residencies | upcoming

Winter 2019

Zoé van der Haegen works with photography and image composition to unpack the encounter of nature with culture. Her work reveals how architectural, human and natural remains are becoming sculptural signs that blur the line between past and present, between reality and fiction.

In recent work, she has assembled surfaces and fragments of the landscape and the concrete remains of war that are standing in this natural area; intent to play with the discrepancy between our subjective perception of an environment as much as the actual reality of it.

At Thread, she will continue this very Albersian line of investigation – between psychological effect and physical fact.

Vera Boele-Keimer works with cloth, plastic, cardboard and a range of other found materials manipulated using simple and often improvised processes such as painting, cutting, tying, printing, folding or wrapping, often implying paradoxical notions of stability. The grid, as a symbol for order and structure, might be applied to fragile surfaces or be in itself irregular or haphazard.

With her work, she questions the authority and originality of abstract painting in Western art history and the less-acknowledged and less- imposing traditions of domestic fabrication, testing the boundaries and finding perhaps common ground between these realms. All works share a hand-made quality, an economy in the use of materials and a traceable

process which allows viewers to bring their own experiences to the work. The ability of lines/threads to form planes and surfaces through weaving and layering appears fascinating to her and forms an ongoing inspiration for new works.

Taking this work into the environment at Thread, she will spend time to observe and see what materials and surfaces are available to work with. Markets and shops will be of particular importance to source local fabrics or materials and learn about local traditions of fabrication and decoration. This will be her first visit to an African country, and her intention is to learn as much as possible about the surfaces. And with 15- years’ experience of art teaching, she will engage with children and adults alike in workshops and presentations for mutual education, enlightenment, and play.

Fiona Struengmann is a versatile artist with a restrained design aesthetic that is best represented in her photographic works and drawings on paper. From afar, her photography reads more as drawings; her pointillist drawings as photography. Up close, one can’t help feeling the patience, and passage of time, represented in the creation of her work. She constantly explores shifting boundaries within the photographic medium and finding a parallel to photography and drawing. Using experimental techniques, her practice has evolved to challenge the engagement with our natural surroundings.

In her words, “We are all passengers of a long line of ancestors. This right now is our time to explore our being and the relationship to the natural world. We are all born naked and then all our individual journeys begin. We all see with different eyes and connect things/objects/music and gestures with something different - this is already a beautiful conversation.”

She will present these concepts to the Sinthian community and then transcribe them onto paper. Her drawings always exist of two parts. One, that is always visible - drawn with pencil/crayons and other materials. And the invisible - a technique of drawing with a needle sideways into the paper. Seeing it under dull light, the paper appears to be blank. Once the light creates shadows, one is able to experience

the rhythms and self-created colors of the drawings. It is a story about perceiving reality and overcoming the white noise of everyday life. A collection of records and translated accounts of lived experience.


Spring 2019

In her words, Monica Chemay is “an investigator who is fond of complex edges. By engaging in curiosity and collaboration I've discovered enriching ideas in the place where opposites intersect.” With a rich practice of textile design and weaving, Monica illustrates invisible currents and, like an archeologist, reveals how these currents create patterns in interpersonal and sociological structures.

As a child growing up next to the Jean Lafitte swamp just south of New Orleans, she always had this heavy sense that nature is bigger than you. This feeling still informs all of her work, and she will take it with her to the astounding natural landscape of Thread. The most inspiring moments of her creative life have come from collective art making on a large scale in scenarios such as parade organizing and puppetry productions.

She has no plans to attempt to make the community in Sinthian more connected, as she feels that she would be the humble student of the experience of that environment. However, she will offer a collective activity that could share the weave structures

that she has learned in a fun way that involves collective participation. The human loom is an exercise used to teach the concepts of woven structure on a large scale with group participation and rhythmic, coordinated movements. This collective work will be in conjunction with personal work on a more formal, or perhaps improvised, loom.


Dana Louis (February 15 - March 30) returns to Thread, a year and half after her incredibly successful residency. She brings with her follow up on projects started when she was last there as well as new ideas for working with the women of Sinthian.


Ladji Kone (dancer; Feb 7 - March 7), a choreography, company director, and dancer from Burkina Faso is one of the most exciting young choreographers out of West Africa. After participating in Thread’s Dance Fecc project in December 2017, Ladji proposed a rich residency experience for himself and a few collaborators that will see them using Thread’s facility to create new works, while working each day with the burgeoning dancers and breakers of the Tambacounda area.


Olabode Moses is an experimental participatory theater artist, director, drummer and researcher from Nigeria. He believes that arts and indeed artists possess the essence and capacity to adapt and relate positively to any environment that they find themselves in and thus can ultimately achieve a pragmatic synergy overtly and covertly for general. Over the past 22 years, he has been in constant search of new vents, innovations and platforms for immersive synergy and performative expressions, and the opportunity at Thread provides the right forum he hopes will mutually benefit the community in Sinthian as well as add immense value to his current practice as a participatory artist and performer.

Well versed in Pulaar culture himself, Olabode will investigate how these cultural experiences align with those of Sinthian. In particular Pulaar dance will allow him to interface with the local community--the “Sharo Marriage Dance”, for example, is common to Pulaar communities in Tambacounda and in Nigeria where he lives and works.

During this experience, he hopes to develop new artistic and cultural partnerships that will engender creative and cultural bonds. It will be his first time in Senegal and the Thread residency offers a celebration of similarities and differences of Pulaar Culture around the world.