United States of America

Janette Hopper
Together Apart: #Shelter

19.08.20 09.09.20

Janette Hopper is an artist working in various and diverse mediums. After receiving her MFA from the University of Oregon, she taught in Denmark, Italy, Germany and in the United States.
Today, she continues to produce works which have been shown in over 250 exhibitions and they are collected extensively in over 40 public museums, public venues, colleges and universities and, additionally, in many private galleries nationally and internationally, principally in Germany, France, The Netherlands, Canada, Bulgaria, Italy, Denmark and the US.

I used words and photography to complete my individual exploration of shelter. The first individual one is called Safe and Warm. 18 positions started when I tried to photograph my husband and I in bed cuddling. It was difficult to both photograph and be in position. Later I noticed two squashes that I had grown and thought they would work perfectly to represent “Safe and Warm”. I felt with the first photo suggesting the theme that, in a humorous way, the squash could pose for us.  Next, I walked around the yard and looked at my seeds and thought of shelter using plants. I thought about the process of gardening and cooking and photographed that from picking okra in my garden to making Bindi in my electric skillet.  When we went for a walk I took pictures of all the shelters I saw and possible building materials for shelters. We stopped at a graveyard and I thought of the ultimate shelter. I enjoyed sharing my ideas through the photos I took and words. The First Shelter collaboration: While we had a little difficulty connecting online due to time zone differences, it all turned out to be rewarding in the end. We were interested in psychological shelters rather than physical shelters. We talked about using somatic movement to show shelter at night and shelter during the day. Ari and I worked together first. She liked my owl mask so I decided to do some somatic movements in the dark. I sent the video my husband had taken of me in the back yard with a flash light to Ariana. She danced, bouncing off my movements and sent me back some combined images. We talked about it and made a few changes and we came up with the title Quintessence.  Then Loli did her first performance work for daytime. She wore a white slip and did somatic movement. Lori’s videos were awesome using her hair and hands in a beautiful way. I walked in our nearby park in the wooded area and did some more videos walking and barefoot on the moss. I also sent Ari some prints I had made inspired by this type of landscape. Ari made some dance movies thinking of the mood. She combined all of our images into a video. She and I went back and forth about where it was too long or needed omitted or how it should start or end. Basically, I was amazed at how Ari was able to project images on the slip, bring the textures from the prints and all our movements together, integrated and sometimes overlapped. I loved the layering of images and felt both videos expressed our inner feelings.

Second collaboration:  Jill came up with the idea of doing a survival kit. We exchanged some initial photographs and each of us made a beautiful and meaningful selection of objects with lists. I developed a real magic kit of objects that not only changed your perspective but fixed the problem. I like to think that in the future we will develop ways of making the world a better place that we can’t quite imagine now. I loved the brainstorming and sharing of ideas that went on in the group.
For me the sharing of the work and seeing and hearing about everyone else’s work whether your collaborators or not brought us very close together. The combined energy and comradery that developed was wonderful. We were truly together apart.

Janette K. Hopper
1946 | Oakland, California
Lives in Wilmington, North Carolina

MFA Painting, University of Oregon
MA Art Education Boise State University
BA Art Boise State University

Galeria Espiral, Noja, Spain
Lincoln Center NYC, NY
Fulbright solo exhibit in Copenhagen, Denmark
Frye Art Museum, solo, Seattle, Washington
Padagogische Hochschule, solo,Ludvigsburg, Germany

Together Apart, Buenos Aires, remote
Simposio Internacional de Artistas Noja (SIANOJA XIX), Noja, Spain
No Boundaries International Artists Colony, Bald Head Island, North Carolina
Montana Artist Refuge in Basin, Montana, USA
National Park Service, North Cascades Artist Residence, Stehekin, Washington, USA

United States Fulbright: Marselisborg Gymnasium, Aarhus, Denmark
Danish Fulbright Grant for a solo exhibit in the Mostings Hus, Copenhagen, Denmark
Artist Trust Grant Award, Seattle Washington, USA
First Place Prize The Maria V Howard 62ed Annual National Juried Art Show at the Imperial Center in Rocky Mount NC, USA
Artist of the Year, Northwest Prints Council, Portland Oregon, USA

Related Activities

Exhibitions, Together Apart

#1 | SHELTER: results
Artists in dialogue


During 2020, we carried out the first two sessions of Together Apart. The first session took as a conceptual and practical framework the REFUGE and the second, the NEST.

