Past
Grantees

Pamela Council is an interdisciplinary artist creating works of veneration and playful catharsis. These multi-sensory dedications to the unsung, including their series Fountains for Black Joy, meticulously process history using dark humor, bright colors, nostalgic smells, and a campy Afro Americana aesthetic. They have created commissions for The Studio Museum in Harlem and VOLTA NY and exhibited at the Aldrich Art Museum, New-York Historical Society, and The New Museum for Contemporary Art. Council has been awarded numerous residencies including MacDowell Colony and ISCP. Council is an alumnus of Columbia University (MFA), and Williams College (BA), which awarded them the 2022 Bicentennial Medal as a distinguished alumna. They are a recipient of the 2017 Joan Mitchell Painters & Sculptors Grant and a 2023 Guggenheim Fellowship.

Fellowship Statement

During my Fellowship, I will continue to create works ranging in scale from miniature to monumental, designing playful art that engages architectural history and supports public and private catharsis. I envision the Fellowship duration as a time when I can both get organized and feel free to experiment, tell stories that may not be the most commercially viable, and build a team to support my vision. I want people to meet at my fountains for reflection, sit on my benches and share gossip, and enjoy interiors filled with freedom-inspiring objects.

Mo Kong is an interdisciplinary artist and researcher currently residing in NYC. Their work usually takes the form of large-scale installations involving scientific research and multiple journalistic perspectives. Kong challenges key issues of the day using complex narratives that bring together the past and the present. They have had solo exhibitions at Queens Museum, Smack Mellon, CUE Art Foundation, Cuchifritos Gallery, Artericambi Gallery (Verona), and Gertrude Gallery. They also received fellowships and residencies from Sharpe Walentas, Macdowell Colony, Skowhegan, Triangle Art Association, The Drawing Center, City Artists Crops Grant, Mass MoCA Studio, Vermont Studio Center, Lighthouse Works, and Artists Alliance LES Studio Program. Kong’s work has been written about in Hyperallergic, Artforum, Art in America, Cultured magazine, Artnet, Bomb magazine, Artpapers, CoBo Social, Wall Street International, SFMoMA Public Knowledge, and more. They received an MFA from the Rhode Island School of Design.

Fellowship Statement

My work reflects my long-standing interest in the natural sciences, uses a self-research process, and accounts for our position in complex historical and social events. The focus of my work revolves around "Slowbalization"—the opposite of globalization—which is characterized by xenophobia, economic isolation, and environmental collapse. The work explores the effects of these phenomena on the daily life of immigrants. I plan to continue working on my current series called Personal Ark®, which envisions this Asian immigrant-owned survival company and showcases the brand's apocalypse survival technology through site-specific installations. The series combines historical research, architecture, performance, cutting-edge technology, and biomaterials to reimagine Asian futurism and Asian pessimism. Through the lens of technological orientalism and olfactory orientalism, my works aims to help the Asian diaspora to navigate and survive the apocalypse.

Jeffrey Meris (b. 1991, Haiti, raised in the Bahamas) is a multidisciplinary artist whose practice engages with the relationship between materiality and larger cultural and social phenomena. He has exhibited at François Ghebaly, Los Angeles (2025); Williams College Museum of Art, Massachusetts (2024); MoMA PS1, New York (2023); Amon Carter Museum, Texas (2023); Lehmann Maupin, New York (2022); White Columns, New York (2021); and the National Art Gallery of the Bahamas,and Mestre Projects, in Nassau, Bahamas (2012, 2021). Meris is a Skowhegan School of Painting and Sculpture alum (2019); a NXTHVN Studio Fellow, New Haven (2020); and a Studio Museum in Harlem A.I.R 2022-2023. Always Jeffrey never “Jeff.” He earned his AA in arts and crafts from the University of the Bahamas in 2012, a BFA in sculpture from the Tyler School of Art in 2015, and an MFA in visual arts from Columbia University in 2019.

Fellowship Statement

In my practice, I oscillate between the embodied trauma of the colonial project in my kinetic sculptures to utilizing restorative strategies in my sculptures, paintings, and installations. What would healing centuries of xenophobia, queerphobia, and other oppressive systems look like? My destiny is in search of sanctuary; I believe that the future is Black. I use symbols of trauma and transform them into beacons of hope and prosperity. During the Fellowship, I plan to advance my studio practice and create more sustainable structures for my practice.

