*THIS PROGRAM HAS BEEN POSTPONED UNTIL FALL 2025

Live In-Person Event
Fri, June 13 at 7PM
Tickets $0-$25, pay what you can
Purchase tickets


Virtual Live-Streamed Episodes
Sat, May 3 at 10AM
Sat, June 7 at 12PM
Free. Tune in virtually via Instagram Live @crackheadbarneyandfriends__ or Twitch @crackheadbarney


Live from Crackhead Barney’s sweat-soaked mattress comes In Bed with Crackhead Barney: The Bed Wench Podcast, a series of conversations with fellow artists, derelicts, sworn enemies, and strangers from Plenty of Fish, consummating her signature ambush street interviews under the sheets. 

After getting down and dirty with guests during three steamy Saturday virtual broadcasts, 2025 Artist-in-Residence Crackhead Barney invites the public into her conjugal bed for a live, in-person podcast event at CPR on Friday, June 13, celebrating the imminent success of her 10,000-man Birthday Gang Bang Challenge.

Surprise guests to be announced.


ABOUT THE ARTIST

Crackhead Barney was born in Jamaica, Queens to strict religious parents who immigrated to America from Northern Nigeria. She was raised in a one bedroom apartment with her siblings in an era before wokeness and identity politics ruled the cultural landscape and was always taunted for her immigrant African roots and dark complexion. She studied Fine Arts and Media at Hunter College and was told her artwork wasn't shit. Rejected from museums and galleries, she decided to take matters into her own hands and use the streets of NYC as her canvas, painting pictures with her body across the landscape without the need to satisfy the desires of the cultural institutions. Her street performances garnered attention and she began to go viral all over the Internet with people reacting in confusion, laughter, anger, pity, concern, and all the other emotions available to humans. Rejecting any hierarchies that didn't feature her at the very pinnacle, she naturally was attracted to social media where she could form a universe centered on her performance art. She began a “Crackhead Barney and Friends” account on Instagram and TikTok where she’s developed a cult of personality supportive of her creative practice.

Tickets: $0-$25, pay what you can
Purchase Tickets

There are ceramic works and aquaria, and what has slowly gained a reputation as the finest manufactory of personal electronic musical instruments in the hemisphere. (The biannual music festival held at Morgre, in which composers come from all over our world to have their works performed, was one of the joys of my adolescence.)

— Marq Dyeth describing the city of Morgre, from Stars in My Pocket Like Grains of Sand, Samuel R. Delany, Bantam Books, Paperback, 1985 (p. 112-113)


Artist and engineer Johann Diedrick organizes If the stars align..., an OPEN STUDIOS program inspired by Samuel R. Delany's novel Stars in My Pocket Like Grains of Sand where Delany imagines the Morgre Festival, a gathering where composers traverse vast distances to experience music performed on electronic instruments yet to be invented. In Delany's wider work, from Nova to The Einstein Intersection, we encounter instruments that exist in the realm of the speculative and evocative. Considering such tools that expand our notion of what musical instruments can be and are able to express, Diedrick invites inventive electronic musical practices found on our terrestrial home, inspired by the earthly concerns of our times and our aspirational dreams found floating among the stars, with works in development by Rena Anakwe, Sonic Liberation Devices, and Femi Shonuga-Fleming.

OPEN STUDIOS is a series of work-in-progress showings held regularly throughout the year, organized by guest curators, and serves as an incubator for new work, inviting the public into the artistic process.

PROGRAM

Rena Anakwe: This Is a Score || SONOPOETICS [Vol. One]

Using poetry as a compositional tool, “This is a Score || SONOPOETICS [Vol. One]” is a live performance for tape and voice orchestra. The piece explores loops as a reflection of the repetitiveness that we are living through, societally, culturally and psychically. By returning to the first electronic media that she interacted with as a child, Anakwe is interested in the tactility of sound that the obsolete technology of a multitrack cassette tape machine provides when played as an instrument. The looping back of time begins here. Using various cassette tape machines, handmade tape loops, effects pedals and voice, Rena Anakwe will share an excerpt of her inquiry into using the written word to notate musical composition.                                                                
Sonic Liberation Devices: Sonic Manifesto 

