Kate Warren

Artist Statement

My work explores queerness as a liberatory framework for confronting intergenerational repression and the grief of enforced silences. Rooted in my experience of coming out in my thirties, I use photography, performance, writing, and installation to investigate gender as an evolving act, building counter-archives that resist erasure while making space for joy, intimacy, and collective care. My trauma-informed, collaborative process prioritizes consent, trust, and reciprocal image-making, centering queer embodiment through costuming, gesture, and gaze. At Marble House Project, I will continue Undergrowth Archive, a research-driven project exploring the social ecologies of LGBTQ+ Vermonters through collaborative photographs, interviews, and archival engagement. Influenced by queer ecology, the project understands rural queer networks as interdependent systems of kinship, mutuality, and resilience. Partnering with elders at a historic lesbian land nonprofit, community organizations, and local archives, I aim to create images and narratives that honor vulnerability, expand belonging, and imagine queer life beyond survival—toward recognition, connection, and transformation.

Kate Warren, Good Ole Boys, archival inkjet print, 2023 Self-portrait performance documentation

Bio

Kate Warren (b. 1988) is a queer artist, community organizer, and educator raised in Vermont and based in New York’s Hudson Valley. Her artwork uses photography, installation, quilting, and performance to interrogate how we perform the self, intimacy, and fosters belonging through interpersonal abundance. Her trauma-informed, narrative approach is shaped by over a decade as a photographer working with The New York Times, The New Yorker, The Washington Post, The Wall Street Journal, and Harper’s Bazaar, alongside value-aligned institutions including Planned Parenthood and the Smithsonian’s Hirshhorn Museum. Community building through teaching and service underpins Warren’s practice. She co-founded and directs Golden Kin, an LGBTQ+ artist residency on a regenerative farm, where she facilitates residencies, cultural programming, salons, and hands-on workshops designed to combat creative isolation, share skills and resources, and expand access to the arts. Warren’s work has been exhibited at the California Museum of Photography, Light Work, and the Center for Photography at Woodstock, and recognized by American Photography, the Lucie Foundation, and the British Journal of Photography. She holds an MFA from Syracuse University, where she has taught Art Photography and coached the Alexia Fall Workshop. She works as Editorial and Outreach Director at ecology non-profit Toolshed, co-directs the Central NY Pride Parade, and serves on the OUT Hudson board.

www.katewarren.co

Jungil Hong

Artist Statement

I work with textiles, collage, and images to understand how memory shapes and reshapes a life. Much of my practice involves rebuilding – layering materials and fragments to follow what is fading, returning, or becoming something new. My new project is shaped by my mother’s shifting memory – how remembering obscures and reveals, and how reconstruction might offer steadiness as things change.

Dinner Table is a Korean low dining table composed of prototypes and collected objects from my life and practice, including work made by my mother. Together they form a material lexicon – a map of processes, memories, and recurring forms that anchor my broader practice.

Bio

Jungil Hong (b. Seoul, Korea) is a Providence-based multidisciplinary artist and founder of Namu Future. She works across textiles, collage, printmaking, and photography, using material processes to consider how personal histories are formed and reinterpreted over time. Her upcoming project engages her mother’s experience with memory loss, extending her focus on how images and materials record change. Hong’s work has been shown nationally, and she continues to develop multidisciplinary projects grounded in material inquiry and narrative reflection.

https://www.jungilhongstudio.com

Safiya Robinson

Artist Statement

My work begins at the table. Positioning food as metaphor, material, method and meeting place, I examine the social, political, and emotional dimensions of nourishment. I use food to ask how we remember, how we care, and how we come into relation with one another. Kitchens, tables, and shared meals become sites of inquiry—spaces where histories of survival, migration, and intimacy are made tangible. I am interested in food as an archive that is alive and unstable: something that changes through touch, time, space, constraint, and collaboration. I am guided by my philosophy of Intentional Nourishment: the practice of using food and shared ritual to cultivate dignity, pleasure, and meaningful connection. Historically, the culinary has often been relegated to hospitality—seen as service rather than a site of artistic, political, or conceptual inquiry. My work actively challenges this division.

