Inaugural "Made at In Situ" Online Exhibition
The Inaugural “Made at In Situ” Online Exhibition represents the first of what we hope to be an annual installment curating a selection of creative work that either began or matured at ISPC during the most recent residency season. The 2025 exhibition features whole and excerpted works, shown below as image, text, and video, by artists from as far away as Mexico City and as nearby as Brattleboro, VT.
The show aims to highlight the incredibly diverse and exciting approaches to creative work that happen in residency, and especially in the specific context of the commons. Certain confluences in inspiration and relationship to place appear across time and through many media. Each artist or group of collaborators was asked to provide a short statement about the making of the work, or other relevant words, and we have included bios and links to each of our participants as well (click on the artist’s name for bio and websites).
All work must have been partially or fully produced while in residency at ISPC, or represent a maturation of a process begun and investigated while in residence. With acknowledgement to our collaborator and friend, Jacob Rhodes at Field Projects, whose online exhibitions inspired and guided our approach. Check out their galleries here.
We plan to do this every year going forward! Enjoy!
Featuring: VL4E // Mariana Parisca, Luis Vasquez La Roche, bryan ortiz, Ro Adler, Hayley Ferber, Naomi Harrison-Clay, Cindy Ellen Hill, Forest Ravi, Jency Sekaran, Sophie Steck, Gosha Karpowicz
En el Cielo de Abajo is an offering to spaces that have been ignored, oppressed, and erased. We listen through our skin to the vibrations of the earth. We come together to remember how to communicate beyond information and let go of our forms in revelry.
@wassybats, @la_maripari, @vasquezlaroche, @bryan.o_
Yellowfinder is a basket woven into the goldenrod meadow at ISPC. A chair positions the viewer to lean forward in a posture of attention to look through a viewfinder. Yellowfiner is an invitation to narrow your attention to a sensory detail, and to spring open your awareness of your interrelationship with the ecosystem you are in.
Long Lost is an artist book I created during my time at ISPC. It features a blockprint on hand-made, torn paper that folds into a leather case. Using a series of carved stamps that I also created during this residency, I constructed a fictional map inspired by personally meaningful locations.
www.hayleyferber.com @hayleyferber
My time was restful and quiet –– filled with impromptu collaborations with other artists, shared meals, long walks through the countryside, hikes in the woods, stargazing by the campfire, meditating under the sun, learning new skills from other residents, long philosophical discussions, hanging out with plants, and wandering through the gardens and meadow. I really appreciated the open-ended nature of the residency. It allowed for a sort of ease to practice in a leisurely way, with no intentions beyond the present moment, a very rare thing to find. To dip between activities, open to the longings of each moment and the surprise offerings that arose from being in shared space. The studio facilities were great, comfortable, welcoming, and spacious.
The poem is in 6 parts; text contributions from [fellow residents] Candace, Ro, Hayley and Grace are woven throughout (some in big clumps, some in little bits).
This piece was inspired by a morning spent in silence, when the light filtering through mist and trees evoked an ancient, familiar sense of belonging to something larger than “self”. Working in oil, I explored subtle shifts in temperature and value to create depth and convey the quiet intensity of that ephemeral moment.
Ente Achante Tholil (On my Dad’s Shoulders) contains 5 embroidery hoops stacked on top of each other that are meant to be changed by the holder of the work to symbolize the change of memory over time. With amino acids within the work spelling out ‘Live’ and ‘Free’ to remind us that memories are within us waiting to come out and change as we get older.
I laid in the field of golden rod in September and drew a section of my view. I framed it with prints from flowers pressed into my paper and with paper pulp dyed to match the colors of that time.
@sophiestexk
The Way of the River is a 60” × 48” painting made with earth pigments and walnut oil on raw canvas. I first bathed the canvas in the waters of the Saxtons River near our residency. I then collected rocks by the river, learned how to crush them, and turned them into a fine powder to make earth pigment.
I often think about the ground I stand on, the land, the soil, as a surface that holds history. I’m drawn to ideas of archaeology and artifacts, to the invisible layers beneath us that shape the present. Those buried layers are what I paint from, they form the surface I build on.