of short stories, in addition to a novel based on the Sullivanian psychotherapy cult of Manhattan's Upper West Side in sixties and seventies.

 

Studio 2

Lynnée Denise

Lynnée Denise is an interdisciplinary artist and writer working across sound, moving image, and research-based practice. Based between Amsterdam and Johannesburg, and originally from Los Angeles, her work examines music as a form of knowledge production, focusing on the visual, social, and political life of sound within Black Atlantic histories.

Her artistic practice is grounded in what she describes as turntable epistemology: a method that treats recorded music, albums, and their visual cultures as sites through which history is heard, read, and interpreted. Drawing from experimental sonic performance, film essays, and installation-based research, her work explores how sound operates as evidence—carrying political histories, migration trajectories, and mapping interconnections across time and place.

Denise has presented work internationally at institutions including Kunstinstituut Melly (Rotterdam), Tate Liverpool, Haus der Kulturen der Welt (Berlin), and the Musée d’ethnographie de Genève (MEG). Alongside her artistic practice, she has taught and contributed to artist development and research programs at institutions such as Sandberg Instituut, Rijksakademie van Beeldende Kunsten, Stanford University, and Goldsmiths, University of London, where she is completing a PhD in Visual Cultures.

Her award-winning debut book, Why Willie Mae Thornton Matters (2023), reflects her long-standing engagement with music as an archive of cultural and political life.

 

Studio 3

m. l. rIO

M. L. Rio is a novelist, music critic, and academic based in Philadelphia. She holds an MA in Shakespeare studies and a PhD in English literature. She is the author of three bestselling books: IF WE WERE VILLAINS, GRAVEYARD SHIFT, and most recently HOT WAX. Her creative work is intertextual and ekphrastic, drawing on her performance studies scholarship to explore other forms of artistic expression -- including theatre, film, and popular music -- through fiction. An avid traveler, her fiction is also animated by a keen interest in place in both space at time. She is currently at work on her third full-length novel, which explores the complex social dynamics of reconversion in industrial communities and the work of "labor spies" in the wake of World War II.

 

Studio 4

Kim Miller

As an artist working with performance, dance, video and text, Kim Miller works with a form of social practice she calls social choreography. Her work is a place to rehearse – practicing relations and possibilities. Social choreography asks how we can organize and move with and through relations to bodies in space. She uses dance as both a subject and a discipline, to collapse and reorganize our relationship to space and bodies. Kim’s movement scores think and feel. Her central question of what can social choreography do? points to the hope that social choreography does something liberatory.

In addition to her performance practice, Miller runs a movement-theatre company, Social Choreography. She is the co-founder of Mazzzagine, an artist-based initiative for new works and new collaborations.

Miller has performed and shown work at Sculpture Milwaukee; El Sindicato Centro Cultural Comunitario, San Miguel de Allende, Mexico; Anthology Film Archive, New York; The Suburban, Oak Park; Green Gallery, Milwaukee; MOMA, New York City; MASS MoCA, North Adams; and Art in General, New York City. She is a Professor of Fine Art + New Studio Practice at the Milwaukee Institute of Art & Design.

 

Studio 5

VicTORIA DUGGER

Victoria Dugger (b. 1991, Columbus, Georgia) received her MFA in Studio & Design at the Lamar Dodd School of Art at the University of Georgia in 2022. Dugger was named the winner of the 2024 Hudgens Prize (Duluth, GA), 2023 Southern Prize for Visual Arts, and 2023 Southern Prize for Visual Arts Georgia Fellowship. Dugger was recently a resident at the Studios at Mass MOCA and MacDowell Artist Residency (Peterborough, NH) in 2024. Dugger has had recent solo exhibitions at Sargent’s Daughters (New York, NY), Shirley Fiterman Art Center (New York, NY), Lyndon House Arts Center (Athens, GA), the Hudgens Center for Art and Learning (Duluth, GA), and Container Gallery, Columbus State University (Columbus, GA). Her work has been included in group exhibitions at SCAD Museum of Art, JDJ Gallery (New York, NY), Kravets Wehby Gallery (New York, NY), Fierman Gallery (New York, NY), The Minnesota Museum of American Art (St. Paul, MN), Ohr-O’Keefe Museum of Art (Biloxi, MS), VSOP Projects (Greenpoint, NY), Atlanta Contemporary (Atlanta, GA), Museum of Sex (New York, NY), JEFF (Marfa, TX), Lamar Dodd School of Art (Athens, GA), and Swan Coach House Gallery (Atlanta, GA), among others. Dugger’s work has been featured in Artforum, Colossal, Hyperallergic, Artnet News, Artnews, Art Observed, Whitehot Magazine, Arts Atlanta, The New York Times, Burnaway, Frieze, Vogue, and artdaily; and she was included in New American Paintings 179. She is represented by Sargent’s Daughters.Courtesy of Artist and Sargent’s Daughters.

 

Studio 6

SHEMONA GOLDMAN

Shemona Goldman is a composer, sound artist, and sculptor whose practice investigates conductivity, resonance, and signal transmission as material and ethical conditions. Working across experimental composition, electronic systems, and sculptural installation, she develops open musical environments shaped by environmental and infrastructural forces.

Her work centers on copper and silver as conductive media, examining oxidation, surface memory, and resonance decay through radios, transducers, hydrophones, and custom-built circuits. These systems embed improvisation and aleatoric processes within material structures, allowing sound to emerge through instability, feedback, and responsive tuning.