Photo by Will Pippin, Cultured Mag.

Asif Mian uses video, installation, performance, and sculpture to investigate the tenuous connections between the events that shape one’s life. He has held solo exhibitions at Management and Crush Curatorial in New York City and Fjord Gallery in Philadelphia, and has participated in group exhibitions at Okayama Art Summit, the Whitney ISP, The Shed, Queens Museum, and BRIC, among others. Mian is a Rema Hort Mann Foundation Emerging Artist awardee and has been featured in ArtForum, Artnet, Art Observer, and The Dallas News. He was awarded the Queens Museum-Jerome Foundation Fellowship, where his multi-chapter project, RAF, was the focus of a 2021 solo exhibition. His work breaks down and rearranges mediums to evoke a liminal psychological space, where the “ghosts” of events and the mental processing of violence reside. He graduated from Drew University with a BA Biology and BA Studio Art; earned an MFA Visual Arts from Columbia University; and is a Skowhegan alum.

Fellowship Statement

In my multichapter RAF project, I am drawing from personal and familial experiences of violent crime, alongside structures of criminality and policing, to articulate how these forces have shaped facets of American culture. I am developing a video work, Qareen, that will combine forensic documentary, character performance, and thermal infrared videography. I am also developing sand sculptures and wall reliefs by ‘possessing’ sand through catalytic and bonding techniques. Sand can flow like water, solidify like stone, melt into glass, and alchemize into mirror. Its sensorial traits are essential in engaging conscious and subconscious explorations of emotional processing. By merging classic art therapy methods with my own practice of experimental sculpture and performance, I would like to explore how the effects of violence, trauma, and therapy can be reinterpreted through innovative art practices.

Hasabie Kidanu is a visual artist working in printmaking and film animation. Her films have been screened at the Rotterdam International Film Festival, MONO NO AWARE, Jan Van Eyck Akademie, and Film Madrid. She is one-fourth of Digital Ancestors: an independent publishing co-operative based in Brooklyn, New York, and is currently a lecturer of printmaking at the Yale School of Art. Hasabie received a 2019-2021 Jerome Hill Artist Fellowship in visual arts.

During her time at Camargo, Hasabie will develop her new work Prince Ruspoli’s Turaco, an experimental animation set in 1893 within the sub-tropics of eastern Ethiopia. The protagonist, an endangered Turaco bird, tells the tale of its impending extinction while contemplating the relationship between colonial exploration, habitat loss, and diversity. Hasabie plans to spend time in the Calanques National Park and the Museum of African, Oceanic and American Indian Art, studying, meditating, obsessing, and drawing the anatomy and behavior of birds along with flora and plant-life to further the detailed observation practices that fuel her work as an animator.

Tali Keren is a multidisciplinary artist and educator born in Jerusalem and based in Brooklyn. Her videos, installations, and performances center on the formation of political ideology, historical mythologies, and the ongoing legacies of settler colonialism. Through poetic intervention into archival sources and legal documents, her work seeks to unsettle foundational national myths. Her practice is grounded in collaboration, and cross-disciplinary dialogue, as a way to forge new forms of collectivity and political imaginaries.

Keren’s work has been shown at the Queens Museum, New York; Yerba Buena Center for The Arts, San Francisco; Museum of Contemporary Art, Detroit; Eyebeam, New York; The James Gallery, New York (forthcoming); The Center for Contemporary Art, Tel-Aviv; Goethe Institute, New York, and Socrates Sculpture Park among others. Her projects received support through fellowships and awards from Artadia, Rema Hort Mann Foundation, Artis, Socrates Sculpture Park, A-Z West, ISCP, and the Wexner Center for the Arts.

FELLOWSHIP STATEMENT

In this ongoing moment of crisis, I ask myself what it means to be a cultural producer? How can re-telling of history and collaborative artmaking counter hegemonic narratives while having a transformative potential?

I often think about these questions from a comparative, transnational lens. I moved to New York from Jerusalem in 2014 at moment of rising populism and ethnonationalism in the world. This geographical shift allowed me to look at the overlapping messianic political power structures and settler-colonial imaginaries which connect Israel and the United States. Through immersive and participatory environments, I try to render how state-violence is often disguised under a veil of beauty and mythology. Each project sends me on years of archival research and filming, resulting in an exhibition that becomes a space of collective inquiry, counter-narratives, resistance, and an investigation of political imagination.

