Work plan: Minutiae in Vastness
I use painting as a meditative method to understand our place in our environment. I feel there can be a simplicity in this search for understanding – think less, be and experience more. Nature plays a big part in this. I feel much of the confusion and sadness in the world is caused by a separation from ourselves and the natural world we are a part of, a shirking of responsibility but also of potential joy, and my paintings aim to explore and, in any way possible, restore this connection. This applies to both the painting process, and viewing the paintings.

Practically, I approach this by making live sketches of my environment, abstracting the detail in vast scenes and spaces, and searching for the infinite in small details. This activity poses questions as I work, often connected to time, space and our perception of what we see around us, and how this relates to us. I record these ideas in writing, to produce texts which accompany the visual work. These serve as both a documentation of the residency, as well as a catalyst for discussion. Following the sketches I would produce several large scale paintings, abstracting detail, forms and ideas, based on the sketches and thoughts provoked by the surroundings, with the aim of presenting the works publicly.

I propose to conduct two public, interactive talks discussing my work and the questions posed by the texts and paintings, one part way through the residency, and another at the end.

The environment at Ateljé Stundars is ideal for realising this project. It is an environment very different to what I am used to in England, currently in a city, forcing me to look afresh at my surroundings. The space is also an important factor – I live and work on a nine-metre boat in the UK, and the opportunity to work on large scale paintings, alongside exploring ideas of vastness, would be invaluable.

I have suggested residency periods which fall in winter months, as I would hope to delve as deep as possible into the difference in environment that Atelje Standers offers.

www.charlottewallisart.co.uk

Work plan:
I plan to use my time at the residency finalizing a major work. My planned project is a large scale paper tapestry inspired by the ikat weaving method, combining unique mark-making techniques with my weaving practice. The technique for this work involves first applying dye onto very large sheets of paper with an airbrush, both by free-motion drawing and using my body and various objects as templates, generating shapes, patterns and text. The airbrushing of the dye allows me to vary the sharpness of the marks, creating shapes ranging from hazy impressions to extremely focused points of attention. After the mark-making process is finished, sheets of paper are spliced and woven together as warp and weft, resulting in a tapestry with complex imagery. The resulting work will be lightweight but textural, suspended from the ceiling so that it can respond to changes in light and air currents.

This work is a continued exploration of the technique I have devised for a previous project, Divination Objects, which was included in The Artist’s Studio is Her Bedroom (Contemporary Art Gallery, curated by Kimberly Phillips, 2019). Divination Objects combined spliced compositions of printed text with spliced ink drip drawings, with a conceptual interest in the intersection of symbolic and material forces that organize our temporal experiences. Unlike many weaving processes in which shapes of a tapestry are formed by switching between di?erent colours of fibre during the weaving process, ikat technique requires a pre-colouring of all the fibre pieces before weaving. This requires an anticipatory imagination on the weaver’s part, who needs to plan for how the patterns on the warp and weft ?bres may overlap on the ?nished tapestry. Divination Objects drew from the anticipatory nature of ikat to explore the intersection of linguistic phrases expressing implicit notions of futurity, with the material force of gravity that generates the ink drips.

My proposed project for the Atelje Stundars will pick up the technique utilized for Divination Objects and apply it towards a consideration of temporality of resistance. Particularly, this work will be a response to the democratic Gezi Protests of 2013 in Turkey, during which the police used colour dyed water in water cannons to “mark” the protestors. As with many protests that erupted in the late 2010’s and early 2020’s, Gezi Protests were, above all, aesthetic: the architectural inventions of the protestors in utilizing make-shift materials for building barricades, kitchens, clinics and libraries in Gezi Square, the humorous use of language via grafiti and slogans, the particular tactics developed for safe movement of bodies through the streets, met with an equally aesthetic – and very violent – response from the police. By delving into the aesthetic archives of Gezi and other recent international protests, my work will subtly reference the material and symbolic forces at play in the resistance of vulnerable bodies.

www.damlatamer.com

Work plan:

INTRODUCTION
I am an established artist working in my studios in Mikkeli and Ivalo, Finland. I am represented by Gallery Halmetoja, Helsinki. My network is international.

