Here is an alphabetical list of our alumni resident artists:
Annie Albagli (NOVEMBER ’20)
Sholeh Asgary (SEPTEMBER ‘20)
Meghana Bisineer and Charlotte Law (NOVEMBER ’20)
River Black (MAY ‘21)
Maria Guzmán Capron (MAY ‘21)
Merve Caskurlu (JULY ‘21)
Beatriz Escobar (SEPTEMBER ‘20)
Quinn Keck (MARCH ‘21)
Jader (JULY ‘21)
Robyn Craxton Lindquist (GUEST ARTIST - Horizons of the Metaverse ‘21)
Erica Molesworth (MAY ‘21)
Judit Navratil (JANUARY ‘21)
nkiruka oparah (JANUARY ‘21)
Maxine Schoefer-Wulf (NOVEMBER ’20)
Lia Sutton (MARCH ‘21)
Eszter Szabó (SEPTEMBER ‘20)
Zsófia Szemző (JANUARY ‘21)
Hannah Waiters (MAY ‘21)
Cate White and Sean Keating (SEPTEMBER ‘21)
Connie Zheng (SEPTEMBER ‘20)
Minoosh Zomorodinia (MARCH ‘21)
Scroll down to watch the recordings of their Show & Tell presentations to learn more about their practice! Click on the images to visit their VR studio spaces directly! You find Tour Guide videos of all studios on our YouTube Channel.
Annie Albagli is a multimedia artist whose work examines personal histories and their entanglements with landscapes shaped by the power of the state and or industry. Her work has been shown at such venues including the Yerba Buena Center for the Arts, the Corcoran Gallery of Art, the Art Museum of the Americas, Dream Farm Commons, the High Desert Test Sites Headquarters, and Fort Mason Center for the Arts. Her videos have been screened at Artist Television Access Network, the Tate Modern as part of the Imagined Biennials project, and most recently at the Bavarian Documentary Film Festival, ZWICKL. Albagli has installed interactive public installations for Art Prospect in St. Petersburg, The Please Touch Garden in San Francisco, and on Djerassi’s grounds in Woodside. She has participated in national and international residencies including CEC’s Back Apartment residency in Russia, Oberpfälzer Künstlerhaus in Germany, and This Will Take Time and Djerassi in CA. As the co-founder and editor of the publication, WHIZ WORLD, She has performed, most recently, at the UC Berkeley Sagehen Field Research Station, Dream Farm Commons, Ooga Booga, and the Headlands Center for the Arts. She is currently an affiliate artist in residence at the Headlands Center for the Arts.
On 7.0 MSN Messenger 6 October 2005 an artistic world organization came into existence - which now has 13 mouth and brain painting members- the Association of Mouth and Brain Painting Artists of the World (AMBPA). For those who don’t use traditional technique in their art or don’t use it in a traditional way, who don’t consider existing works of art as masters to be copied and trends as well-trodden „motorways”, but define them as fresh, wild, wide-ranging tracks searching for forward-thinking ways, who strive for a colorful/shockful life’s work and as a consequence of all these are not able to realize their work and present them in public, for those artists this association will become a big international family.
President: Judit Fischer, Secretary: Miklós Mécs
They exhibited in many places: “Where do we go from here” Wiener Secession, Vienna; “Revolution without movement” Tranzit SK, Bratislava, etc. but they remember most the familiar movements of flow-like exhibitions and situations, or the long term relationship in the real everyday llife in a "big family". Now they live and work in a school (Green Rooster Lyceum) for streird (strange/weird) children.
Sholeh Asgary is an Iranian born interdisciplinary artist who creates immersive works, sound performances, audience participatory scores, and workshops with a particular interest in liminal spaces experienced by the viewer.
A current affiliate artist-in-residence at Headlands Center for the Arts, she is also a 2020 artist-in-residence at Mass MoCA, Wassaic Project, and Kala Art Institute. Recent exhibitions, performances, and screenings include ARoS Art Museum, Sotheby’s Institute of Art, Minnesota Street Project, and Stanford University. She has been an artist-in-residence at Platform Residency, Krowswork, and Flux Factory, and performed with La Pocha Nostra. Asgary received her MFA from Mills College and BA from San Francisco State University. As part-time photography faculty at Foothill College, she lives and works between Oakland, California, and New York.
