Sarah Beth Oppenheim,

Artist Statement

My Artistic Manifesto: subvert, disrupt, question, cut & paste, reframe, saturate, flood, callback, repeat. Apply to research, choreography, performance, and teaching with appropriate, respectful context; know when to wield and when to yield; make malleable as a means of empathetic and curious care and excavation. My creative process is a fringe, so large, banging, social, buoyant, revivalist, communal, personal, anatomical, skeletal, sinuous, space-eating, fun-loving, tender, tense, dreamhard, workharder, manifestation of a dance lab/test kitchen for mixing highbrow/lowbrow cocktails of construction paper, unusual bitters, and Tikkun Olam. But that's just me. My work is about tethers to you. I want to fold you in like a could-be-delicious batter. I want to invite you to grapple with choreographic content, alongside the cast and dance. And I want us to continue teasing out meaning from the movement far beyond the site-specific view and theatrical timeframe. You and tethers, this work...ours. It crosses borders between studio-lab, classroom, proscenium, site-specific view, and our pillows. Research interviews, a middle-age solo, and a 40-person community work define my current state of art mind. Right now: two babes on my hips, mothering as an act of resistance, a conversation through movement: bustling, razor-sharp, consequential, between us.

Sarah Beth Oppenheim, Choreographer Restoration Restoration Hard Tear, an implication Dance Film 2020

Bio

Sarah Beth Oppenheim (she/her) I like dancing really hard after an excruciatingly slow roll down, only good burritos, sitting on a rock in the ocean with edge-of-curved-earth vibes, and moves inspired by the giddy up/mid-bucking bronco/fool’s gold panning of the Wild Wild West. This is what my dances look and feel like, too. Letters and places of home, education, dance family, and artistic practice include: BFA SUNY Purchase, MFA University of Maryland, CA, NY, Berlin, Stolzenhagen, AZ, DC. As a Teaching Artist Mom, I mine, swap, and alchemically mix choreographic research, antiracist pedagogy, and arts & crafts between stage, studio, classroom, and nursery. Career highlights include gigs at Dance Place, Kennedy Center, Dance Omi, P.O.R.C.H., Dock 11, The Duke on 42nd St., Kaatsbaan, Marfa, TX, the Chelsea Hotel rooftop, National Gallery of Art, U.S. Botanic Garden, and teaching positions at American University, University of Maryland, and Dance Place in DC. My company Heart Stück Bernie is often part of inaugural residencies and first-time performances that open up unconventional dance spaces to community gathering, spirited discussion, and off-kilter extravaganza. 2022-2023 is HSB’s bat-mitzvah season, in which new works explore personal reckoning contextualized by a civic coming of age.

sarahbethoppenheim.com

Rachel Devorah Rome

Artist Statement

I improvise with bespoke electronics (both analog and digital) and with French horn (my mother tongue) to create immersive structures that reveal and reframe habits of autoecholocation. I’m interested in superhuman prolongation; opaque complexity; the resignification of archaic tools and materials; and parallels between the physical properties and social meanings of spaces. I value machines for their patience.

still from "glatial til" (2022), binaural audio & video

Bio

Rachel Devorah Rome is a Boston-based sonic artist and feminist technologist. Her work has received support from the Adrian Piper Foundation (Berlin), EMS (Stockholm), GRM (Paris), MassMoCA, the New Museum, New Music USA, and STEIM (Amsterdam). She is employed as an Assistant Professor of Electronic Production and Design | Creative Coding at the Berklee College of Music; and as a Councilor for AFT-MA Local 4412, AFL-CIO.

http://racheldevorah.studio/

Jacob Remin

Artist Statement

i am an artist and engineer, composer and designer. central to my praxis is collaboration and infrastructural critique, with special focus on the meeting between late capitalism and the algorithmic potential of the internet and computers everywhere. i prefer to ask questions rather than make statements. my praxis is kaleidoscopic, shifting mediums, roles and forms for each project. i like entropy, chaos and non- linear narratives. i pendulate between flow and working my way through the deep dive, getting stuck and getting lost. coming from early internet / hacker culture, i have never felt at home in the mainstream internet of web 2.0. in this light my art & community work can be read as alternate visions of connectivity and care, often manifested as physical works in the meeting between light, space, composition and interaction. i like to create spaces for conversation

the classic alvin lucier piece "music on a long thin wire" (1977) performed as a 14 hour sleep concert in mimer, an abandoned metal mine construction with amazing acoustic properties. made in collaboration with gustav johannes hoder commisioned for norberg festival, 2019

Bio

jacob remin is an artist and engineer, composer and designer. central to remins praxis is collaboration and infrastructural critique, with special focus on the meeting between late capitalism and the algorithmic potential of the internet and computers everywhere. remin has exhibited and performed on numerous occasions around europe, china, the nordics and russia. remin has received work and production grants on serveral occasions from the danish arts council, the danish composers society, the norwegian arts council and more. remin is part of the danish composers society and danish visual artists. he holds a BA in design engineering from DTU and an MA in interaction design from CIID. jacob remin lives and works in copenhagen.

www.jacobremin.com

Sara Michas-Martin

Artist Statement

I am interested in an ecologically-minded poetics that formally explores the possibility of language to embody energy and meaning through collage, rhythmic pattern and arrangement. My poems utilize eliding syntax and fracture to illustrate the pace of environmental change, the fluid boundaries between self and other, human and non-human, and the push and pull between responsibility and vulnerability while parenting in the Anthropocene.