Born in Atlanta to Thai and Indonesian immigrants, Phingbodhipakkiya is a multidisciplinary artist, educator, and activist based in Brooklyn, NY. She has explored microscopic universes, familial memories, and the power of collective action, revealing the often unseen depth, resilience and beauty of marginalized communities. Her work has reclaimed space in museums and galleries, at protests and rallies, on buildings, highway tunnels, subway corridors, and on the cover of TIME magazine. In 2020-2021, she was artist-in-residence with the NYC Commission on Human Rights. In 2022, she transformed Lincoln Center’s campus with GATHER: A series of monuments and rituals. Her work has been recognized by The New York Times, Harpers Bazaar, and the Guardian and is held in permanent collections at the Goldwell Open Air Museum, Victoria and Albert Museum in London, Museum of Chinese in America (MOCA), Museum of the City of New York, and the Library of Congress.

FELLOWSHIP STATEMENT

My artistic practice is about finding joy and belonging even in the face of grief and injustice, and rallying communities to imagine a shared future we can’t yet see. Through defiant storytelling, my work brings forth colors, patterns, textures, histories, and rituals to amplify marginalized voices that need to be heard. Through listening and partnership, I seek to expand the narrative around the AAPI community and other communities of color and fighting to reveal the unseen labor of women.

As a Jerome Hill Artist Fellow, I will continue creating participatory works that invite audiences to commune, connect and lay down their burdens—spaces of healing and wonder that allow us to tell our stories and imagine new pathways forward.

Upcoming projects include a civic practice residency with the San Francisco Asian Art Museum and a public art series focused on the prevention of domestic violence with the Asian Women’s Shelter.

Charisse Pearlina Weston (born 1988, Houston, TX) is a conceptual artist and writer based in Brooklyn, NY. She received her M.F.A. in Studio Art from the University of California-Irvine and is an alumna of the Whitney Museum of Art’s Independent Study Program. She has recently participated in group and solo exhibitions at the Hessel Museum of Art at Bard College of Art, Smack Mellon, and the Queens Museum. She is the recipient of awards and fellowships from Artadia, the Dallas Museum of Art, the Dedalus Foundation, the Harpo Foundation, the Graham Foundation, and Bard Graduate Center. In 2021, she received the Museum of Art and Design’s Burke Prize. Her work has been featured in The New York Times, Artsy, Art Review, and Art in America. Currently, Weston is artist-in-residence at the Studio Museum in Harlem.

FELLOWSHIP STATEMENT

I understand the expansion of my current work to include an exploration of the importance of glass in carceral architecture, as well as the ways in which inmates use glass and mirrors to subvert the panoptic lens of these disciplinary spaces which rely heavily on glass, one-way film, windowless spaces, and regimented access to both natural and artificial light to exert power and dominance. I am interested in how juridical policies and procedures reinforce these protocols. Furthermore, I would like to explore the possibilities of pushing the scale of my work to explore these ideas to consider the complex problematics of contemporary installation and sculpture.

Kiyan Williams is a visual artist based in New York City. Working fluidly across sculpture, performance, public art, video, and installation, they create art works that redefine fixed notions of history and the body. They are attracted to quotidian, unconventional materials and methods that evoke the historical, political, and ecological forces that shape individual and collective identities. Williams earned a BA with honors from Stanford University and an MFA in Visual Art from Columbia University. Their work has been exhibited at The Hirshhorn, the Hammer Museum, SculptureCenter, Brooklyn Museum, Socrates Sculpture Park, The Shed, and more. Williams’ exhibitions have been reviewed in Artforum, Art in America, ArtNews, BOMB Magazine, and Hyperallergic. They were recently featured in Cultured Magazines’ “2023 Young Artist List.”

FELLOWSHIP STATEMENT

My work unearths obscured histories deeply embedded in the landscape. My forthcoming projects reimagine nationalist symbols and neoclassical architecture to investigate power, sovereignty, and the ideals at the core of the American project.

