Oregon College of Art and Craft's residency program provides emerging and nationally-known artists the time and space to think and immerse themselves in their own creative process. Residents have the freedom to explore, experiment, interact, create and collaborate.
The College hosts a number of Residencies each year.
The Artist-in-Residence programs are supported by a generous grant from The Collins Foundation and Ford Family Foundation.
Artist-In-Residence | Summer 2014
Tamara Ottum has been teaching art at Aloha High School for 11 years. She started
The mediums Tamara works in include plaster and paint on canvas, collage, paper
Artist-In-Residence | Spring 2014
My time at OCAC as the Collins Foundation Artist in Residence allowed me to return to a looser way of working that had gone dormant for too long. To continue to generate work amongst all my other, lovely, personal and professional obligations, I had begun to arrive at my own studio in Seattle with a specific directive to complete something that had already been planned. My creative space came to feel less like a laboratory and more like an office.
Immediately upon arriving at OCAC, I felt a sense of reorientation. Having the extra time, space, and support of the residency threw me, in the best sense of the word. It threw me into the studio, the library, a new art community. I suddenly had enough room to wonder again, to read, to write, to test things without concern for their immediate outcome or application. Being at a school where students are exploring and wrestling with developing their own craft was key. Conversations with new friends gave me a fresh outlook on old questions. In the studio, what initially felt like being thrown off-course, became many new courses. In my time at OCAC I feel as though I made the beginnings of many investigations and projects to come.
Artist-In-Residence | Fall 2013
India Flint [MA] uses ecologically sustainable contact print processes from plants and found objects together with walking, drawing, assemblage, mending, stitch and text as a means of mapping country, recoding and recording responses to landscape - working with cloth, paper, stone, windfall biological material, water, minerals, bones, the discarded artifacts and hard detritus of human inhabitation, the local weed burden. While in Portland she produced work for two exhibitions ‘fieldnotes’ [New Orleans, March 2014] and ‘flight patterns’ [Atlanta, April 2015].
My practice conflates the visual and written poetics of place and memory and has been described as using the earth as printing plate and time as the press. The work of each day begins with a walk.
Artist-In-Residence | Spring 2013
Ms Segal has embarked upon a body of sculptural work that translates data from the likes of the U.S. Geological Survey into tangible forms in wood, metal and other materials. Of particular interest to her in the Pacific Northwest is the eco-system of the Columbia River and its alteration by humans. Ms Segal received a BFA in woodworking and furniture design from the California College of the Arts in San Francisco, CA. Her work has been exhibited on the West Coast and Mexico.
I make sculpture as a means to communicate data and statistical information about the intersection of humans and the natural world…. Ultimately, [the sculptures] inform and invite dialogue about the landscape and our inherent connection to it.
Ms Sword resides in Brooklyn where she uses her hands to build playful and elaborate work that explores repetition and the limitations and possibilities of mass-produced products. Kristi began magnifying smaller details in her jewelry work with iterations of meticulous repetition and accurate process. Ms Sword received a BFA from the Savannah College of Art and Design in Savannah, GA and her MFA from SUNY New Paltz, NY also in metal and jewelry.
My background as a jeweler allows me to see the micro universe that exists under a magnifying loupe, revealing tiny metal landscapes. This way of looking has led me to the idea of things being perfect down to a hair’s width.
Artist-In-Residence | Fall 2012
After receiving his BFA from the Maryland Institute College of Art, Mr. Edmundson headed to Europe to paint, exhibit and receive his MFA from the Glasgow School of Art. With an exhibition history that includes the U.S. - Baltimore, Memphis, Portland (Oregon) and Europe - Amsterdam, Basel, Glasgow, Montreal, Paris, Mr. Edmundson brings his practical acumen and intellectual curiosity to OCAC.
My practice is engaged in a dialogue about our current relationship to the image as a painted surface. I coax the audience to look beyond their presumptions and to conceive of a new reading of the chosen subjects and their histories.
Beginning with a BA in sociology and anthropology from Lewis & Clark College in Portland, OR, Ms Kreutter has combined these degrees with her passion and talent for ceramics. Notable residencies for the artist have included Anderson Ranch, the Houston Center for Contemporary Craft, and the Vermont Studio Center. She recently received her MFA in ceramics from the University of Tennessee in Knoxville, TN.