Meghana Bisineer and Charlotte Law, two artists in isolation, started collaborating during the lockdown; exchanging drawings, animation and sound. The meditations, conversations and growing connection between these two nomadic queers lead to a larger ongoing body of work which includes short films, texts, spoken word and sound pieces.
Meghana Bisineer is a California-London based animation artist, curator and educator. She is currently Assistant Professor of Animation and Fine Arts at the California College of the Arts, SF and works across independent artist films, texts and installations in galleries/ art spaces and festivals. Her films have been shown internationally for several years.
Charlotte Law is an interdisciplinary artist whose practice involves performance, moving image, sound, spoken word and text. A frequent collaborator, when her creative world manifests as installations the settings range from artist lead gallery spaces to experimental music festivals. Her recent projects have included performances at a series of music festivals (2019), a solo album (2020) and a number of short films (2020).
River Black works with performance, sound art, and installation, often involving the viewer as participant. A large body of her work deals with sex work, beginning with pieces in the SOMArts exhibition "We're Still Working: The Art of Sex Work." As a graduate student at California College of the Arts she co-founded the Sex Workers Student Union, the first institution-sanctioned group of sex workers to organize on a college campus in North America. River also co-founded useless initiatives, a collective that creates platforms for womxn and underrepresented artists to workshop their performances;useless initiatives also hosts Haptic Encounters workshops inspired by Lygia Clark. With everyday people she encounters, River continues her long-running performance Sex Worker Ambassador, her Ask Me Anything avatar, as a way to complicate and interrogate stereotypes while demystifying her own lived experience. Throughout this work, River addresses issues of agency, desire, precarity, feminist labor, and familial belonging.
Maria Guzmán Capron (b. 1981 in Milan, Italy to Colombian and Peruvian parents) lives and works in Oakland, CA. She received an MFA from California College of the Arts in 2015 and her BFA from the University of Houston in 2004. Recent exhibitions include Snail Shell—pt.2 Gallery, Oakland,CA;Female Trouble 2—CULT Aimee Friberg Exhibitions, San Francisco, CA; Body Spray—Buffalo Institute for Contemporary Art, Buffalo, NY; Don’t Eat Me—Deli Gallery in Brooklyn, NYC; and Through Her Eye—Mana Contemporary in Chicago, IL. In addition, she is a parent and works at NIAD Art Center as a part-time facilitator.
Merve Caskurlu, born and based in Istanbul-Turkey, is an interdisciplinary artist whose work investigates the relationship between space, memory, and technology. She is interested in the transience of space transformed by urban developments and technological processes. She seeks alternative perspectives on transitory spaces by using digital tools and strategies.
She collaborated with Lynn Marie Kirby in 2019 for an AR site-specific project titled “Memory Holes” and displayed it in various public spaces in Istanbul. She is one of the founders of Co-leXers, an emerging collective engaging architecture, art, and new media with a trans-disciplinary approach. She completed her Ph.D. project in San Francisco in 2020 with Fulbright Visiting Researcher grant. Since 2015, she works as an Assistant Professor in the Visual Communication Design Department of Yeditepe University in Istanbul. Her works have been exhibited in France, Italy, Armenia, and Turkey. She co-directed various events, one of which is the “amber’15 Art and Technology Festival,” a pioneering media art event in Turkey. She is currently involved in an R&D design project, selected as one of the finalists by the jury of the Scientific and Technological Research Council of Turkey.
Beatriz Escobar is an artist and educator working primarily with participatory art projects, relational objects, and the body, engaging decolonial imaginaries and investigating how embodied knowledge interacts with the experience of otherness. She is interested in the tensions arising from the excessive consumption of the tropical (tropical culture, bodies and resources) by The Global North and is constantly entangling herself and the audience in constructed and shifting power dynamics.
Escobar grew up in São Paulo, is now based in the Bay Area and holds an MFA in Social Practice from California College of the Arts, where she received the Impact Awards 2017 for her project Amazonas Riverine Program. She was a 2017-2018 Creative Dissent Fellow at Yerba Buena Center for the Arts, a 2018-2019 Community Engagement Fellow at Destiny Arts Center, and is currently an Affiliate Artist at Headlands Center for the Arts.