She Taught Me Salt, She Gave Me Sweetness (2025, WIP) Residenza Lago Scuro Edible Altar, Participatory Performance The work emerged from a study of salt as a vessel of memory, healing, and transformation in relation to the Black ancestral and embodied trauma. But the land revealed another layer: sweetness. Guided by Oshun, Orisha of fresh waters and beauty, and Yemaya, mother of the ocean, the altar unites salt and sweetness in a communal act of nourishment. During the ceremony, through singing and humming, sound became a somatic thread, creating a shared rhythm that traced emotion, memory, and ancestral presence, turning ritual into a living, collective embodiment. The altar took form as an edible offering, inviting participants to eat, touch, and commune. I worked with a range of salt-based culinary techniques such as lactofermenting, curing and salt baking to explore preservation and transformation as acts of care. Using herbs and plants gathered from the land around me, I crafted a salt blend to cure the pumpkin and dust the honey cake, the land itself emerging as an active collaborator. The blend can be used culinarily, for seasoning and preserving, and curatively, for restorative baths. Salt doesn’t just season food, it reduces our perception of bitterness and enhances sweetness. Grief, when honoured, can make way for joy. And ancestral memory, when tended to with care, becomes nourishment. Early in the residency, I fell ill, and the work could not be completed as planned, becoming a living process rather than a completed installation. This interruption became part of the piece itself: a reminder of the body’s limits and its ongoing negotiation with care, healing, and creation. She Taught Me Salt, She Gave Me Sweetness continues to evolve, carrying forward the tenderness and transformation that illness revealed. Pumpkin five ways (pumpkin seed emulsion, fermented pumpkin seed salt, cured pumpkin, lactofermented pumpkin, salt-baked pumpkin), honey cake, coconut cream, local honey, sea salt, oranges, cinnamon, persimmon, river water, river stone, egg.)

Bio

Safiya Robinson, (also known as sisterwoman vegan), is a chef, researcher, interdisciplinary facilitator and culinary artist exploring food as a site of memory, culture, wellness, and care. Through workshops, participatory meals, written commissions, and collaborative projects, she designs embodied experiences grounded in her philosophy of Intentional Nourishment: the practice of using food and shared ritual to cultivate dignity, pleasure, and meaningful connection. These offerings support deeper engagement with self, community, and the social and cultural lineages that shape how we eat and live. She approaches food as an emotional and relational technology — something that holds memory, mediates intimacy, and teaches us how to care for one another. Inspired by her Black American, Jamaican and British heritage, her culinary focus centres vegan soul food through a distinctly London lens: thoughtful, deeply considered plant-forward cooking that layers bold flavour, cultural memory and contemporary expression. She has been recognised by Code Hospitality’s Top 100 Women in Hospitality (2021) and 30 Under 30 (2024), and featured in British Vogue, The Guardian, and Bloomberg, among others. Her year-long debut restaurant residency was named the number one vegan restaurant in London by Time Out. She also hosts and produces The Intentional Nourishment Podcast, bringing together chefs, artists, therapists, and other thinkers and makers to co-create, explore and expand the philosophy.

www.sisterwomanvegan.com

Sid Gopinath

Artist Statement

As the son of Indian immigrants, Sid tells stories about memory, belonging, and defragmentation. While in residency at Marble House Project, Sid will be writing a play exploring the Bengal Famine.

Bio

Sid Gopinath is a Brooklyn-based writer and filmmaker. With his writing partner Aditya Joshi, Sid sold SHIKAAR, a horror thriller TV show set in colonial India, to FX. He was also a writer on Seasons 1 and 2 of the Amazon show WE WERE LIARS. As a director, Sid co-directed the short documentary FINDING OUR WILD, created with REI Co-Op Studios, which screened at Oscar-qualifying festivals before being released nationally in AMC Theaters. He also has directed music videos for various indie artists including Mayyadda, bluesoul, and NOAMZ. Sid is a 2025 WGAE & Filmnation New York Screenwriting Fellow, 2025 Ucross Artist in Residence, 2025 Stio x 5Point Short Film Challenge Winner, 2024 Signpost Fellow, 2024 Birch Fellow at Tofte Lake Artist Residency, Rideback RISE Circle Member, and was selected for the Rickshaw Shorts Program.

https://www.sidgopinath.com

Matthew Byrne

Artist Statement

Rousing art, as I aim for it in my practice, must transgress the boundaries of the page if its final goal is to impact an audience. Insofar as ethics are concerned, this necessitates a degree of social engagement beyond the purview of mere aesthetics. Trained as a sociologist to see the world through the lenses of politics and social change, I’m interested in the dual power of writing to teach both author and reader. My nonfiction centers issues of social justice, narrativizing the lives and times of those impacted by imprisonment, policing, and the Law. I write about State violence, political economy, and the complex weave of historical memory. My creative process is inspired by the acts of individual grit and collective tenacity that I witness, acts that resist criminalization in general and incarceration specifically as a sociopolitical reality. I am most moved by the extraordinary lives of ordinary people.

Bio

Matthew Byrne is a writer and translator who holds a Master’s in Sociology from the University of California, Riverside. His work has appeared in Guernica, West Branch, Gulf Coast, Current Affairs magazine, Washington Square Review, Asymptote, and elsewhere. His first translation project was covered by the Los Angeles Times and Ms. Magazine. He has been awarded residencies from Yaddo, Kimmel Harding Nelson Center for the Arts, Marble House Project, and others. He lives in Oakland.

http://matthewdbyrne.com/

Lillian Fishman

Artist Statement

I write about how intimacy challenges us to reconcile our private selves with our social contexts. My work attempts to evoke what is profound in the unknown and unsafe encounter with another person.