There is a space between remembering and forgetting, a space of invented time.During my residency, I intend to delve further into ideas of loss, memory and its transformation through time.
Artist-In-Residence | Spring 2012
Courtney Dodd explores the limits of human perception through the optical ability of glass to reflect, duplicate and obscure. By creating her own series of blown glass photographic lenses, the artist has created unique perceptual filters. Ms. Dodd hopes to take advantage of elements of the Pacific NW spring – clouds, fog, rain, “to document geographically specific bodies of water through these lenses.” Her interest in multiple materials and techniques and her recent experimentation in the field of photography aid her in her challenge to create “phenomenon for the viewer”. Ms Dodd graduated from Missouri State University magna cum laude with a dual emphasis in graphic design and illustration and received her MFA from Virginia Commonwealth University with a concentration in glass.
GRAND PRIZE WINNER FOR CHEONGJU INTERNATIONAL CRAFT BIENNALE, KOREA
Artist/Instructor-in-Residence in Book Arts | Spring 2015
Artist/Instructor-in-Residence in Book Arts in Spring Semester of 2015 is a 16 week-long fellowship program intended to present the participants as role models for the OCAC community, to advance the careers of the practicing artists, and to strengthen the public’s awareness of the significant role that making has in a contemporary art context. By promoting an understanding of the creative process, the Artist-in-Residence Program expands OCAC’s mission as a public resource center for the exchange and exploration of ideas relevant to our cultural and social environment, particularly for engagement in the discourse surrounding contemporary craft and critical making.
The resident must be an artist with significant exhibition records and professional achievement, strong communication skills, sustained studio practice, and desire to engage in collaborative experiences at OCAC. A resident artist is expected to pursue a clearly articulated body of work or project, to teach one 3-credit BFA course in Papermaking and to integrate his or her practice into the academic programming and activities of the larger OCAC community. To this end, the resident’s specific involvement may include teaching a 3-credit BFA course in Book Art Department, guest lecturing in a class, giving public talks, providing mentorship to students, participating in open studios, and/or collaborating with faculty or students.
2015 Residency Dates
Spring: The 16-week residency will take place within the dates of January 18 – May 20, 2015
The robust and productive OCAC learning environment is comprised of a diverse mix of students, faculty and visiting artists, all of whom work in a variety of materials. To better engage with the community, residents may audit one studio school continuing education class/workshop tuition-free as space is available during their residency.
The resident receives a studio space on campus as well as a $6,000 stipend (for travel, living expenses other than housing, and all other expenses). On-campus housing may be provided, if needed, and is limited to the resident only – no spouses or pets.
Who Can Apply
The Artist/Instructor-in-Residence in Book Art is open to visual artists who:
• are working primarily with artist book or papermaking materials and processes;
• are able to provide evidence through appropriate documentation of 5 or more years of active professional studio practice;
• hold an MFA in Visual Arts with an emphasis in printmaking, papermaking, artist books or equivalent;
• have two or more years teaching experience in a degree program beyond a graduate teaching assistantship;
• display a comprehensive grasp of the history of print, papermaking, or book arts and contemporary theory;
• are interested in the integration of artist book or papermaking practice with a wide variety of other media;
The College defines excellent candidates as those whose careers have attracted critical attention on an international/national level, such as through inclusion in juried and/or curated exhibitions, through gallery representation, or coverage in a recognized art publication, etc. Applicants from diverse cultural and aesthetic backgrounds are encouraged to apply.
Criteria for Selection
Applicants will be judged on the quality of their portfolios, as well as the originality and scope of their residency proposals. Weight will also be given to the applicant’s potential for working within a community of makers and the relevance of the individual proposal to the resources available at OCAC.
• $6,000 stipend;
• use of state-of-the-art studios;
• on-campus housing, if needed;
• one Studio School continuing education class or workshop;
• focused time for studio engagement; and
• supportive interaction with fellow artists and students.
• Commit as a full-time resident/instructor for the specific period;
• provide all materials used during the residency;
• be accessible to OCAC students and the College community;
• produce a significant body of work and/or engage in explorations of new directions; and
• contribute to the community through a variety of activities, including teaching a BFA course in Papermaking course, lecturing, participating in open studio hours and critiques, etc.
