A few notes on my residency in June and July, with personal reflections. A continuation of “Kala Fellowship: Residency Notes, Part 1.”
I returned to Kala from early June to late July for a second residency stint. Over those six weeks, I developed new work—including collaborations with Leah Rosenberg, Elizabeth Travelslight, and Sarrita Hunn (Institute for Autonomous Practices)—and installed it in the Kala Fellows’ exhibition (currently on view through October 15). [Update: I’ve posted photos on my website.]
This experience was extraordinarily positive, like my January/February stint. Here are a few updates:
Busier printshop. There were more AIRs and Fellows in town for the summer season. The chill, atelier-like vibe often gave way to a bustling hive of printing. The screen printing equipment was especially popular.
New Fellows Ronny Quevedo (Bronx, NY) and James Voller (New Zealand/Melbourne), Honorary Fellows Katie Baldwin and Chris Thorson, and AIRs Aaron Hughes and Mikey Kelly arrived or continued their visits, and I enjoyed getting to know them and work alongside them.
Staff changes and special mentions. New Studio Manager, Ben Engle, is upbeat and enthusiastic about printmaking and helping people. Artist Program Manager Carrie Hott is leaving to pursue other things (check out her show at Mills College Art Museum through August 28).
Kala is a special place, run by extraordinarily dedicated people. For example, I needed to borrow a table from Southern Exposure (thanks SoEx and Val!), and Art Sales Manager Andrea Voinot picked it up on her day off. I feel indebted to Kala and the people whose labor, energy and generosity make it work.
Deadlines. My prior stint involved experimenting to learn techniques. But for this visit, I had to focus on finishing work for the show. The numerous steps involved in my project—preparing the art, printing, binding, sewing, installation—quickly became an unyielding reality I had to cope with.
I think I could have scheduled my production a bit more strategically, especially when it came to collaborations. I felt like I was running out of time. As an art handler, I felt that my work should have been done ahead of the installation period. But as an artist, I realized that this is all new work—quite a bit of it, with an involved installation, and it’s not the same thing as installing existing works.
Thankfully, I received assistance with perforation, lighting, and photography from interns Katrina and Sean, and sewing assistance from my mom, Sophia Wong.
Work/life balance. As with other residencies, I got really invested in productivity. I was often at the printshop by 7am—partly to beat the bridge traffic, and partly to get things done (aided by starting out on East Coast time). I made the most of my time at Kala, but I can’t say the same about the Bay Area…
I could have been more present for family and friends, been a more patient and kind collaborator, seen more art (especially the new SFMOMA, Ed Ruscha show at the DeYoung, Torreya Cummings’ installation at the Oakland Museum, Postscripts to Revolution at Southern Exposure, and Bizarre Bazaar at Root Division) and spared myself some of the 12-(up to 15.5-)hour days. It’s paradoxical to sacrifice relationships to make art about interdependence. But I’m not sure what I could have changed, if I had the chance to do it again. There’s only so many hours in the day, and it was already a privilege (as well as financial and marital stretches) to be away so long.
Interdependent, communal spaces. At Kala, I thought about Elizabeth Travelslight‘s description of being a co-op member in CO-LABORATION:
It becomes quite habitual—you get in the habit of seeing people fully and being seen fully.
That was how I felt at Kala. The collective ethos there can be enlivened with little effort, mainly greeting people, communicating openly, and generally having faith in others. I had to adopt these attitudes and behaviors (it felt almost Midwestern…). I felt welcomed and very much like a thread in the social fabric. Colleagues were encouraging, helpful, and friendly. Even with my middling technique, I was accepted… It was validating.
With the help of LR, I realized that these are the same feelings I felt at gyms Pacific Ring Sports and Fight and Fitness this summer, and are the same motivations for training amongst others. I hadn’t realized the connection until LR visited PRS and pointed out how members can similarly cultivate a spirit of mutual respect and encouragement. That validation grew my sense of value within these communities, which can become like chosen families. To be encouraged to keep training, and to come back anytime by people who’d easily submitted me, or who I’d accidentally headbutted, melts my heart. It’s about sportsmanship, but moreover, shared experiences of hard work and growth. These gyms and Kala provided opportunities to be humbled, to develop new skills and new friends, to be accepted, and to be grateful. I felt my sense of value and integrity being grounded by being seen and seeing others, and gained lived experiences of ordering aspects of life interdependently.]