Performing with Sonic Liberation Devices (SLDs) as a Sonic Manifesto is a declaration of resistance, an embodied act of storytelling, and a reimagining of how music technology can serve as a tool for liberation. These performances are not just about sound but about sonic activism—using handmade, open-source instruments to disrupt conventional narratives around accessibility, design, and ownership in music technology. Each device is intentionally designed to reflect social justice issues, embedding layers of meaning within their construction and sonic output. Through live performance, I reclaim space and invite audiences to engage with music as an act of protest and connection. The instruments’ tactile interfaces, rooted in decolonial design, challenge Western biases in music-making while amplifying historically marginalized sonic traditions. Making these performances interactive and community-driven allows others to experience the power of sound as a means of resistance, healing, and collective storytelling. Performing a Sonic Manifesto is my way of demonstrating that instruments can be more than just tools for music—they can be vessels of history, activism, and liberation. It is a call to action, urging others to rethink how technology can serve people rather than systems of oppression.

Femi Shonuga-Fleming: Thanks to the ground beneath my feet

Sadnoise is the ritual practice of giving thanks to the ground beneath your feet through exploration in sonic materiality. It's an abstraction and extension of the conversation between architectonics, the body, sonic exfoliation and afrofuturism. Through temporal performance, electronics protrude the urban landscape with concrete interventions. 

ABOUT THE ARTISTS

Johann Diedrick is an artist and engineer who makes listening rooms, spaces for encountering new sonic possibilities off-the-grid. He works to surface resonant histories of past interactions inscribed in material and embedded in space, peeling back vibratory layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours, workshops, and open-source hardware and software. He is the founder of A Quiet Life, a sonic engineering and research studio that designs and builds audio-related software and hardware products. He is currently a 2023-25 Just Tech fellow and recently a 2023-24 Performance AIRspace Resident at Abrons Art Center. He was the Director of Engineering at Somewhere Good, a 2022 Future Imagination Collaboratory Fellow at the Tisch School of the Arts at NYU, a 2022 Wave Farm artist-in-residence, a 2021 Mozilla Creative Media Award recipient, a 2020 Pioneer Works Technology resident, a community member of NEW INC, and an adjunct professor at NYU’s ITP program. His work has been featured in Wire Magazine, Musicworks Magazine, and presented internationally at the Smithsonian's Hirshhorn Museum, MoMA PS1, Dia Art Foundation, NYC Parks Department, the New Museum, Ars Electronica, Science Gallery Dublin, Somerset House, and multiple New Interfaces for Musical Expression conferences, among others.

Rena Anakwe is an interdisciplinary artist, performer, poet and healer working primarily with sound, visuals, and scent. Exploring intersections between traditional healing practices, spirituality and performance, she creates works focused on sensory-based, experiential interactions using creative technology. Most recently, she was a 2024 NYSCA/NYFA Artist Fellow for Interdisciplinary Arts, a 2024 artist-in-residence in The Kitchen’s DAP (Dance and Process), a 2023-2024 Lincoln Center Social Sculpture Cohort artist and was awarded a 2022 Art Matters Artist2Artist Fellowship, 2021-2022 MacDowell Fellowship for Interdisciplinary Arts, a 2022 Jack Nusbaum Artist Residency at BAM and the 2021 Canadian Women Artists’ Award from NYFA & the CWC of New York. Rena has collaborated, produced, and shown work at (select list): The Kitchen, Lincoln Center, Governors Island Arts, Serpentine, ‘Arts & Ideas’ (UK), The Guggenheim Museum, SCAD Museum of Art, Lobe Studio (CAN). Under the moniker A Space for Sound, Anakwe released the first in an ongoing audio series titled “Sound Bath Mixtape vol. 1”, through New York City-based label and collective PTP. In Fall 2021, her album "Sometimes underwater (feels like home)" was released through RVNG Intl's Commend THERE series. She is based in Brooklyn, New York, by way of Nigeria and Canada. www.aspaceforsound.com
Karla “Lita” Vinueza aka Sonic Liberation Devices is a multidisciplinary artist, creative technologist, and instrument builder whose work explores the intersection of music, accessibility, and resistance. Her practice focuses on designing Sonic Liberation Devices (SLDs)—custom-built musical instruments that challenge conventional music technology by centering social justice and inclusivity. Her first device, Drum Liberator, is a Braille-integrated, battery-powered drum machine designed for accessibility and protest use, featuring sounds from Palestine and symbolic design choices reflecting global liberation movements. By making her instruments and process open-source, Lita aims to shift how musical devices are designed and used, encouraging others to create politically and socially conscious machines. Her work blends traditional craftsmanship with modular electronics and reclaimed materials, fostering an alternative approach to performance and storytelling. Whether through interactive installations, live performances, or community workshops, Lita’s practice reimagines music technology as a tool for empowerment, cultural preservation, and collective resistance.

