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Regional Emerging Artists in Residence

As of July 2012, Artspace is pleased to have expanded our Regional Emerging Artist in Residence Program and now offer two residencies every six months, four each year. The Regional Emerging Artist Residency provides emerging, Southeastern-based artists with six months of free studio space at Artspace, culminating in an exhibition and gallery talk.

For more information on the Regional Emerging Artist Residency Program or to apply please visit our Artist Opportunities page on the Regional Emerging Artist Residency Program. Applications are due twice a year, once in the spring and once in the fall.


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Jennifer Markowitz, Emerging Artist in Residence
Studio 215

January – June 2020

Jennifer Markowitz is a textile artist whose current project, Fleshmap: My Embroidered, Bipolar Geographies consists of a large series of hand embroidered panels mapping years/countries/cities she lived in while battling bipolar disorder. She is a 2019 Brightwork Fellow at Anchorlight and a recipient of the 2018 Career Development Grant from United Arts. Her work has been shown at VAE Raleigh, The Humanities Center and the Weems Art Gallery.

Before turning to textiles, Jennifer spent 25 years directing environmental theatre in Chicago, New York, Los Angeles as well as in England, Scotland, Ireland and Israel. In England, where she received her Master’s Degree in Theatre Research/Practice at the University of Warwick, she formed a site-based theatre company called Trema (a German term referring to both stage-fright and the moment prior to a psychotic break). With Trema, she directed site-responsive productions throughout the Midlands of the UK.

Jennifer has taught Performance Theory, Acting, Directing, Theatre Studies, Site-Based theatre and Postdramatic Theatre in the UK at the universities of Warwick, Birmingham, Manchester, Portsmouth and Plymouth. She has also taught Practice as Research methodologies and Site-Based Performance to MA Students in Reykjavik, Iceland. In the US, she both taught acting, performance theatre and guest directed at DePaul University, Columbia College Chicago and University of Notre Dame.

Artist Statement

I use thread to map the geography of memory. Embroidery can expose memory in all of its disarray and confusion. In my recently completed series, titled Fleshmap: My Embroidered, Bipolar Geographies, I use thread to circumnavigate my own bipolar disorder. Each of the 15 embroidered panels excavates events beginning in 1985 and spanning several US cities as well as multiple relocations between the U.K., Ireland, Iceland, Mexico and Lebanon. Within each panel are images and text pulled from memories, traumas, confusions, artifacts and maps.

I am now transfixed by encounters with absence and presence. Specifically, I’m gripped by the mysterious traces our bodies leave behind within garments and bed linens and how embroidery can reveal those private territories.

Carson Whitmore, Regional Emerging Artist in Residence
Studio 215a

January – June 2020

Carson Whitmore is a Durham Artist’s Guild member and has exhibited her work at venues including the Durham Artist Guild, Artspace in Richmond, VA; and at Carrack Gallery and Golden Belt in Durham. She participated in the New York Studio School spring 2019 Drawing Marathon and earned a BS in Environmental Studies from Warren Wilson College.

Artist Statement

I have been further exploring cycles of containment and material permanence. The foundation of this inquiry is representational paintings of found objects—artifacts of craft and domesticity—and the detailed composition within each subject. In abstracting such objects, I became interested in relationships created among objects in their collective visual archive.

My work incorporates found objects/subjects into imagined worlds, suggesting a narrative quality to these somewhat familiar forms. Whereas my work has felt like an archaeological dig and display, I am now reimagining the context of my subjects. Throughout the progression of my work, a connection between sculpture and painting is apparent, and is a thread I would like to further investigate.

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We recently interviewed Carson Whitmore for our January – April Newsletter. Read her thoughts below.

As I’m centering more of my life around my creative practice, it felt time to seek out a studio space that is more than an easel in the corner of my room. I’ve been largely making in a vacuum, and I have been seeking both the physical space and creative community that come with an opportunity like the Emerging Artist Residency. I’m excited for my work to grow as I open up my practice to a larger audience.

I’m looking forward to having more conversations about process and practice with community members and fellow artists—as simple as a stopping in to my studio for a visit, or a more formal critique. I’m also excited to open up my interest in found objects and desire to explore sculpture in some yet-to-be-determined participatory ways!

I’m not sure I can choose just one thing I’m most excited about! Having access to space, to be able to work on multiple things at once, is a huge opportunity. Being around the different exhibitions, working artists, and educational programs at Artspace feels like a fruitful setting to expand my practice.

I’m at a point in my work that feels very exploratory, but the things I’m interested in and certain processes remain foundational to my practice. I’m drawn to found objects and use them as an entry point to abstraction of forms and spaces. Material transformation, art and artifact, curated spaces, the act of making—these themes carry throughout my work. I’m interested in tedious processes and find a meditative freedom in meticulous challenges. While I primarily use paint as a medium, a sculptural connection in my work is apparent, one I am excited to explore more while at Artspace.

Residencies sponsored by Duke Energy 

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