Rowan Renee creates deeply researched, immersive installations that confront the aftermath of trauma at the intersection of the criminal legal system, State power and the family. They have been exhibited in solo exhibitions at Smack Mellon (2021), Five Myles (2021), Aperture Foundation (2017), and Pioneer Works (2015) and they have received awards from the Aaron Siskind Foundation, the Harpo Foundation and the Jerome Foundation. Since 2019, they have developed collaborative projects for people impacted by the criminal legal system, including “Between the Lines,” a series of art workshops by correspondence with LGBTQ+ people incarcerated in Florida, and “A Common Thread,” a co-weaving and transformative justice studio at Recess Art. Their installation, No Spirit For Me (2019), was included in the critically acclaimed exhibition Marking Time: Art in the Age of Mass Incarceration at MoMA PS1, now touring nationally. Currently, they are developing a site-specific installation about class and memorialization in Green-Wood Cemetery's public lots, where they are the 2022 Artist-in-Residence.

Jordan Strafer (b. 1990, Miami) is a Brooklyn-based artist working primarily in video. She received her BFA from The New School in 2016 and her MFA from Bard College in 2019. Strafer’s work has been included in group exhibitions at Housing, New York (2020); SculptureCenter, New York (2020); Red Tracy, Copenhagen, (2020–21); The New Museum, New York (2021); and Haus Der Kulturen Der Welt, Berlin (2021). Strafer’s video, PEAK HEAVEN LOVE FOREVER (2022), was presented as part of the “Currents” section of the 60th New York Film Festival in 2022. Solo presentations of her work include PUNCHLINE at Participant Inc, New York in 2022, and upcoming exhibition venues include Secession, Vienna, CAMH, Houston, Index, Stockholm, and KINDL, Berlin in 2023.

Joseph Buckley (he/him) is a Black British Sculptor living and working in New York City. Recent solo shows include Letter from the Home Office at Lock Up International in London; Cousin Table at Cuchifritos, NYC; Traitor Muscle at Art in General, NYC; and Brotherhood Tapestry at The Tetley in Leeds, England. Recent group projects include I don't Know Whether The Earth is Spinning or Not... at the Museum of Modern Art, Moscow (for the VII Moscow International Biennale for Young Art); and Cellular World: Cyborg-Human-Avatar-Horror, at the Gallery of Modern Art, Glasgow (for Glasgow International Festival of Visual Art 2018).

Fellowship Statement

I have found myself preoccupied with the mechanics of objectification and dehumanization, and with a continuum I perceive that goes ‘corpse—slave—human—statue—sculpture’ and back again.

I am interested in the way that systems of abuse replicate themselves, at different scales, across our society. On the topic of replication, I am heavily invested in mold-making and plastic casting: I am interested in the connotations of industrial production, and the violence such industry implies.

Of late, I have been trying to work towards the topics of fascism and its contemporary manifestations. Some of my sculptures are of fascists and are ‘about’ fascism but, gendered as they are, they have also served as a way to focus my thinking surrounding the eternal font from which fascism metastasizes: a swollen, toxified, and entitled masculinity... a boil on my soul’s ass I must continuously lance and drain.

Lizania Cruz is a Dominican participatory artist, designer, and curator interested in how migration affects ways of being and belonging. Through research, oral history, and audience participation, she creates projects that highlight a pluralistic narrative on migration. Cruz has had her work supported through Create Change fellow at the Laundromat Project (2018-2019), Agora Collective Berlin (2018), Design Trust for Public Space (2018), Recess Session (2019), IdeasCity:New Museum (2019), Stoneleaf Retreat (2019), Robert Blackburn Workshop Studio Immersion Project (SIP) (2019), A.I.R. Gallery (2020-2021), BRIClab: Contemporary Art (2020-2021), and Center for Books Arts (2020-2021).

Fellowship Statement

For the past two years, I’ve been conceptualizing a piece titled Citizen Clock that looks at the path to citizenship, as well as, work around the legal process of migration. The Jerome Foundation fellowship will provide the support to develop this work and to collaborate with fabricators to bring this idea to life. It will also provide a space to expand my participatory practice into more conceptual objects that archive these processes. I’m excited to be part of this community and learn from all the different fellows.