Application Deadline: Friday, October 3, 2014
Applicants will be notified by the week of October 20, 2014
The Print Shop houses two 27" x 48" Griffin etching presses; four Vandercook presses; Platen and proofing presses; and a large collection of metal and wood type. Systems for making polymer plates, aquatint, etching, and plate lithography. The Bindery includes two 40" board shears; three guillotine cutters; job backer; French standing press; nipping presses; two dry-mount presses; antique perforator, miscellaneous sewing, punching and stamping equipment. The papermaking area (shared with Fibers Department) has a David Reina Hollander-style beater as well as miscellaneous moulds and equipment for Western and Eastern papermaking.
The ceramics area includes sixteen built-in electric/kick potter’s wheels, eight electric wheels, hydraulic and manual extrudes, Soldner clay mixer, pug mill, spray booth, sandblaster, fully-stocked glaze lab, plaster/mold making area, and hot-wire foam cutting table. The indoor kiln area houses two state-of-the-art Blaauw kilns and twelve electric kilns; seven with computer kiln controllers. The outdoor kiln pad has a salt kiln, soda kiln, updraft sagger kiln, downdraft gas kiln, raku kiln, gas test kiln, experimental firings area, and oxyacetylene and TIG welding area.
The Drawing, Painting, and Design Studios in the Jean Vollum Drawing, Painting, and Photography Building include large open studio/classrooms with windows and skylights for natural light. A variety of studio equipment, including easels, tables, projectors, light tables, a human skeleton, and a large supply of still life props are available for use. The department’s tool shop includes chop saws, jigsaws, nail gun, clamps and a variety of hand tools.
The Weaving Studio has a 12’ Shannock Tapestry loom, twenty-six Macomber AD-A-Harness jack style floor looms, two AVL CompuDobby looms, computers for drafting, and an extensive yarn collection. The construction studio consists of large work tables, felting and spinning tools, two sergers, vintage leather sewing equipment, and 18 sewing machines. Sewing machines include three Janome Magnolia 7330s, three Janome 1600 P machines, five Pfaff 1220 Series machines, six Pfaff Hobby Series machines, and one Bernina 1620 quilting machine. The Surface Design and Dye Studio contains padded print tables, equipment and materials for various applications such as painting, and printing, resist dyeing-batik, and shibori. The Dye Studio is fully equipped for chemical and natural dye processes, as well as papermaking.
The Metals Studio contains equipment for centrifugal and vacuum casting, soldering, annealing, raising and forming, electroforming and plating, enameling, stonecutting and lapidary, oxy-acetylene welding, and tumbling. Drill presses, rolling mills, hydraulic press, horizontal and vertical bandsaws, metal lathe, chop saw, arc welder, wax injector, vulcanizer, sandblaster, jump and beverly shears, sanders, grinders, box break, and scroll saw, round out the Metals Studio facilities.
The photography facility features a Digital Imaging Lab, Lighting Studio, as well as wet and alternative processes darkrooms. The Digital Imaging Lab has 18 Power Mac towers with Eizo monitors, film and flatbed scanners, two 17” Epson printers, a 44” wide format Epson printer, and a 63” Epson. The Lighting Studio contains wall-mounted backdrops, multiple power sources, and light modifiers. The Print Finishing Room includes a wall-mounted glass and matt board cutter, dry mount presses, and individual flat files for storage. The Film Development Area includes three individual film-loading rooms, a film development sink, and two drying cabinets. The Gang Printing Darkroom has 12 Omega 4550 enlargers capable of handling 35mm, 2-1/4, and 4x5 negatives, two drop-bed enlarger stations, archival washers, and an RC print drier. The Alternative Processes Darkroom features a mural printing area, an 8” x 10” Devere enlarger, and two large format drop-bed enlarger stations. The 30” x 40” Metal Halide exposure unit with vacuum table allows users to experiment with a variety of 19th century contact printing processes that utilize ultraviolet light using traditional film negatives or enlarged digital negatives.
The Wood Studio features a 10’ Altendorf sliding table-saw, a SawStop table-saw, four band-saws, and two miter-saws. There are also two large lathes, two planers, two jointers, two router tables and two Multi-Router joinery machines. Sanding and finishing equipment includes an oscillating spindle sander, a 20” disc sander, an edge sander, a 2-stage compressor, and a Venturi vacuum system in addition to a spray booth with HVLP spray guns. The bench room contains a wide array of hand tools including chisels, carving gouges, saws, and planes as well as an array of Festool equipment.