BACKGROUND TO WORKPLAN
In March 2021 I have started to work on a new series, Atlas of Fear, at the Serlachius residency. The series composes of several site-specific works, stop motion animations and relief sculpture. This project culminates in my solo exhibition at Gallery Halmetoja in the autumn of 2022. I have a tendency to work in series, which often overlap chronologically. I find residencies give me the possibility to focus on important aspects during a specific project. Usually the sketching / preliminary or finalizing stages of a project are very fruitful for residency work. My workplan for the residency is a continuation of the Atlas of Fear series.

WORKPLAN
Taking over non-spaces by investing meaning in derelict sites, objects, cultural phenomena having lost it, interests me. I am exploring the possibilities that can be found in the overlapping areas of image, text and movement. These "non-spaces" can also be found in the intersections of narrative methods; places and dimensions that seem fragmentary by nature. Analyzing and mapping out these locations is my main interest at the moment.

I plan to use my residency period at Stundards to work on the series Fragments. Fragments is based on visual poetry, minimalist text art and the structure of language. I have participated in two Uni Arts writing courses during 2020–2021, which opened a lot on new insights into my work. I am known for my scalable and modular metal and wood reliefs made according to my drawings. I am looking to work on a smaller scale in fragments, utilizing a more resource efficient and ecosocial approach.

During the residency I will be working on

• a manuscript of media work "Waterways / Witches Brew"
• researching the possibilities of presenting images / my work in octogonal shape
• sketching and planning fragmentary sculpture pieces.

www.kirsimariatoronen.fi

Work plan:
It seems that we as a society have done everything in our power in the last decade to put a clear boundary between "humanity" and "nature," as if it were something separate from us, something that we have conquered and risen above. Due to the Corona epidemic, we were forced to stop and question ourselves, our identity as human beings. Have we genuinely risen above the inhuman, or was it just a foolish delusion? And how powerful and meaningful are we, truly?

At moments of confusion, I tend to browse my history books and look for answers about the future, in the past. In my practice, I tend to lean on the ancient Slavic world. I am currently trying to understand how the Slavic people dealt with crises such as epidemics and how they coped with death and loss.

During the residency at Ateljé Stundars, I would like to make a visual impression of my research. My project would question our self-identity, our perception of superiority, and the recognition of us versus nature. I am planning to work with hand embroidery and textile analog printing. I also wish to capture the landscape in and around the village of Solf in my textile work.

A three-month residency at Ateljé Stundars would allow me to get inspired by new landscape and culture and to create a broad body of work. Additionally, I hope to create an embroidery workshop for the local community, and to exhibit the outcomes, alongside my work in an open-air exhibition. I am highly motivated to make a productive winter in Finland, to get inspired, to learn, and to contribute as much as I can.

www.anisiaaffek.com

Work plan:
Det vilar en mystik över land som dyker upp ur havet i samband med landhöjning, och spåren efter olika naturfenomen som vi kan se i det. På Åland, Kökar, där jag bodde som barn finns t.ex. Källskärskannan, en stenformation som liknar en kanna. Minnesmärket från istiden får folk att ta sig ut till ön Källskär för att beskåda ett av naturens små underverk. Platsen är i dag fredad. I Österbotten vid Solf finns Söderfjärden, en flera miljoner år gammal meteoritkrater. I dag en Natura 2000 – klassad plats som är åkermark och där viss våtmark finns kvar med ett rikt fågelliv.

Utan att känna till historien skulle Källskärskannan bara vara en stor sten eller klippa och Söderfjärden stora åkerfält. Men de här platserna är så mycket mer och det är det som jag inspireras av. Även ladorna på området bär på spännande historier och kunde fungera som ett mindre tema.