Quinn Keck is a multidisciplinary artist working across traditional printmaking, painting, and digital mediums. Trained in painting and printmaking, Quinn also combines writing and code in their work to create dialogues on the human experience. Instead of portraying the physical form of people, places, and themselves, Quinn portrays their inner layers and dimensions through abstractions. Their work has been displayed across the United States in both solo and group exhibitions. They hold a Bachelor's in Studio Art and Human Rights from Hampshire College and a Masters of Data Science from the University of San Francisco.
Robyn Craxton Lindquist is a designer and interdisciplinary artist who works in both analogue and digital worlds as well as investigating the lines connecting them. She is usually questioning her reality and what it means to be human in a world where technology seems to be winning the evolutionary race. Her current work investigates human/computer relationships, free will and the interplay between the programmer and the programming. Past bodies of work explore uncovering unconscious biases and seeking to understand the power structures that hide in plain sight. To stay grounded on the physical plane, painting and sculpting seeds was an early passion, now she marvels at the miracle that grows when planting them in her gardens.
She holds a BFA in Interdisciplinary Studies from the San Francisco Art Institute. Currently she is pursuing an MFA in Design from the Vermont College of Fine Art where in 2019 she was recognized as a “Student to Watch,” featured in GDUSA magazine.
Jader is an interdisciplinary artist making work that inhabits the space between fact and fantasy, like a funhouse mirror held up to the world. By way of a bold, colorful aesthetic and no small dose of camp and humor, Jader’s work is as nightmarish as it is cartoonish, yet conceptually grounded in the universality of the human (and queer) condition. Employing bright, pigmented makeup, custom-built prosthetics, and bizarre character studies, Jader creates films and images that imagine parallel realities and offer a glimpse into a new frontier that is equal parts alluring and unnerving. Jader also fosters a performance practice and his collective Toxic Waste Face (with Pseuda and Urheinous) has performed at Miami Art Basel, Kunsthall Stavanger, Norway, and various other venues across the US; the group received a California Arts Council Artists in Communities grant in 2019. Jader has a degree from the University of California, Los Angeles and splits their time between LA and San Francisco.
Erica Molesworth is an artist working across video and installation. She is interested in landscapes that integrate the natural and artificial, and their symbiotic relationship with human economies. She was born in Sydney, Australia, completed undergraduate studies in Media Arts at the University of Sydney, and an MFA in 2015 at the California College of the Arts (CCA). Erica has exhibited widely, including at Lishui Festival in China, NARS and Mery Gates in Brooklyn, the Yerba Buena Center for the Arts and the Contemporary Jewish Museum in San Francisco, in the John Fries Memorial Prize and Firstdraft in Sydney, Channels Video Festival in Melbourne, University of Massachusetts and the University of Nevada. She has been awarded fellowships at Lower Manhattan Cultural Council, Vermont Studio Center, Lighthouse Works, MASS MoCA Studios, Wassaic Project, New York Art Residency & Studios (NARS), and Bay Area Video Coalition among others. She has received an Australian Postgraduate Award, a CCA graduate merit scholarship and teaching fellowship, and the Australia Council's ArtStart grant. She is visiting faculty at Parsons/New School NY, and previously at CCA and SFAI in the Bay Area. She has given visiting artist lectures at Stanford and the Living Room Light Exchange, and was also a co-founder of Oakland's art space CTRL+SHFT Collective.
Judit Navratil’s practice is multivalent, engaging performance, social practices, drawing, as well as video and VR. The relationship between the real and virtual is personally significant to Judit, as she has moved between several different countries and cultures in her lifetime, and relies on digital means to connect to people and places in an attempt to construct “home.” Navratil uses her body-device to keep balance through her compass-meditation: the Long Distance Somersault career. Rolling as far as she can helps her seeking higher alternatives and to gaze in the Eye of the Hurricane.
