Anaïs Maviel is an artist, vocalist, composer, and multi-instrumentalist dedicated to translating spiritual concepts to sensory experiences, using sound as medicine & alchemy. With traditional and experimental approaches, her works investigate the power of sound to shape reality and emphasize the relevance of cultural hybridity. She navigates song, choral, instrumental, orchestral music and staging with a strong connection to cosmologies of sound and speech rooted in oral traditions such as mantra and ring shout. Recent collaborators across mediums include Alarm Will Sound, Sean Webley, The Rhythm Method, Nene Humphrey & Aruán Ortiz. Maviel facilitates vocal liberation with a focus on the body, its environmental, archetypal and cosmic resonances. Both of Maviel’s solo albums received international acclaim; among the generous press shout outs, Jazz Right Now has called her a “unique aesthetic visionary.”

During her residency, she will study and experiment with healing, spirituality and embodiment through sound, to bridge esoteric knowledge such as Vedic cosmology of sound, nada yoga (yoga of sound), psychoacoustics and meditation with composition tools such as just intonation, sound design, rhythm and harmony as they relate to sacred geometry.

Photo by Sean Webley.

So + Bex are best friends who first met in 2015, who craft immersive performances that feel like a cross between stand up comedy, campfire conversation, and the best kind of history lesson. Both alumni of EMERGENYC—the Hemispheric New York Emerging Performers Program, So and Bex’s first performance together was a part of a partnership with Art in Odd Places. They began developing their collaborative artistic vocabulary at Brooklyn Arts Exchange (BAX), first as participants in the Upstart Program 2017, Space Grantees 2018, and then as Artists in Residence (2019-21). They were selected to show work at The Brick’s Trans Theatre Festival in July 2018, Spring 2019 BRIClab residents, and were featured at the Highline’s Out of Line series in July 2019. As solo artists, they have been invited to present at theaters, galleries, and universities in Singapore and the U.S., including La MaMa, the National Asian American Theater Company, and 3LD. So + Bex were 2021–22 Jerome Hill Artist Fellows and are 2024 MAP Fund Grantees.

At the Camargo Residency, So and Bex are thrilled to have the opportunity to dive deeper into their research for REUNION, their full-length, live performance styled as a historical thriller.

Photo by Carlos David.

Tali Keren is a multidisciplinary artist and filmmaker working across experimental documentary, performance, and installation. Her practice examines invisible mechanisms of empire, tracing how ideology materializes through law, infrastructure, and theology. Working with video, sound, archival research, and alternative mapping, she translates these systems into visual and narrative forms grounded in lived experience across human and more-than-human worlds alike. Rooted in collaboration, pedagogy, and cross-disciplinary dialogue, her work aims to forge new forms of collectivity and political imaginaries. Keren’s work has been shown at the Queens Museum, NY; The James Gallery, NY; MOCA Tucson, AZ; Yerba Buena Center for the Arts, SF; Museum of Contemporary Art, Detroit, among others. She is a 2023–2025 Jerome Hill Artist Fellow and a 2022 Artadia Award recipient and has received support from the Desert Humanities Institute and the Leonardo–ASU Planetary Health Research Seed Grant at Arizona State University for her current research. She is an inaugural artist-in-residence at ASU’s Water Institute, where she collaborates with hydrologists, climate scientists, and students.

During her residency at the Camargo Foundation, Keren will focus on her current in-progress trilogy, Water/Power, examining the entanglements of water infrastructures, ecologies, and colonial histories across the U.S.–Mexico borderlands, the Mediterranean, and the Middle East. Tracing desalination technologies as they circulate between regions, the project surfaces ecological consequences, political stakes, privatization, and the militarized and corporate powers embedded in the techno-utopian desire to “drink the sea.”

Photo by Rotem Lineal.