Under det senaste året har jag arbetat med himlakroppar och deras karaktärer och med människokroppen och minnen som lagras i den (Se gärna pågående digital utställning ”Solar Plexus” på Nordens Institut på Åland). Min konst visualiserar inre landskap, men jag jobbar gärna i och med naturens landskap när jag skapar bilder. Därför intresserar Söderfjärden mig och att idémässigt utgå från en himlakropps nedslag på jorden. Jag skulle tolka och visualiserar mitt förhållande till platsen och jobbar ofta platsspecifikt i min konst.

Jag jobbar med videokonst och performancekonst, men mitt arbete kan komma att byggas upp som installationer och under arbetets gång tecknar jag. Jag samlar gärna på mig andra människors berättelser och historier om en plats för att arbeta vidare med dessa historier i min konst eller för att skapa möten. Om möjligheten finns skulle jag gärna skapa dessa möten. Jag är öppen för att hålla artist talks, workshoppar och öppen ateljé under min vistelse.

Förutom att jag är bildkonstnär studerar jag pedagogik på Göteborgs universitet, en kompletterande ämneslärarexamen, och skulle därför gärna planera och dra någon sommarworkshop för barn och unga. Innehåll och tema planeras senare.

www.ursula-sepponen.com

Work plan:

HOMEWORK
Diana Baumbach is an artist and educator based in Wyoming (USA). At Atelje Stundars she plans to delve deeply into themes that have long been central to her work, while remaining receptive to ideas that emerge though the environment and culture in Solf.

Diana makes artwork in response to motherhood, daily practice and labor. She experiences the home as a generative space where important work is accomplished; her studio work functions in parallel to domestic labor. However, what happens when a home is lost? Reformed? In flux? How can one nurture personal space during such transitions?

Atelje Stundars will allow Diana the opportunity to explore these themes through the lens of a new culture, responding to the unique challenges of parenting abroad. Her investigations are likely to result in handmade books, ephemeral collections, textile objects and a web-based project mirroring the physical manifestations. She will invite her children into her creative process and hopes to create a project in collaboration with the local public elementary school in Solf, which her own children will attend during the residency.

Her motivation for working in the public/community realm comes from her desire to reach an expanded audience and to situate contemporary art within the spaces we collectively inhabit on a daily basis (i.e. schools, homes, etc). By sharing her work digitally she’ll provide an opportunity for a wide and diverse audience to access her creative research.

www.dianabaumbach.com

Ateljé Stundars is located in the village of Solf (in Finnish: Sulva) in Korsholm (in Finnish: Mustasaari), Ostrobothnia on the west coast of Finland. The street address of the residence is Stundarsvägen 5, FIN-65450 Solf, Finland.

An application to participate in the residency program at Ateljé Stundars is made on our Web Application Form (will open through a link on this page in early 2021).

Application deadline: May 31st, for participation in our program the following year.

We are happy to answer any questions you may have about our residence. Please e-mail us at Den här e-postadressen skyddas mot spambots. Du måste tillåta JavaScript för att se den.!

2021
Affek, Anisia (Israel / Germany / Ukraine)
Sepponen, Ursula (Finland / Sweden)
Baumbach, Diana (USA)

2020
Jolene Mok (Hong Kong / UK)
Susanne Schär & Peter Spillman (Switzerland)
Andrea Coyotzi Borja (Mexico / Finland)

2019
Allison Roberts (USA)
Atefeh Majidi-Nezhad (Iran)
Jan Lütjohann (Germany)
Amanda Hellryd (Sweden)

2018
Hiram Wong (Australia / Hong Kong)
Minh Duc Pham (Vietnam / Germany)
Katrin Hotz & Jerome Lanon (Switzerland & France)
Susana Wessling (Portugal / UK)

2017
Hazel Barstow (UK / Norway)
Jo Ann Kronquist (Canada)
Juliana Irene Smith (USA / South Africa)
Behrad Hassanati (Iran)

