Welcome September’s Artists-in-Residence!
Meet this Month’s artists-in-residence!
Residency session: August 27 — September 22, 2026
Arantxa Ximena
Mexico City, Mexico
Arantxa Ximena holds a diverse academic background, with studies in Business and Marketing in London, a Bachelor's degree in Media Communication, and a Master of Fine Arts from the School of Visual Arts (SVA) in New York. Her artistic practice is rooted in a deep exploration of formal creative processes, thoughtfully interwoven with her ongoing Buddhist studies.
Throughout her career, she has been the recipient of multiple artist residencies and public art commissions. Arantxa consistently balances her presence in galleries and exhibitions with a strong commitment to community engagement, fostering dialogue and participation through collaborative projects.
Parisa Garazhian
Eugene, Oregon
Parisa Garazhian is an Iranian multidisciplinary artist and MFA candidate at the University of Oregon. Trained in painting and working across sculpture, textile, installation, performance, and drawing, her practice examines the intersections of the body, materiality, memory, and systems of power.
Drawing from her lived experience as a woman raised under Iran’s mandatory hijab laws, Garazhian investigates how political and cultural structures shape intimate and bodily experience. Through processes of weaving, accumulation, transformation, and installation, she uses materials that carry traces of personal and collective histories to explore questions of visibility, concealment, control, and the boundaries between the body and the objects that surround it.
Her current body of work uses her own naturally shed hair, collected over several years, as both material and archive. By transforming this bodily material into textile forms and garments, she considers how hair can move between body, covering, artifact, and evidence while retaining traces of identity and lived experience. This ongoing project extends her broader investigation into the politics of covering and the unstable boundaries between what is concealed and what remains visible.
Garazhian is currently based in Eugene, Oregon, where she continues to develop research-driven installations that examine the relationship between material, body, memory, and perception.
Ruth MARGRAFF
Baltimore, Maryland
Ruth Margraff is an award-winning interdisciplinary writer, renowned for a career that bridges “audaciously original” avant-garde opera and vocal art. From her early punk operas in New York to her world folk Cafe Antarsia Ensemble and martial arts/jazz sagas, Ruth has consistently transcended the pressures of realism, dissolved boundaries and defied expectations. Her operas with Fred Ho (Apollo, Guggenheim, LaMama, Brooklyn Academy of Music) toured with CAMI to 33 US cities. Her monologue for SEVEN introduced by Diane von Furstenberg and Meryl Streep at the Broadway Hudson has been translated into more than 20 languages. Ruth’s CAFE ANTARSIA toured nationally and to Greece, Turkey, France, Azerbaijan, Egypt, UK, Romania, Canada, Croatia, Czech Rep, Hungary, Russia, Serbia and her MIRROR BUTTERFLY migration suite for Afro Yaqui Music Collective premiered at the New Hazlett (Pittsburgh), Kennedy Center Millenium Stage (DC), NET (Tucson), 1st Mesopotamian Water Forum (Kurdistan) 2018-19; and was released on Innova Records. In New York City, she worked with Here Arts Center, Joe’s Pub, BAM Café, Prelude Festival/Martin Segal, Hourglass Group, Laguardia Performing Arts Center; Chocolate Factory, CB’s Gallery, PS122 etc; in Los Angeles: Overtone Industries, Theater of Note, Bottom’s Dream, Audrey Skirball Kenis; in Chicago: ANGER/FLY, FANTASY ISLAND, PREVIOUSLY BLUE, THREE GRACES have been produced by Trap Door Theater, Red Tape, Links Hall and Pivot Arts Festival. Awards include Rockefeller, McKnight, Jerome, NEA, TCG, TMUNY, NYSCA, IAC, Fulbright; published by Innova Records, Dramatists Play Service, American Theatre, Theater Forum, Performing Arts Journal, TDR, Applause, Backstage, Lexington Books, Playscripts, Autonomedia, New Village Press, New Meridian Arts; Ruth investigates themes of estrangement through "neo-cubist" structures that fracture time in the poetic debris of disaster. In recent years, Margraff’s practice has shifted toward painting, reflecting an intention that is increasingly stealthy—or hidden in plain sight. Her "poem objects" and transient frescos, featured at the Museum of Contemporary Art Chicago (MCA) and the Arts Club Of Chicago with Sarah & Joseph Belknap, The Sullivan and SAIC Galleries Triennial, The Peale Museum, Columbus Cultural Arts Center with Andrea Meyer, Maryland State Council for the Arts public art roster 2026-28 and Mass Moca Studios. She transforms what she calls daydream space into lush songlines of infinity. This marks a move toward a deeply collaborative range of platforms for intimate dialogue. Ruth overlays public and private acts of vulnerability, hoping to glance backward and forward as if the world she speculates in art recognizes peril but, ultimately, glimpses a better world. By seeing only art—the opposite of realism—we might find a sense of release and solace before returning to our lives. Ruth is and an alumna of New Dramatists, Chicago Dramatists and the Playwrights’ Center and a Professor of Writing at the School of the Art Institute of Chicago.