Ayana Evans is a New York City-based visual performance artist. All of her video, lithography, screen-printing, watercolor mono-prints, installations, and projection extends from her performance work. She received her MFA in painting from Temple University and her BA in Visual Arts from Brown University. Evans has performed at El Museo del Barrio, The Barnes Foundation, The Bronx Museum, Newark Museum, Crystal Bridges Museum, The August Wilson African American Cultural Center, the Queens Museum and countless public locations for her guerilla-style performances. Her international work includes shows at FIAP performance festival in Martinique, Tiwani Contemporary in London, and Ghana’a Chale Wote festival. Evans was a 2018 Fellow at EFA’s Robert Blackburn Printmaking Workshop, 2017-2018 awardee of the Franklin Furnace Fund for performance art, 2018 NYFA Fellow, and 2019 Savage Lewis Fellow with Art on the Vine. Her recent press includes The New York Times, Bomb Magazine, ArtNet, New York Magazine’s The Cut, Hyperallergic, and CNN. Evans is currently an adjunct professor at Brown University.

Fellowship Statement

I am a NYC-based performance artist, who grew up on the South Side of Chicago. The sensibilities of both locations heavily influence my work with the body, race relations, and gender bias. My on-going performances/public interventions include: Operation Catsuit, I Just Came Here to Find a Husband, and a new series of collaborative works with artists of diverse backgrounds. These performances map how my body is perceived and treated as it operates in artistic and social spheres. Roberta Fallon, co-founder of Artblog, describes me as, “One part Wonder Woman, one part agent provocateur.” And writer Seph Rodney of Hyperallergic and The New York Times wrote: “I have seen [this] artist actually stop traffic on the Bowery in downtown Manhattan in 2016, where, in a floor-length lace gown, a dollar-store tiara and full makeup, she placed a chair in the street to do chair dips — risking her life. She survived. The halted drivers honked in confusion, consternation or encouragement.” During this residency I will continue the Operation Catsuit series via experimental film and costuming.

Miatta Kawinzi is a multi-disciplinary artist and educator of Liberian and Kenyan heritage. Raised in the southern U.S.A. and based in New York City, her work engages themes of hybridity, diaspora, and belonging. She received an MFA in Studio Art from Hunter College and a BA in Interdisciplinary Art & Cultural Theory from Hampshire College. Her work has been presented in spaces including the Studio Museum in Harlem, BRIC, MoMA PopRally, the Museum of the Moving Image, and IFC Center. Past residencies include POV Spark in partnership with the Smithsonian's National Museum of African American History & Culture (NYC, DC, and Venice, Italy), Red Bull Arts Detroit (Detroit, MI), the Cité internationale des arts (Paris, France, with Lower Manhattan Cultural Council), Beta-Local (San Juan, Puerto Rico), the Bag Factory (Johannesburg, South Africa), and the Bemis Center (Omaha, NE). She received the 2018 Barbara Hammer Lesbian Experimental Filmmaking Grant administered by Queer|Art.

Fellowship Statement

Born in Nashville, TN to a Liberian mother and Kenyan father, I grew up moving through various geographic, cultural, and linguistic spaces, which informs my interest in hybridity and layered imagery and content. I work with still and moving images, the voice and body, language, objects, space and sound to explore practices of re-imagining the self, identity, and culture through abstraction and poetics. Recent work traces a performative and experimental impulse through sculptural sound and video installation.

During the Fellowship, I will expand my ongoing research and creative production though historical, contemporary, and speculative relationships between the U.S. and Liberia - the West African republic founded in the 1800s with formerly enslaved Black people returning to the continent from the Americas and newly occupying positions of power. This project explores questions around hierarchy, Indigeneity, multiplicities and complexities of Blackness, cultural fragmentation, and the deep and steady yearning for the reparative.

Joiri Minaya (1990) is a Dominican-United Statesian multi-disciplinary artist based in New York City, who focuses on destabilizing historic and contemporary representations of an imagined tropical identity. Minaya attended the Escuela Nacional de Artes Visuales in Santo Domingo (2009), Altos de Chavón School of Design (2011) and Parsons the New School for Design (2013). She has participated in residencies at Skowhegan School of Painting and Sculpture, Guttenberg Arts, Smack Mellon, the Bronx Museum’s AIM Program and the NYFA Mentoring Program for Immigrant Artists, Red Bull House of Art, the Lower East Side Printshop and Art Omi. She has received awards, fellowships and grants from Artadia, the BRIC’s Colene Brown Art Prize, Socrates Sculpture Park, the Joan Mitchell Foundation, the Rema Hort Mann Foundation, the Nancy Graves Foundation, amongst other organizations. Minaya’s work is in the collection of the Museo de Arte Moderno and the Centro León Jiménes in the Dominican Republic.