2016
Shahrzad Malekian (Iran)
Cecilia Hultman (Sweden)
Barbara Tong (Hong Kong / UK)
Nicola Williams (UK)
Francesco Dipierro (Italy)

2015
Jane Hughes (Ireland)
Gloria Luca & Tudor Patrascu (Romania)
Anna Roberta Vattes (Germany)

2014
Anthea Bush (UK, Netherlands)
Bas Ketelaars (Netherlands)
Mariann Oppliger & Res Thierstein (Switzerland)
Johanna Kintner & Nora Mertes (Germany)
Heong uk Choi (Korea)

2013
Peter Luha & Lucia Cernekova (Czech Republic)
Soo Sunny Park (Korea, USA)
Christa Joo Hyun D'Angelo (Korea, USA, Germany)
Jochen Schneider (Germany)

2012
Rosalie Schweiker (Germany / UK)
Hanna Saks (UK)
Antje Pehle (Germany)
Sonja Hinrichsen (Germany / USA)

2011
Lisbeth Grägg (Sweden)
Anneli Holmstrom (Scotland)
Melania-Elisabeta Hangan (Romania)
Bas Ketelaars (Netherlands)
Anneli Holmstrom (Scotland)

2010
Andreanne Fournier (Canada) 
Sophie Dvorák (Austria / Argentine)
Seungchee Kang (Korea)
Mathieu Leger (Canada) 

2009 
Michal Moskop (Germany / Israel)
Pamela Schilderman (Netherlands / UK)
James Kuehnle (USA)
Morgan Craig (USA) 
Kyösti Linna (Finland)

2008
Eva Spikbacka (Sweden / Finland)
Hideki Kanno  (Japan)
Maja Rohwetter (Germany)
Karin Kamijo (Japan)

2007
Britt Kootstra (Netherlands / Saudi Arabia)
Hanni Stolker (Netherlands)
Takashi Mitsui (Germany / Japan)
Eva Spikbacka (Sweden / Finland)

2006
Yoko Iida (USA / Japan)
Maria Petschatnikov (Germany / Russia)
Natalia Petschatnikov (Germany / Russia)
Markus Shimizu (Germany / Japan)
Dragos Alexandrescu (Romania)
Carla Cruz (Portugal)

2005
Samuel Nigro (USA)
Takehiro Mizumoto (Japan)
Sofia Bilius (Finland / Sweden)    
Marina Kronqvist (Finland)
Karin Laaja (Sweden / Finland)  
Britt-Lis Lindqvist (Sweden) 
Catherine Davies (Wales)
Helen Malia (Wales)
Jeroen van de Ven (Netherlands)

2004
Sven Eggers (Germany)
Bente Lise Jakobsen (Norway)
Marianne Høyland (Norway)
Ronan Caulfield (UK)
Sally Timmons (Ireland)
Christer Carlstedt (Sweden)
Sigita Blaziunaite (Lithuania)
Samuel Nigro (USA)

2003
Bojana Romic  (Yugoslavia)
Annukka Laine (Finland)
Tatsuo Hoshika (Finland / Japan)
Sari Carel (USA / Israel)
Ingela Sand (Sweden)
Sven Eggers (Germany)

2002
Janika Herlevi (Finland)
Anna Rossow (Finland) 
Tomas Kulistak (Czech Republic)
Annukka Laine (Finland)
Tatsuo Hoshika (Finland / Japan)
Haruka Furusaka (Japan)
Eva Kobylarczyk (Poland)

2001
Asta Rakauskaite (Lithuania)
Renate Wincken (Netherlands)
Carme Bosch (Spain)
Dolores Bosch (Spain)
Teresa Nogues (Spain)
Janika Herlevi (Finland)

2000
Maxine Adcock (UK)
Merja Ylitalo (Finland)
Panu Thusberg (Finland)
Hanne Ivars (Finland)
Mary Stechschulte (USA)
Asta Rakauskaite (Lithuania)

1999
Maxine Adcock (UK)

1998 
Ulrike Kuschel (Germany)