Through those starting points, both of which refer to caring atmospheres and structures for coexistence, we were able to think and create in a wide variety of directions and layers. We reflected on our pandemic context, a situation for which we had to find ourselves in the virtual non-space, but also a situation thanks to which people from many different countries were able to work simultaneously.

Assuming this complex situation, more than 20 participants per session created new pieces –some in exercise format–, took up projects that they had already worked on in the past or collectively set out to create new projects that will continue to develop beyond the scope of our meetings.

Taking these refuge and nest issues also in their complexity, we asked ourselves questions that made each of the participants involve their personal experiences, memory, memories and experiences from each of their territories. We addressed questions that sought to keep us in constant movement; at times we went through very optimistic or pessimistic visions about the possibility or necessity of having a shelter or a nest, and at other times, we were able to articulate more complex visions, enduring in intermediate and liminal states. For both, we took as a theoretical structure of support and dialogue the thought of Félix Guattari presented in The Three Ecologies (1989). His ethical-political approach that highlights the molecular domains of sensitivity, intelligence and desire, as well as his articulation of the three ecological registers (environment, social relations and human subjectivity), helped us to expand our creations and thoughts in relation to shelter and nest.

During the first session, when asked about the conditions that a refuge can have and the conditions that we would like a refuge to have, the artists (coincidentally and by chance, we had a cohort one hundred percent comprised of women) generated sculptural pieces, artists’ books, photographs, videos, dance pieces and more, reflecting on the permeability or isolation structures that a shelter can have. Also, many artists started from their bodily memories to refer to the refuge and made improvisation and performance pieces. We created in relation to the refuge conditions presented by nature and the refuges that we create to protect ourselves from certain natural conditions. Memory as a refuge and shelters for memory also arose through textile practices or from the use of jewelry or objects with which we build links. Finally, the bonds and the community as spaces that shelter and spaces that imply care was another of the axes that we explored through pieces that included readings of texts and sound activations.

Together Apart has functioned as a program that opened up possibilities for meeting and collaborative creation. It has made possible the creation of new rhythms and synchronies for a limited time but whose reverberations and echoes continue to affect in unexpected directions.

Daniela Ruiz Moreno (curator-in-residency)

Artist-in-Residence International Program

View map

International Airport

Ministro Pistarini- Ezeiza (EZE)
Buenos Aires
45' to 60' trip

Domestic Airport

Aeroparque Jorge Newbery
Buenos Aires


38, 39, 41, 42, 59, 63, 65, 67, 68, 151, 152, 161, 184, 194 and 168 (stop in the front door)


D Line (Green)
Olleros Station (4 blocks, 4')


Mitre Line (either to Leon Suarez or Mitre)
Colegiales Station (1 block, 1')

The Latin America's Paris

Buenos Aires is Argentine Republic's capital city. With 15,000,000 inhabitants, it is one of the largest cities in Latin America and one of the 10 most populous urban centers in the world. Its cosmopolitan and urban character vibrates to the rhythm of a great cultural offer that includes monuments, churches, museums, art galleries, opera, music and theaters; squares, parks and gardens with old groves; characteristic neighborhoods; large shopping centers and fairs. Here we also find a very good lodging facilities, with accommodation ranging from hostels to five-star hotels of the main international chains. Buenos Aires also show off about its variety of restaurants with all the cuisines of the world, as well as to have cafes and flower kiosks on every corner.

A neighborhood founded on the Jesuit farms in the 17th century

We are located in Colegiales neighborhood where the tree-lined streets, some of which still have their original cobblestones, invite you to walk. Although the apartment buildings advance, low houses still predominate. It is a district of the city where about 20 TV production companies, design studios, artist workshops and the Rock&Pop radio have been located. The neighborhood also has six squares, one of which pays homage to Mafalda, the Flea Market, shops, restaurants and cafes like its neighboring Barrios de Palermo and Belgrano, with which it limits.

Artist-in-Residence International Program

2024 Open Call #3
Residencies 2024

July 31st, 2024

Check available SLOTS

Check the FAQs


Subscribe to our newsletter