Navratil earned an MFA in Painting at the Hungarian University of Fine Arts in 2008 and an MFA at the California College of the Arts in San Francisco in 2019. Her work has been recognized through awards and residencies including the Cadogan Art Award, a residency at Cité Internationale des Arts (Paris), the Dennis Leon and Christin Nelson Scholarship, a Presidential Scholarship for Anderson Ranch and the Parent Artist Residency Award of Kala Art Institute. She is currently an affiliate artist at the Headlands Center for the Arts and the mother of two and the VR Art Camp.
nkiruka oparah is an artist and poet based in Oakland, CA. They have developed a cross-disciplinary approach that combines drawing, video, printmaking, and assemblage. Evoking abstract and ephemeral forms, soft portraits, and looping gifs, they consider the body through memory-related research that finds its center in a reflection of the elasticity of time and space. In addition to their studio work, nkiruka is a professor in Printmedia, facilitator of dream workshops, and a founding member of 5/5 Collective.
Maxine Schoefer-Wulf is a multimedia artist based in Berkeley, CA working across drawing, painting, film, and video. She uses mark-making and video projection to reimagine methods of charting the passage of time, exploring her sense of place and scale in relation to shifting landscapes and vast, impassive cycles. Born in San Francisco and raised in the Bay Area and Germany, she received her BA from University of California, Los Angeles and her MFA in Fine Arts from California College of the Arts. She has exhibited at spaces including Aggregate Art Space in Oakland and Motherbox Gallery in Brooklyn, and will be featured in an upcoming show at Root Division, San Francisco. She was a finalist for the Barclay Simpson Award and a recipient of the Dennis Leon and Christin Nelson Scholarship.
Lia Sutton is a New York City born artist, based in the San Francisco Bay Area and New York. Sutton’s work is propelled by play, embodiment, and movement. Currently an artist in residence and instructor at Kala Art Institute in Berkeley, CA, she has exhibited her sculpture, drawing, printmaking, video and participatory art work nationally and internationally. She received her MFA from Cornell University in Ithaca, NY and her BA from Hampshire College in Amherst, MA. She also studied at the Escuela de Arte Útil with Tania Bruguera at Yerba Buena Center for the Arts in San Francisco, CA. Sutton is a member of the Public Education Faculty at San Francisco Art Institute.
Eszter Szabó, born in Hungary lives and works in Budapest. Her art explores two main areas: painting and video. Her 2D and 3D video-animations are based on her paintings which are water color on latex or oil on wood.
She has her MA from the Hungarian University of Fine Arts. She finished her post graduate studies at Le Fresnoy, in France. She took part in several workshops, study visits, in Salzburg Summer Academy with Shirin Neshat, Erasmus Scholarship in Le Mans (FR) in, and she also took part in residencies in Paris-Montrouge; trough JCE, and in Bielefeld with Artist Unlimited, (GER), New York, Brooklyn at Triangle Arts. She has had several solo exhibitions, for example in Taiss Galerie, Paris, in Videospace Gallery, Budapest; in Jozsa Gallery in Bruxelles and in Artists Unlimited Gallery in Bielefeld.
Her works are mostly small paintings and video animations that explore different aspects of everyday situations. She researches manifestations and the origins of public opinion. Vulnerability, inertia, weariness, unconcern is a general theme that returns in her work within different contexts. She deals with gestures that everyone does the same way.
Zsófia Szemző is an interdisciplinary artist who's work seeks to explore human’s place in nature and its social environment, she is interested in the possibilities of implicit narration in human interactions and the layers present in personal or broader history. By her work she is highlighting the risk factors and uncertainty that we have to face during everyday life and specific social experiences. Constant medium of her work is drawing and other paper based mediums but technical mediums are equally present. In 2020 she completed her doctoral studies at the Academy of Fine arts in Budapest. Some highlights: Over the past few years she travelled to work in residencies: in CEAAC Strasbourg, France with the BudapestGallery grant. In the MQ-Q21 Vienna, Austria, with Tranzit, Erste Foundation. Participated in international group shows as The Measure of our Traveling in Feet in Marres, in Maastricht, Netherlands with ACAX. She studied at ENSCI, Paris, Mastère spécialisé and Moholy-Nagy University of Arts Budapest, Visual Communication and Visual Education. Currently living in Budapest, lived and studied in Paris.
Hannah Waiters is a Bay Area-based Black visual researcher and conceptual artist. Her conceptual material art practice interests include museum studies, Black Atlantic philosophy, historical phenomenology in art history, and historical materialism. She completed her MFA in Fine Arts and MA in Visual & Critical Studies at the California College of the Arts. Waiters is currently a research fellow in Contemporary & American art at the de Young museum extending her graduate studies research on preserving conceptual postmodern Black erasure in relation to gentrification's local dynamics.