Kayla Hamilton is a Leo Sun with Aquarius Rising and Moon, which means she’s equal parts bold dreamer and perpetual draft-in-progress. A Bronx-based choreographer, educator, and Disability Futures Fellow, Hamilton’s choreography has been seen at The Shed, Gibney, Gibney, and New York Live Arts. She co-directs Angela’s Pulse’s Dancing While Black program, directs the Access. Movement. Play Residency at Movement Research, and co-facilitates How We Move, a summer dance intensive centering disabled artists. Her legs are her favorite body part (flat feet and all), and her guilty pleasure is protein coffee before a long rehearsal. When she’s not in the studio, you’ll find her watching the WNBA—New York Liberty first, Indiana Fever close behind. She grew up in Texarkana, TX, in a CME church, and those roots continue to shape her work’s rhythm and care. Hamilton is also on a journey of healing her inner child through therapy, TikTok wisdom, and a growing collection of self-help books. She has consulted for Mellon Foundation and New York Live Arts, danced with Kinetic Light and Gesel Mason and is still figuring out how to get out of her own way.

While at Camargo, Hamilton will explore more deeply the relationship between access and artistry within her practice as a Black Disabled choreographer. This residency offers her the opportunity to step into a slower, more spacious mode of inquiry, translating years of lived experience and artistic labor into writing and moving from constant “doing” toward reflection, synthesis, and articulation. Through a daily writing practice, she will document these evolving processes and ways of being in order to better understand the larger landscape of what the work is becoming—not only what is being made, but what is being built.

Photo by Travis Magee.

Chamindika Wanduragala is a Sri Lankan American artist and the founder and director of Monkeybear’s Harmolodic Workshop, which supports Native, Black, and IPOC in creating puppet theater. She loves sharing joy through music and transporting people to other worlds through puppetry/stop motion and the magic that comes with bringing a puppet to life.

During her Jerome@Camargo residency, Wanduragala will be experimenting with her modular synths as sound design for her puppet theater and films as well as exploring the manipulation of puppets herself. (In her previous work, she has always directed others in performing her puppets). She’s excited to see how these two aspects might influence each other.

Photo by Sarah White.

Brooks Turner is an artist, writer, and educator based in Minneapolis. Through diverse methodologies that include archival research, collage, drawing, writing, and installation, Turner engages histories of labor, fascism, and resistance, with a particular focus on the 1934 Truck Drivers Strike in Minneapolis. Solo exhibitions include Voters in Revolt at Hair+Nails, Pedagogy and Propaganda at The Perlman Teaching Museum, and Legends and Myths of Ancient Minnesota at the Weisman Art Museum. Turner was a 2023 Jerome Hill Artist Fellow and a 2024 Visual Artist Grant recipient from the Harpo Foundation. His work has been collected by the Walker Art Center, the Minnesota Historical Society, and the Minnesota Museum of American Art. He is the author of numerous essays published by Labor Art Review, Art Papers, MnArtists, HAIRandNAILS, TEMP, and Headlands Center for the Arts.

At Camargo, Turner will expand his ongoing inquiry into how aesthetic forms circulate ideology by studying histories of fascist collaboration and resistance in Cassis and Marseille during World War II. Alongside this research, Turner will make reflective drawings contemplating the temporal distance since Nazi occupation and the accelerating force of fascism in the United States today.

Photo by Rik Sferra.

Witt Siasoco is a visual artist using public space to catalyze civic dialogue and collective action. For 25 years, he has worked at the intersection of the arts and civic life as a community-based artist, organizer, and educator. His work arises from a belief that art lives everywhere—in neighborhoods, on streets, where people live and work—and is most impactful when created in collaboration with local people and placed and performed in public. His creative process channels person-to-person conversations around community issues into hybrid work that blends painting and drawing, design, sculpture, and/or site-specific installation.

During his time at Camargo, Siasoco will research play in public space, in particular, the formal and informal rules that guide it. His residency will consist of field visits to local plazas, skateparks, and playgrounds; academic research about plaza architecture, civic space, and placemaking; and experiments with technical aspects of printmaking outside of a studio environment.

Photo courtesy of the artist.

