Maggie Golightly Haslam (b. Washington DC) studied painting at Brigham Young University and received a masters at Pratt institute. She currently lives and works in NYC as a painter and paper maker. She primarily uses water based paints on paper while exploring the essential characteristics of these components, which has led to a greater focus on the process behind her work. She strives to be conscious in her consumption of and seeks meaningful sources for her materials in order to reach a goal of becoming a self-sustained, waste-free, conceptual artist.
A.E. Souzis is a New York City-based writer and interdisciplinary artist. Through her writings and site-specific projects, she uses storytelling and technology to uncover or reimagine public space, alternative or underground histories and real-life networks of power. Her essays and fiction have been featured in publications including Urban Omnibus, Underwater New York and the book anthology Traveler’s Tales: Prague, and her walking tours and installations have been exhibited at Queens Museum, Transit Museum and Art in Odd Places festival, among other venues. She is also a member of /rive, an artist collective focusing on site-specific, locative projects that meet at the intersection of psychogeography, locative media and documentary narrative.
During her time at the 2019 WoW/UNY project space, she will be developing an experimental climate change fiction walking tour of Governors’ Island. The tour, inspired by participants’ feedback from her 2018 WoW/UNY residency with /rive collective, will feature stories and drawings that explore future (watery) incarnations of New York City.
Killian works at the Sydney Environment Institute, a multidisciplinary research hub within the University of Sydney, in southeast Australia. A literary scholar by training, his writing explores poetic and aesthetic histories of environment, and above all oceans. A co-edited essay collection, The Aesthetics of the Undersea, was published earlier this year, and a monograph, The Myriad Sea, is forthcoming. Killian’s work is always in conversation with other disciplines and practices, not least those of the marine sciences: a new collaborative project, on the history of the Great Barrier Reef as told by fossil coral cores, is just getting underway.
Associate / Oceanic Humanities for the Global South
Christina Catanese works across the disciplines of dance, education, environmental science, and arts administration to inspire curiosity, empathy, and connection through creative encounters with nature. As an artist, she has participated in residencies at the Santa Fe Art Institute, Signal Fire, Works on Water, and SciArt Center, and has presented her work throughout Philadelphia and the region. As the Director of Environmental Art at the Schuylkill Center for Environmental Education, Christina oversees all aspects of creating and implementing an environmental art exhibition program in the nature center’s 340 acres of forests, fields, and gallery spaces. Attending University of Pennsylvania, she has a Masters in Applied Geosciences and a BA in Environmental Studies and Political Science.
Photo by Robin Michals
Carolyn Hall is a Brooklyn, NY based Bessie award winning freelance dancer/performer, historical marine ecologist, and science communication instructor. As a freelance ecologist her research focuses on the past and present impacts humans have on shoreline ecosystems and the creatures within them. She is increasingly invested in combining her artist and scientist halves in public processes to make data-rich science more understandable, embodied, and memorable for the general public.
For her WoW residency, she will be asking questions about New York City’s long history and current relationship to fish and fisheries through an installation and embodiment of timelines. Timelines that span from "prehistory" to today. Timelines that explore connections stemming from documentations of fish species in NYC waters to our past and current questions about residence, im/migration, fluid boundaries, consumption, the value of an object vs. a living contributor to an ecosystem, and economy.
photo credit: Tara Duffy
Daylighting the Stream is an immersive, hypnagogic exploration of the subconscious mind, buoyed by scientific and documentary material. We draw parallels between bodies of water and our bodies made-of-water, and the interplay between the conscious, subconscious and dreaming minds. Participants will believe they are dreaming.
Daylighting the Stream draws inspiration from the subterranean rivers of New York and Pittsburgh. “Daylighting” describes an infrastructure project that re-exposes natural waterways that had been covered for urban development. Following successful daylightings of Seoul’s Cheonggyecheon and the Sawmill River in downtown Yonkers, NY, a daylighting of the Panther Hollow waterway in Pittsburgh is underway.
Our project is a 2-city work, developed and showcased on Governor’s Island in NYC and site-specifically in Pittsburgh. We are in residency on Governor’s Island with the WorksOnWater/UnderwaterNY incubator space for diverse investigations of water in the urban environment.
The immersive encounters are intensely personal, and give participants layers of agency that encourage them to confront their roles in the past, present and future of human interactions with water and waterways. Urban development has buried the constant movement of water under our feet, but these streams from the past still exist, waiting to be rediscovered. Daylighting these streams exposes humanity’s past interactions with water, and provides a map to our future relationship with this most important natural resource.
Sarah Cameron Sunde is an interdisciplinary artist and director, working at the intersection of performance art, video art, and public practice. She is instigator/co-founder of Works on Water and creator of 36.5 / A Durational Performance with the Sea, a seven year series of site-specific participatory performances and video works spanning six continents and seven continents. She stands in bodies of water for a full tidal cycle, invites the public to participate, and films the entire performance in real-time. At the WoWhaus, she'll be preparing for the next 36.5 location in Kenya (November 2019), experimenting with tangential 36.5 works, and doing massive research/location-scouting/mapping towards the final 36.5 in New York City, which take place in September 2020.