Pati Cruz Martínez
Bayamón, Puerto Rico
Born cuir (queer) and brought up catholic in the colonized archipelago of Borikén (Puerto Rico). The catholic slowly disappeared, the cuir stuck around. From their Caribbean trans body, Pati Cruz Martínez searches for poetry in the mundane through the camera and the pen. Their sensitivity and curiosity drives their work with different mediums inside the filmmaking practice: writing, storytelling, video, and editing. The camera has been both a shield and a lens through which Pati engages with the world, navigating its violence toward marginalized bodies as well as its resistance through perseverance and joy.
In 2019, they co-wrote and directed the short film “La amante” which was screened at international film festivals, such as Raindance Film Festival, trinidad+tobago film festival, Frameline44: The San Francisco International LGBTQ+ Film Festival, Inside Out Toronto LGBTQ Film Festival, and Outfest Los Angeles Film Festival. Their video art piece “pari/no/pari”, (2020) made during the pandemic of COVID-19, was shown at the online exhibition aquí estamos / here we are by the Queer Cultural Center in the Bay Area. They have received support in funding for their work from local organizations such as the Puerto Rico Museum of Contemporary Art (Visionaje Program). In 2024 Pati’s short documentary “Casa Laurel” was commissioned by the series HOMEGROWN: A PART OF/APART FROM by Firelight Media with distribution by PBS. Their documentary “Nació Simón” was part of Firelight Media’s Documentary Lab 2021-23 and had its national premiere in the Puerto Rico Queer Film Festival 2026, where it won the Audience Award for Best Feature-Length Film. In 2020 they co-founded the trans boricua filmmakers collective, Colectivx Colectivx.
Pati currently works as a Freelance Editor, Director, and Cinematographer.
Jiye Kim
Tokyo, Japan
I am a Korean artist and writer based in Tokyo, working with photography, writing, and book forms. I use lived experience as an entry point for examining how personal life is shaped by larger structures: medicine, family, domestic labor, institutional language, social expectation, and the systems through which bodies and relationships are observed, classified, and managed.
Text and image have equal force in my work. I treat printed matter and language as source material to be studied, appropriated, reworked, and intervened in. I borrow forms including workbooks, archives, reports, manuals, catalogues, and institutional documents. These forms give me a framework to approach intimate experiences with restraint, while tracing how knowledge and authority operate across institutions, families, and everyday life.
Recent projects include Pregnancy Workbook (2026), a 176-page photobook dummy combining photographs, writing, and redacted archival obstetric texts to examine how pregnancy becomes a medical case; and The Butterfly Dream (2024), a photographic attempt to read my father’s life, my parents’ marriage, and their historical context from the architecture and domestic landscape of an old apartment building in Seoul.
My current work focuses on family life and the home. I am interested in the home’s workings beneath its familiar surface: remembering, scheduling, cleaning, feeding, buying, washing, anticipating, noticing, responding, documenting, and making decisions before they are noticed as work. This technology of care is carried out by the default parent, often the female one. My hope is to make this infrastructure legible as labor, skill, and knowledge acquired through repetition and consequence.
Julie Pereira
West Simsbury, Connecticut
Julie Pereira (b. 1982, Hartford, CT, USA) is an interdisciplinary artist best known for her sculptural installation practices that consider the forces that drive growth and decay: She often explores these concepts in two main ways; one additive and one subtractive. The additive approach has a focal point in piling stickers, a playful yet involved exploration of form iteration that considers the flat sticker as a moment in time—or steps in a path—and in aggregate forms images that might evoke dancing figures, layered texts, and imagined worlds. In the subtractive approach, she uses incense to carve through suspended layers of dyed paper as a means of slowing down and exploring concepts of time, transformation, love, and loss.
Collectively, her work is created improvisationally as a conversation with the materials and space in which they are installed. In this way, her practice is an engagement with the mystery of being.
Pereira earned her BFA from the Rhode Island School of Design in 2005 and her MFA and PhD from Kyoto Seika University in 2010 and 2013 respectively, exhibiting at the Kyoto Institute of Technology’s Museum in 2014. Upon returning to the US after nearly a decade studying and working in Japan, her work has been exhibited in venues such as ArtSpace New Haven, Five Points Gallery, and Geoffrey Young Gallery, and recognized through awards by the Mohawk Hudson Regional at Albany Center Gallery and the Yaddo Corporation. She has attended multiple residencies including Vermont Studio Center, Yaddo, I-Park, Ucross, and Nordic Artist Center Dale (NKD) in Norway. Pereira currently holds a studio base in Torrington, CT, and has taught as an adjunct professor at her alma mater Rhode Island School of Design.