“How is it that we come to find our home in a world that displaces marginalized memories about local landscapes surrounding and informing new dimensions of narrative possibility under glass? This project took the form of a vitrine showcasing a living archive of neglected Peninsula landscapes whose erasure has been preserved here as a metaphor under glass; preserved erasure under both computer screen and mirrored glass display cases. This experiential vitrine employed walking and witnessing methodologies to complicate our relationship to natural and urban landscapes in the Peninsula in the wake of urban renewal. Themes and aesthetics of both Black Atlantic philosophy and museum studies here enlarge how we think about exhibitions and, more broadly, archival/institutional displacements that marginalize local landscapes and perpetuate the erasure of larger local socio-cultural narratives.”
Born in 1971 into the back-woods culture of Northern California, White’s intimacy with cultural margins is reflected in her work—in subject matter and in philosophical perspective. Her symbolically charged, narrative paintings illuminate many of our personal and collective shadows in relation to class, race, gender, trauma, morality and power. While primarily a painter, White often exhibits her work in multi-media installations that include drawings, sculpture, video and books.
Self-taught beginning at age 30, White’s work became public in 2014 with the ProArts 2x2 Solos Exhibition, followed by the 2015 Tournesol Award from Headlands Center for the Arts, the Bay Area Now 8 triennial at Yerba Buena Center for the Arts, and residencies including a fully-funded, year-long residency in Roswell, New Mexico, a Master Artist residency with Joan Snyder at Atlantic Center for the Arts, the Mills College Art Museum A+P+I residency, and 10 solo shows and multiple group shows in the Bay Area and beyond.
Sean Keating (AKA 2tears) is a Bay Area-based artist working in video, augmented reality, and virtual reality. Drawing from a background that includes sculpture, fabrication, photography, video, painting, mold-making, concrete, construction and activism, he is exploring new ways to connect the embodied, sensual and physical world with the internal landscape of the psyche, emotions and imagination.
I am an artist, writer and filmmaker who was born in China and is currently based out of Oakland, California. My practice moves between text, drawing, painting, sculpture, installation, and screen-based media, and I draw heavily upon methods of assemblage and recontextualization.
My work examines diverse manifestations of propaganda, the possibilities for expanding the language of climate apocalypse, and the racialization of contamination narratives, as told through visual and text-based forms. I have exhibited work around the United States, at venues such as the Berkeley Art Museum and Pacific Film Archive (Berkeley, CA), AIR Gallery (New York, NY) and the Minnesota Street Project (San Francisco, CA). I received an MFA in Art Practice from the University of California — Berkeley as well as BAs in Economics and English from Brown University.
I am currently a 2019-2020 Graduate Fellow at the Headlands Center for the Arts, a Collection Fellow at KADIST, and the Art Director of Quiet Lightning. I’ve started a PhD in Visual Studies at the University of California — Santa Cruz in 2020.
Minoosh Zomorodinia is an Iranian-born interdisciplinary artist who makes visible the emotional and psychological reflections of her mind's eye inspired by nature. She employs walking as a catalyst to reference the power of technology as a colonial structure while negotiating boundaries of lands. Zomorodinia serves on Southern Exposures’s Curatorial Council, Berkeley Art Center Program Committee, and a Board Member of Women Eco Artists Dialog. She has received several awards, and residences including the Kala Media Fellowship Award, Headlands Center for the Arts, Ox-Bow School of Art and Artists' Residency, I-park Foundation, Santa Fe Art Institute Residency, Djerassi Residency, and Recology Artist Residency. She has exhibited locally and internationally at Yerba Buena Center for the Arts, San Francisco Arts Commission, Pori Art Museum, Berkeley Art Center, Nevada Museum of Art, ProARTS, and Currents 826 gallery. Her work featured in SF Chronicle, Hyperallergic, SFWeekly, KQED and many more. She earned her MFA in New Genres from the San Francisco Art Institute, and holds a Masters degree in Graphic Design and BA in Photography from Azad University in Tehran. She currently lives and works in the Bay Area.
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