I work with film and video, photography, sound, and objects. I often use music, field recordings, text, live action and animation to produce hybrid documents (with narrative suggestions).
‘First Contact’ is an installation and media performance-in-progess. The basis of the piece is the correspondence from the period of 1759 to 1769 between Medford, Massachusetts slave trader Timothy Fitch and the captains who sailed his ships. These letters are a mode for examination of the irrevocable point of contact where bodies meet- the intersection of the Atlantic Ocean and the Caribbean Sea, and also the meeting of British settlers and the Africans whose contact, collision, and conflict will eventually produce the ‘Americans’.
During the 2019 WoW/UNY residency I will produce video, sound, photographs, and objects relating to these historical points of contact and the ripples that affect our present moments.
Elizabeth Velazquez is centering her work on the spiritual power of water juxtaposed with a desire to cleanse injustices that linger in bodies of water around Governors Island and NYC. She is imagining a spiritual river, and water, as a membrane between the spirit realm and the living.
Her project involves creating an undulating rope-like sculptural piece, experimenting with seaweed and other material found on the island to make paper, and an original interactive map inviting participants to visit four areas on the island to enact a ritual.
Elizabeth Velazquez creates mixed media sculptural works, installations and rituals. She lives in Queens, NY.
Cody Ann Herrmann is an artist and community organizer with an interest in participatory design methods, public space, and urban resilience. Since 2015 Cody's work has revolved around her hometown of Flushing, Queens, creating a series of projects critiquing policy related to land-use and environmental planning in areas surrounding Flushing Creek. While on Governors Island she will be exploring the landscape through the perspective of patch dynamics, and spending time at ‘Buttermilk Beach.’
See more of Cody’s work in Flushing on Instagram at @FlushingBayandCreep.
Valerie Sullivan Fuchs is a visual artist primarily working in video, video installation, creating new media video installations by using sustainable practices. Her interest in science, technology and spirituality creates a tension in her landscape based works solar powered generating pieces, solar light boxes, and more recently hydroelectricity. Her deep affection for the rural landscape, began on the sustainable farm she grew up on in Northern Kentucky, is reflected in artwork of primarily landscapes and the relation we produces a new way to think of the landscape of the land, emphasizes the unseen, invisible relationships of medium to nature and each other and how these attitudes and values affect the land. Fuchs’ artworks of landscapes In 01:02;08, Fuchs filmed a nearby field of waving grass, then printed each frame and projected it back onto the stack of printed stills, disrupting the images of Fuchs is a Kentucky rural based/raised artist with artwork in major collections including 21c Museum, Louisville, & Revive Corporation, Laura Lee Brown & Steve Wilson and others. She has exhibited nationally and internationally including, Sweden, Estonia, Austria and California, and New York, NY.
For the 2019 Works on Water/Underwater New York Residency on Governors Island, I will continue to look at a different approach to energy, the unseen energy, manifested through intention and transference. I plan to focus on my ritual/performance aspect of my artwork, The Language of Water. I was inspired by the Hidden Messages of Water, a book written by Masaru Emoto, about his research on the enigmatic nature of water. Emoto placed water in containers with negative and positive words written on them, which he would freeze, and then with a microscopic camera, record the crystalline structures. His findings demonstrated that positive words/phrases, like “thank you, gratitude” would produce a more perfect structure of the frozen water. Accordingly, negative words, like “fool” would produce imperfect structures.
During my residency, I will be developing water dramaturgy as an approach to performance-making and writing for performance, editing the output from a water dramaturgy-focused playwriting residency into a publication, and researching histories and narratives of the Penobscot River in Maine.
Cory Tamler (www.corytamler.com) has created and participated in research-based performance projects in the United States, Germany, and Serbia, and has worked with museums and companies including the New Museum for Contemporary Art, The Civilians, Martin E. Segal Theatre Center, James Gallery, Sprat Artistic Ensemble, Yinzerspielen, and the School of Making Thinking. A core artist with civic arts organization OpenWaters(Maine), Cory has written a play about small-scale farming and a book of performance scores based on migratory fish. Cory was a Fulbright Scholar (Berlin) and her academic and critical writing and translations have been published in The Mercurian, Studies in Musical Theatre, Asymptote, Culturebot, The Offing, Extended Play, Howlround, and SCENA. As a Ph.D. student in Theatre and Performance at The Graduate Center, CUNY, she studieswaterdramaturgy andworksto connect physics and theatre as historically determined stories about the world. She teaches in the Department of Theater at Brooklyn College and is a member of Commitment Experiment, an experimental performance collective in Brooklyn.