Fellowship Statement

My work is a reassertion of Self, an exercise of unlearning, decolonizing and exorcizing imposed histories, cultures and ideas.

It’s about reconciling the experience of having grown up in the Dominican Republic with living and navigating the U.S.A. and the global North, using gaps, disconnections and misinterpretations as fertile ground for creativity. I’ve learned there is a gaze thrust upon me which “others” me. I turn it upon itself, mainly by seeming to fulfill its expectations, but instead sabotaging them, thus regaining power and agency.

Through various visual disciplines, my work questions historic and contemporary representations of black and brown womanhood in relation to an imagined tropical nature, questioning ideas projected onto these identities and spaces from a feminist and decolonial position. I’m interested in the body, landscape, discourse, framing, (in)visibility, opacity, hybridity.

Golnar Adili is a mixed media artist with a focus on diasporic identity. She holds a Master's degree in architecture from the University of Michigan and has attended residencies at the RockefellerFoundation for the Arts in Bellagio, Italy, Smack Mellon in Brooklyn, the Fine Arts Work Center in Provincetown, the MacDowell Colony, Ucross Foundation for the Arts, Lower East Side Printshop, Women’s Studio Workshop, and Lower Manhattan Cultural Council Workspace among others.

Some of the venues Adili has shown her work include, Nurture Art, Craft and Folk Art Museum LA, Cue Art Foundation, International Print Center NY, and the Lower East Side Printshop. Some of the grants she has received include the Pollock-Krasner Foundation grant, the NYFA Fellowship in Printmaking/Drawing/Artists Books and the Brooklyn Arts Council Brooklyn Arts Fund grant. Adili is currently a Scholarship recipient at Manhattan Graphics Center in New York City.

Onyedika Chuke is an artist and archivist living and working in New York. His largest body of work titled The Forever Museum Archive (2011-present), is a disquieting collection of sculptures, text and images in which Chuke analyzes social, cultural and political structures. His practice has been supported by venues such as The Drawing Center, SCAD Museum, The Shed, Sculpture Center and The American Academy in Rome.

From January 2018-2019, Chuke served as New York City Public Artist in Residence (P.A.I.R). The position placed him in the offices of Department of Cultural Affairs (DCLA) and Department of Corrections (DOC) Rikers Island.

His work as a P.A.I.R artist entailed collaboration with individuals on Rikers Island facing extreme challenges, create access to art and open dialogue between New York City policymakers and those in their custody. In addition, he utilized DOC’s archives to research architecture and historical landscape that have shaped New York City's penological system. His ongoing research was covered by various publications including Bomb Magazine.

With a focus on social theory, drawing, painting and photography as well as sculptural mold-making, Chuke is equally invested in the processes of production techniques and research.

He is a graduate of The Cooper Union for the Advancement of Science and Art (2011).

Pamela Council is a New York based interdisciplinary artist creating fountains for Black joy. Guided by material, cultural, and metaphysical quests, Council’s practice embodies a darkly humorous and inventive Afro-Americana camp aesthetic, BLAXIDERMY. Through this lens, Council uses sculpture, architecture, writing, and performance to shed light on under-examined and under-valued narratives.

Council has created commissions, exhibitions, performances or presentations for: New Museum for Contemporary Art, United States Library of Congress, Schomburg Center for Research in Black Culture, Studio Museum in Harlem, and MoCADA. Council has been Artist-in-Residence at MacDowell, Red Bull Arts, Bemis, Rush Arts, MANA, Signal Culture, Mass MoCA, and Wassaic Project. A recipient of the 2017 Joan Mitchell Grant, Council holds a BA from Williams College and an MFA from Columbia University and is currently artist in residence at ISCP.

Moko Fukuyama is a Japanese artist based in Brooklyn, New York. Her work is driven by the art of storytelling and personal narratives. Through art, she creates open and sympathetic spaces to explore the socioeconomic realities and psychology of everyday life. Fukuyama has received grants, fellowships and commissions from notable art institutions such as Rema Hort Mann Foundation, Foundation For Contemporary Arts, SOHO20, MacDowell, Yaddo, Recess, The Shed, and more. She is a current resident at ISCP (International Studio & Curatorial Program, Brooklyn, New York), and is a 2021 Fellow at Franconia Sculpture Park, Shafer, Minnesota. Her current project will be presented at The Kitchen, New York in spring 2021.