The paperback edition of Acts of Service.

Bio

Lillian Fishman's first novel, Acts of Service, was named one of The New Yorker's best books of 2022. Her new novel, Women & Children, was excerpted in The New Yorker and is forthcoming in 2027 from Riverhead.

lillianfishman.com

Nicoletta Daríta de la Brown

Artist Statement

I create art as ritual. My interdisciplinary studio practice bridges contemporary art and ancestral knowledge systems through performance, installation, and moving image. Rooted in Black-Panamanian traditions and matrilineal lineages of care, my work engages sensory experiences and ancestral rituals as methodologies for embodied storytelling and cultural preservation. Through movement, materiality, and spatial transformation, I investigate how the body functions as a living archive—one that holds memory and fosters healing. My installations and activations of public space generate conditions for reflection and rest, inviting audiences into shared moments of tenderness and connection. Positioned at the intersection of art and wellness, my practice examines how ritual, unapologetic authenticity, and the act of presence can operate as gestures of repair within contemporary visual culture.

Untitled (botan•i•ca), 2024, print on velvet embellished with lace and Swarovski crystals, 53 x 48 in A self-portrait that explores the sacred connection between body, garment, and environment. Printed on lush velvet and adorned with red lace and Swarovski crystals, the work radiates a tactile intimacy that invites both gazing and touching—an uncommon invitation in the realm of visual art. Measuring 53 x 48 inches, the piece is not just an image but an experience.

Bio

Nicoletta Daríta de la Brown (she/they) is an award-winning Panamanian-American interdisciplinary artist, curandera chamána, and wellness educator whose work bridges art, ritual, and embodied storytelling. Her performances and sculptural installations render spaces safe—celebrating playful exploration, healing, and authenticity while honoring lineage through contemporary expressions of ancestral ritual. Her work has been presented by The Phillips Collection, The Hirshhorn Museum, The Smithsonian, The Walters Art Museum, The National Aquarium, and The Tribeca Film Festival. de la Brown is Artist-in-Residence at the Creative Alliance and Baltimore School for the Arts, a 2026 Marble House Project Resident Artist, 2025 Vermont Studio Center Marshall Frankel Fellow, and MacDowell Fellow. Recognized as a thought leader at the intersection of art and wellness, she shares her practice

http://nicoletta.love

Ben Richter

Artist Statement

I am a composer, accordionist, ensemble director, and educator, engaging with sound through chamber and orchestral composition, experimental accordion performance, Deep Listening practice, and intermedia collaboration at the intersections of instrumental music, film, sound art, and immersive theater. These distinct yet interwoven practices nourish one another in the cultivation of fragile, constantly transforming sound-worlds that deepen perception of social and ecological interconnection and auralize the relationship between our lives and the manifold periodicities of deep time. Inspired by the fractal recursion of ecosystems and the infinite perspectives of the more-than-human world, my compositions orient toward uncommon orders of magnitude in musical parameters, exploring gradually morphing timbres, acoustic phenomena, and the thresholds where pitch becomes rhythm and harmonic interval becomes beating rate. Traversing these liminal zones, my music aims to offer an aural metaphor for polytemporality, listening toward the vast and infinitesimal timescales beyond everyday experience.

Ben Richter performs "Archaeon", Oak Spring Garden Foundation, June 2022

Bio

Ben Richter is a composer, accordionist, and founding director of Ghost Ensemble. Inspired by nonhuman consciousness, Ben’s music orients toward interacting gradual processes that cross acoustic thresholds to auralize the vast and infinitesimal timescales of geologic and ecological systems. Ben’s recent commissions include experimental chamber works for Diapason Brass, Loadbang, House On Fire, Jack Dettling, Jeonghyeon Joo, and Margaret Lancaster, as well as music/sound in intermedia collaborations with UMass-Amherst’s Futuring Lab and Y3K exhibitions, Paige Campbell, Margot Douaihy, Lei Han, Edie Meidav, and Goldie Poblador. As an accordionist, Ben explores intonation and airflow preparations that extend the instrument’s microtonal and timbral capacities, with collaborating composers and in original works such as Aurogeny (2023) and Panthalassa: Dream Music of the Once and Future Ocean (2017). Ben’s recent music has been supported by the Massachusetts Cultural Council, National Endowment for the Arts, Eastern Frontier Foundation, Epsilon Spires, Oak Spring Garden Foundation, Hambidge, I-Park, and Art Omi, among others, and released on Blue Tapes, greyfade, Indexical, Infrequent Seams, New World Records, Sawyer Editions, and Sedimental. An active Deep Listening facilitator in the tradition of early mentor Pauline Oliveros, Ben holds a Performer-Composer DMA from CalArts and has taught at CalArts and CUNY.

www.benrichtermusic.com