Efraín Rozas is a Peruvian interdisciplinary artist, researcher and robotics maker. His work was described as “An incredible physical presence that transformed the stage into a soundscape” by The New York Times, “A heady confluence of technology, culture and cognition” by The New Yorker, and “A deep psychonautic dive” by WIRED Magazine. He is a Jerome Artist Fellow 2023–2025 for combined artistic fields. He was a resident at The Kitchen in 2021. He is recipient of the NY State Council on the Arts/ Wavefarm Media Arts Assistance Fund, Jerome Foundation/Harvestworks New Works Commission, and Knockdown Center (NYC) residency for time-based art. He has performed at Lincoln Center, Kennedy Center, Brooklyn Museum, Queens Museum, Roulette Intermedium, Levitation Festival, Museum of Contemporary art of Lima and Central Park Summerstage Fania Records 50th anniversary. His album Roza Cruz with his Latin American experimental project La Mecánica Popular was named one of the best Latin American albums of the decade by Zona Sucia and Estereofonía. Featured at CNN, BBC, Washington Post, Daily News, and NPR. He holds a PhD from NYU on new integrations of body, mind and technology through ritual and rhythm. He published the book Fusión: a soundtrack for Peru.

During the Jerome@Camargo Residency, Rozas will continue his research into how our relationship with technology has existed since the dawn of human history, and how art has served as a critical space for transforming technology into a means of expanding our notions of the body, the mind, and community.

Photo by Juan Pablo Aragón.

Junauda Petrus is an abolitionist, writer, filmmaker, runaway witch, soul sweetener, and performance artist of Black Trinidadian and Crucian descent, born on Dakota/Anishinaabe homeland (Minneapolis). Her work invokes poetics and experiences re-membered through research, play, and ancestral dreaming to imagine liberated futures shaped by sweetness, healing, and the sacred. Her debut novel, The Stars and The Blackness Between Them, received the Coretta Scott King Honor Book Award. Her children’s book, Can We Please Give The Police Department to the Grandmothers? was a Publishers Weekly Best Book of 2023. She is the 2025–2026 poet laureate of Minneapolis and a recipient of the Jerome Hill Artist Fellowship. She wrote, directed, and co-produced the poetic circus-play There Are Other Worlds. In 2021, she served as librettist for The Cartography Project at the Kennedy Center, writing about Minneapolis and the ancestor George Floyd. As a filmmaker, she directed Sweetness of Wild, a poetic episodic web series and Erotics of Abolition, which she also performed in centering the embodied erotic for Black liberation. Petrus’ work is steeped in abolitionist dreaming, ancestral listening, and Black queer feminist poetics.

For her Camargo residency, Petrus will be researching a body of literary and performance works entitled Erotics of Abolition. She will research how loving her body, nature as medicine, ancestral conversations, queer motherhood, creative resistance, kink as revolutionary self-love, and abolitionist relationship practices are pathways to this decolonial framework. She will be spending a lot of time in creative rituals and practice with her Caribbean ancestors and tapping into their rootedness, their alchemy of land, and how living slower and by the sea is a way to return to the sacred.

Photo by Thais Aquino of Soul Portraits.

Jordan Demetrius Lloyd is a Brooklyn-based dance artist, choreographer, and educator. Originally from Albany, New York, he is a 2025 graduate of the DAS Choreography master’s program in Amsterdam and holds a BFA from The College at Brockport. His choreographic practice moves between refined visuals and imagined realities. He investigates how the social codes of place, identity, and encounter shape movement, perception, and presence. His work guides audiences through sensory worlds where choreographic gestures operate as character, image, and lived memory. Lloyd has collaborated with and performed for artists including Beth Gill, Netta Yerushalmy, Tere O’Connor, David Dorfman Dance, Monica Bill Barnes, Donna Uchizono, Joanna Kotze, and more. His work has been presented by Danspace Project, New York Live Arts, BRIC, ISSUE Project Room, La MaMa Experimental Theatre Club, BAAD!, Movement Research at Judson Memorial Church, and the Center for Performance Research. His teaching practice has brought him to the American Dance Festival, Montclair State University, Movement Research, University of the Arts, Rutgers University, NYU, Sarah Lawrence College, and the Mark Morris Dance Center.

During his Camargo residency, Lloyd will pursue a period of slow, place-responsive research, combining reading, writing, improvisation, and site-based movement studies in Cassis and Marseille. This project extends a practice-based research trajectory that integrates critical theory and embodied improvisation, positioning choreography as a mode of knowledge production. Through video documentation, daily scores, and reflective writing, he aims to seed future choreographic work grounded in quietude, opacity, and the poetics of environment.

Photo by Thomas Lenden.