2016

July- October

The following artists participated in the 2016 residency program at Otion Front Studio.

Kellian Delice - July 2016

Kellian Delice is alive, i think. 
Kellian is 23, born a Gemini/Cancer cusp.
Kellian is glowing with soft caramel features and shifting feet buffed by the ocean. flowing cloth drop from the body. About the size of two bar stools stacked on top of each other. The smile accentuates the gap in between the ivory, combed to a tiny pony drafted behind the dome and running.

Jillian Goodwin - September 2016

Jillian is an art therapist, installation artist, and classically trained ballet dancer. Jillian has danced at NYU’s Tisch School of the Arts, Miami City Ballet under the tutelage of Edward Villella and trained with The Boston Ballet. After acquiring a BA from New York University in Art History, Psychology, and Studio Art, Jillian earned her Masters of Professional Studies in Creativity Development and Art Therapy from Pratt Institute.  She co-created and managed the first mental health program at University Settlement’s Children’s Corner in Brownsville, Brooklyn and worked as Director of Development at RxArt. She has performed with FlucT+ for Model Home and continues to work with choreographer Sigrid Lauren. Jillian has built installations for Output, Paperbox, and curated and built work for the last running month of Glasslands.  http://jillianlaurengoodwin.com/

Alexandra Drewchin - October 2016

Under the pseudonym Eartheater, Alexandra Drewchin is a New York based self produced multi instrumentalist, composer, and vocalist (with a voice ranging from tenor to whistle-tone) challenging pedantic linguistic systems with her highly unpredictable output. In 2015, Alexandra, released two records, Metalepsis and RIP Chrysalis, that received wide critical acclaim for their experimentation with pop and classical paradigms. In the past year, performing throughout the world, her hyper composed emotionally manipulative pieces are polarized by improvisational destruction. In observing her live performances, the visual and vicarious amplification of Drewchin’s process is experienced simultaneously in Eartheater’s physical body as she contorts and pushes tensions to the brink