Hannah Doucet
Toronto, Canada
Hannah Doucet (she/her) is an artist and arts educator from Winnipeg, based in Toronto. She works within photography, video, and sculpture, expanding from personal narrative to address larger political and social themes within the complex systems and structures that surround the experience of pediatric illness. The work teeters simultaneously between playfulness, comedy, theatricality and explorations of death, anxiety and grief. Aesthetically her work is maximal, absurd and colourful: scale is confused, objects are blown up larger-than-life, the prop is presented alongside its image, surfaces condense repeatedly and documentary and constructed imagery co-exist and collide.
She has exhibited at venues including Galerie Buhler Gallery, Gallery 44, The National Gallery of Canada, PLATFORM, Arsenal Contemporary Art and The New Gallery. Doucet won the inaugural PLATFORM Photography Award and was a recipient of the National Gallery of Canada’s New Generation Photography award in 2023. Doucet attended Skowhegan School of Painting and Sculpture in Summer 2024. She is one of four founders of Blinkers (now titled C’CAP), a gallery in Winnipeg, where she was a co-director until August 2021. She has over 14 years of experience working within community arts and arts education as a program manager, coordinator and artist facilitator in schools, community centers, shelters, hospitals, universities, art galleries and museums.
Claudia d’auria
Brooklyn, new york
We design to shape our world, and in return our environments shape us; influencing our relationship to place, to one another, and to the systems that sustain us. Boundaries built between nature and infrastructure, permanence and decay, disrupt the flows that support life.
Claudia’s work provokes dialogue between people and place, asking what it means to belong to, and be shaped by, an environment.
She makes installations and objects that challenge constructed boundaries of natural and unnatural. Environmental interventions that are alive, ephemeral, and responsive: creatures and structures that sprout, sag, and decompose. These works are not static, but curious organisms, soft-bodied and sun-seeking.
Rooted in regenerative design and systems thinking, she explores how organic and inorganic materials can collaborate to form site-specific architectures that are evolving. Transformations that speculate futures and histories shaped by reciprocity, care, and lasting impermanence.
Working collaboratively with creatives across disciplines, makers, and communities, Claudia designs for speculative futures, where architecture functions as a dynamic, responsive, playful participant, embracing complexity.
Claudia holds a Bachelors in Architecture from The Cooper Union, and her architectural research in collaboration with Terreform One has been published in DesignBoom, supported by the National Endowment for the Arts, and recognized with a Green Good Design award and a Fast Company award. Her work has been exhibited at MoMA and MoMA PS1 in New York, BICA in Buffalo, YoungArts Jewel Box Gallery in Miami, and Box Gallery in Buffalo. She is currently a studio resident at MASS MoCA.
Angela Chi-Chi Glass
Lee, Massachusetts
Angela Chi-Chi Glass (she/her/ella) is a music practitioner, educator, and cultural worker. Years of teaching and making music with families and artists in Lima, Brooklyn, and the Berkshires shape how she teaches and makes music as she builds participatory art practices.
Of Peruvian heritage and raised in a Peruvian-American-Brooklynian household, Angela trained as a classical pianist at the École Normale de Musique de Paris before earning her Bachelor of Music from the New England Conservatory. As a Fulbright Scholar in Lima, Perú, she spent nearly five years studying and performing Afro-Peruvian music. Her relationships with Afro-descendant, Indigenous, and LGBTQ communities and activists there profoundly shaped her practice, as did an Andean understanding of Pachamama and of the relationships among beings and place.
As a performer, Chi-Chi sings and plays in English, Spanish, and Quechua. Her current project, SíncoPaz, is a participatory rhythm and song practice centered around the cajón. It aims to create spaces where anyone can step in, make music, and connect with one another.
She is a dedicated teacher and sees that practice as a privilege. Her studio, Glass Music Notes, and the pilot community music program MusiKasa, launched in partnership with Katunemo, focus on sharing and teaching piano, voice, and cajón through individual and community-based instruction.
Angela holds an MA in Arts Administration from Baruch College/CUNY, where she completed her thesis, Beyond Translation: Language as Infrastructure in Arts Administration, in collaboration with Ballet Hispánico. She was a 2023–2024 Actionist Fellow with Social Practice CUNY (SPCUNY) and a 2022–2023 EDI Fellow with the Association of Arts Administration Educators.
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