Book Cover, Cover art: Albín Brunovský Lady with a Hat II.

Bio

Sara Michas-Martin is a poet and nonfiction writer who draws inspiration from science and the natural world. Her book Gray Matter (Fordham University Press), was chosen by Susan Wheeler for the Poets Out Loud Prize and nominated for a Colorado Book Award. Works-in-progress include a nonfiction manuscript (Black Boxes) that draws on medical, cultural and natural history to consider how the logic of the maternal body corresponds, or is in tension with, current ecological and social systems. Hold it All, a poetry manuscript in progress, takes on deep ecology and the ethics of care in a moment of environmental precarity. Sara’s work has been supported by a Wallace Stegner fellowship in poetry from Stanford University, grants from the Barbara Deming Memorial Fund, a Dorothy Sargent Rosenberg prize, as well as fellowships from the Vermont Studio Center and the Bread Loaf and Community of Writers’ conferences. Recent poems and essays have appeared in the American Poetry Review, CrazyHorse, The Journal of the American Medical Association (JAMA), Kenyon Review, New England Review, Poetry Northwest, Terrain.org and elsewhere. She teaches creative writing and environmental humanities at Stanford University.

saramichasmartin.com

Angelina Gualdoni

Artist Statement

Visibility and legibility are primary concerns in my paintings. My most recent work explores legibility of landscape – how one comes to see and know the plants around us, and in this recognition, see ourselves as one with our surroundings. I enact this question in my work through juxtaposing expansive stained painted grounds with descriptive contour renderings of plants, figures, landscapes, all made with printed string lines. The abstract veils of paint are a metaphor for forces outside of our control that shape our experience, whether environmental, economic, or metaphysical, while the definition of contour line speaks to the desire for legibility.

Tiers of landscapes, layered into one another, themes of potential regeneration, presence through absence, and growth out of decay. All plants rendered in this painting facilitate phytoremediation, including Brassica juncea (Indian mustard), Sorghastrum nutans (Indian Grass), and comfrey.

Bio

Angelina Gualdoni is a painter living in New York City. Through use of dyeing, pouring, staining and textile patterning, she links various women’s creative practices from industrial to domestic, decorative to metaphysical. Gualdoni has shown nationally and internationally at the Queens Museum, NY, St. Louis Art Museum, MO, the Museum of Contemporary Art, Chicago, IL, The Aldrich Museum, Connecticut, the Museum de Paviljoens, Netherlands. She has been the beneficiary of several grants and fellowships, including Artadia, Pollock-Krasner, and is a two-time NYFA Fellow. Her work has been reviewed in the New York Times, The New Yorker, Art in America, amongst others.

www.angelinagualdoni.com

Margo Steines

Artist Statement

I write nonfiction about bodies and the brutalities humans inflict upon them. I am obsessed with questions of how and why we endure suffering, how spectacle alters the experience of pain, how humans engage with animality, and how community coheres around tests of mettle. I work in a hybrid genre of memoir, essay, cultural criticism, and immersion journalism, exploring themes of pain, brutality, and violence through various lenses, including martial arts, labor, sex work, athletics, BDSM, agriculture, pregnancy, chronic illness, and addiction. My curiosity about how these sites of brutality inform each other is the thread that connects these disparate worlds. To write about the body is political, and I seek to embed inquiries about gender, power, and privilege in my work. My hope for my writing is that it bridges gaps of confusion and isolation between my readers and parts of themselves, offering vocabulary for what is left unspoken.

Bio

Margo Steines is a native New Yorker, a journeyman ironworker, and serves as mom to a wildly spirited small person. Margo holds an MFA in nonfiction writing from the University of Arizona and lives and writes in Tucson. Her work was named Notable in Best American Essays 2021 and has appeared in The Sun, Brevity, Off Assignment, The New York Times (Modern Love), the anthology Letter to a Stranger: Essays to the Ones Who Haunt Us, and elsewhere. She is the author of the memoir-in-essays Brutalities: A Love Story, forthcoming in October 2023 from W.W. Norton. Margo is faculty at the University of Arizona Writing Program, and she is represented by Matt McGowan at the Frances Goldin Literary Agency.

margosteines.com

Azure Arther

ARTIST STATEMENT

As a WOC, the experiences of BIPOC people and women is important to me. No matter what I am writing, they are my focus. With my plays, I found freedom of expression in writing about the reoccurring theme, the motif, of war against women. I write about the never-ending war crimes serve as a campaign against female identities and their bodies. My work endeavors to encompass this in a series of plays that will eventually be a collection simply titled: War.

This is a display of journals and anthologies my work has appeared in. It is not all of them but these are the printed copies I own.

Bio

A native of Flint, MI, Azure Arther resides in Dallas, TX, with her family. She is obsessed with literature. Her passions are evenly distributed between writing, teaching, and parenting. Azure's work has appeared or is forthcoming in over a dozen publications, including a winning story in Writers of the Future, Volume 38. You can keep up with her via her website: azurearther.com.

Azurearther.com