United States of America
Sarah Peck is Lecturer in the Department of Photography at Stanford University. She’s an intermedia artist whose work centers art practice as a means to investigate connections and create community. Peck engages photography, video, performance, drawing and sculpture in her process. She is currently working on a feature-length documentary exploring the role of artist residencies in contemporary creative practice.
Creative practice is a constant negotiation between stewardship and disruption. It uniquely affords its patrons and participants opportunity to plumb the depths of the internal and the external phenomena that shape and move us. Creative practice holds space for play, trial, error and failure. It is a process. At its most potent and powerful it is rooted in experimentation, communication, connection, vulnerability and insatiable curiosity. All essential aspects of growth and evolution.
On a daily basis most of us function within and around social, educational, professional and financial institutions that systemically suppress many of those integral elements of process. As artists, we must be diligent about making time and finding space for those processes to thrive- and we must remain engaged with them. Artist Residencies are unique opportunities for us to organically and alternatively contribute and be nourished. Moreover, residencies provide space, resources and support so that we can explore and express elements of the shifting landscapes within ourselves and in the world.
For the past three years I have been gathering material for a feature length movie about artist residencies. This project (working title: In Residence) will serve as an exploration of residencies around the world and their role in contemporary creative practice. In Residence will be a source of information and support for individuals outside the realm of academia who share an interest in and commitment to using art as a means of creating connection and building community. It will be shared online and in connection with other residency related resources and information.
I highlight a diverse group of residencies and very much hope to feature a selection of unique spaces outside the US- where I live and work. ´ace interests me for several reasons. Alicia Candiani’s conception of the space as a bridge to unite creative practitioners from diverse backgrounds (national origins, religions, etc.) and link them to the local community in the city that she grew up in is compelling. The history of the residency and its contribution to a neighbourhood recovery process interests me, as does its honouring of interdisciplinary approaches to thinking and making.
Peck’s residence was sponsored in part by the James and Doris McNamara Faculty Fund in the Department of Art & Art History at Stanford University
1979 | Washington, USA.
B.A. in Biology and Art, Hampshire College. Massachusetts, USA.
Post Baccalaureate certificate, Masters in Fine Arts at the School of the Museum of Fine Arts Boston & Tufts University. USA.
Mobius, Cambridge. Massachusetts, USA.
Edinburgh College of Art. UK.
Cranbrook Art Academy. Michigan, USA.
University of Antwerp. Belgium.
The Rocky Mountain Regional Center, Denver. Colorado, USA.
The World Trade Center, Boston. Massachusetts, USA.
Bloomville. New York, USA.
Joshua Tree. USA.
Artists in Dialogue
Color: Africa was a very special night with five women artists presenting their very powerful pieces. Its name comes from the fact that Africa was present through its colors and its geopolitical and social history in two important exhibitions.
Mariela Yeregui (Argentina) presented “Just a Face”, an installation simultaneously spread in the Dialogue Space and the Central Hall. Based on the technique of African wax-dyed textiles, the proposal displays a series of fabrics that shaped an installation to reflect on the Rwandan genocide. The work is also imbued with the own experiences of the artist who, simultaneously with the historical events, was residing in West Africa.
In dialogue with the vibrant colors of Mariela’s fabrics, the Polyglot Room was occupied by “Map of an Identity” an exhibition by Maritza Dávila produced during her second residency with us (the first was in 2011). As an artist of color born in Puerto Rico (but who emigrated to the United States since her college days and now based in Memphis), Maritza reflects on her triple Taino, Spanish and African identity. The artist seeks to amplify voices that have been largely ignored but are in fact and deed contributing to the changing demographic and cultural dynamic of the contemporary world.
In addition, Ann Kresge (United States, an exquisite artist bookmaker) displayed in the workshop several artist books made during her residency with us. Ann has been a member of the famous Woman Studio Workshop in New York and her works are at the Victoria & Albert Museum in London, the MET in New York and the Getty Center in California. The exhibitions included as well Canadian artist Chloe Charce´s lighting installations. Finally, Lucía Sancinetti´s ethereal works, in the Transversal Space, were selected in the 2018 Semillero Program for Argentine emerging artists.