Goldman’s MFA thesis in Music and Sound at Bard College, Pluralistic Audibilities, integrated sculptural installation, microtonal performance, and radio transmission with critical research into diasporic epistemology and cybernetic theory. Across her practice, she approaches composition as an infrastructural act accountable to social, historical, and ecological conditions.

She lives and works between Toronto and New York.

 

Studio 9

SALLY SCOPA

Sally Scopa is a painter based in Bellingham, Washington.

Painting brings me a sense of stillness and presence in the here and now; each of my pieces is an invitation to the viewer to share in this focused state. While my paintings can look puzzle-like and mathematical, they take shape intuitively over time and, ideally, surprise me. I work in layers, sanding back down to excavate previous versions of the piece and allowing decisions to accumulate organically, each in response to the one before.

The content of my work changes often, but what remains consistent is an emphasis on the peacefulness of painting: the physical sensations of looking and painting that allow someone to exist in the present moment. Right now, I'm thinking about Rube Goldberg machines, pre-cinema, aquariums, molecular diagrams of the human body and geographical strata as starting points for my work.

“Whatever it is, the way you tell your story online can make all the difference.”
— Quote Source
 

Studio 10

JO SANDERS

In an interview, jazz pianist Duke Ellington was asked where he found inspiration. His response has stayed with me: “I got a million dreams. It's all I do is dream. All the time.” When the interviewer countered, “I thought you played piano,” Ellington turned, played the piano in front of him and said, “No, this is dreaming.” That line resonates deeply with me and inspires my practice.

I am a 24-year painter, printmaker, and sometimes writer. I spend my days dreaming—transforming those dreams into short stories and making them into printed fabric. My work focuses on fusing painting and silkscreen. My work creates internal landscapes by using tie and dye, silkscreen, oil pastel, and anything else that feels right to explore and express those dreams. I will use anything (truly anything) to achieve my vision. My process is intuitive, impulsive, spiritual, ritualistic, and reassuring. Similarly to Ellington thinking about his work as a type of dreaming and a place to derive inspiration from, I use daydreaming as a mode of storytelling. I am using dreams as a way to envision a new way of existence. I approach dreams as liberation and a way to exist safely. In my dreams I do not have a body. I do not have bad days. I can explore possibilities in my fabricated realities. In these dreams there is no winter and it is easy to live. I do cartwheels in the tall grass and eat watermelon with my grandmother. My practice includes recreating these feelings via the process and begins to further realize them by creating a tangible object.

Influences: Sun Ra, repetition/ ritual, my grandmother, church, romance, John Coltrane, yearning, Jazz, unspoken words, impressionist paintings, Barry White, sunshine, angels, moon gazing, smelling a lovers unwashed scalp, warm lighting, Billie Holiday, Blues, skin, and dirt (v) (the act of being dirty)

 

Studio 11

DARIA IRINCHEEVA

Daria Irincheeva is a female Russian-born US citizen artist of mixed heritage, North-Eastern European (Russian, Latvian, Lithuanian Jewish) and Indigenous Siberian (Buryat Khongodor tribe), whose work delves into themes of displacement, political violence, and cultural erasure. Her practice is deeply informed by her family’s experiences during the Holocaust, Soviet repression, and forced displacement, as well as her estrangement from Russia due to her opposition to the invasion of Ukraine.

Irincheeva holds an MFA from Columbia University (2018) and has exhibited internationally, with solo shows at the Pushkin House (2024) and Moscow Museum of Modern Art (2019), among others; and group shows in Venice Biennial parallel program (2019), Albertina Museum, Vienna, Austria (2014), among numerous others. Her work has been featured in The New York Times, Frieze, and Artforum, and she currently lives and works in Upstate NY.

“During my residency at MASS MoCA, I continued developing my series of oil paintings titled “Forced Omission,” in which I reinterpret books by intellectuals imprisoned, executed, or exiled by the Soviet regime. By removing graphic design elements from the covers, I create a visual metaphor for erasure and the fragility of historical memory.

At MASS MoCA I focused on 26 new paintings based on publications that featured the poetry and translations of Joseph Brodsky before his exile from the USSR. While earlier works in the series addressed Stalinist repression, this group turns to the 1960s-80s and the use of forced psychiatric treatment, imprisonment, and exile against nonconforming writers.

Brodsky (1940-1996) was arrested in Leningrad in 1964 and charged with “social parasitism.” Sentenced to internal exile, he was released after international protests and later forced to emigrate in 1972. He received the Nobel Prize in Literature in 1987.”
— Daria Irincheeva
 

Studio 12

MAI SNOW

Mai Snow is a Trans/Non-binary artist born in Polevskoy, Russia. They split their time living and making work between Valentine, Texas and New England. Their work focuses on beauty and complexities of queer sexuality, trans gender and the non-binary body. Snow received their MFA from University of Texas at Austin in 2020 and their BFA from Maine College of Art in 2013. They have shown their paintings throughout Texas, New England, and in various parts of the Midwest. Snow is the co-creater of a local DIY Gallery space, Shedshows, in Austin, Texas.

I am a Trans/Non-binary painter. My work focuses on beauty and complexities of queer sexuality, trans gender and the non-binary body. In my work I am exploring the queer “american” trans dream. Through the language of painting I am exploring these waking realities with questions of separateness of genders, relevance in color, and delight of persistence of a trans body in a Texan and overall normative American culture

Assets for Artists
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