Femi Shonuga-Fleming is an architect and sound artist from New York who works with various synthesis techniques and live coding languages to discuss the organic within electronics and technology through sound art and composition. His work explores the intersections of sound and space though spatial audio and architectural design as an experimental practice. He’s most interested in generative systems, chance, texture within sonic soundscapes. Femi’s architectural work explores indigenous ritual practice as a vessel for conversation between sound, space and interactions of the body. Femi has been performing as a solo experimental electronic improvisation artist since 2018 as sadnoise. Musical and Festival performances include Ende Tymes (2022, New York), Creative Code Festival (2020, New York), Waterworks Festival (2024), Slabfest (2024), amongst others.

Live In-Person Event
Fri, June 13 at 7PM
Tickets $0-$25, pay what you can
Purchase tickets


Virtual Live-Streamed Episodes
Sat, May 3 at 10AM
Sat, June 7 at 12PM
Free. Tune in virtually via Instagram Live @crackheadbarneyandfriends__ or Twitch @crackheadbarney


Live from Crackhead Barney’s sweat-soaked mattress comes In Bed with Crackhead Barney: The Bed Wench Podcast, a series of conversations with fellow artists, derelicts, sworn enemies, and strangers from Plenty of Fish, consummating her signature ambush street interviews under the sheets. 

After getting down and dirty with guests during three steamy Saturday virtual broadcasts, 2025 Artist-in-Residence Crackhead Barney invites the public into her conjugal bed for a live, in-person podcast event at CPR on Friday, June 13, celebrating the imminent success of her 10,000-man Birthday Gang Bang Challenge.

Surprise guests to be announced.


ABOUT THE ARTIST

Crackhead Barney was born in Jamaica, Queens to strict religious parents who immigrated to America from Northern Nigeria. She was raised in a one bedroom apartment with her siblings in an era before wokeness and identity politics ruled the cultural landscape and was always taunted for her immigrant African roots and dark complexion. She studied Fine Arts and Media at Hunter College and was told her artwork wasn't shit. Rejected from museums and galleries, she decided to take matters into her own hands and use the streets of NYC as her canvas, painting pictures with her body across the landscape without the need to satisfy the desires of the cultural institutions. Her street performances garnered attention and she began to go viral all over the Internet with people reacting in confusion, laughter, anger, pity, concern, and all the other emotions available to humans. Rejecting any hierarchies that didn't feature her at the very pinnacle, she naturally was attracted to social media where she could form a universe centered on her performance art. She began a “Crackhead Barney and Friends” account on Instagram and TikTok where she’s developed a cult of personality supportive of her creative practice.

Free with RSVP
RSVP


This workshop facilitated by 2025 Artist-in-Residence Yiwei Lu invites participants to reflect on the themes of death and mourning through the lens of Chinese paper effigy traditions. After a brief introduction to the cultural and historical significance of paper effigies, participants will create their own modern interpretations using simple materials. The session culminates in a symbolic cyber-burning ritual, offering a space to explore the emotional and symbolic aspects of honoring the deceased. Through shared creation and dialogue, the workshop fosters a collective contemplation of loss, memory, and the rituals that connect us to those who have passed.


ABOUT THE ARTIST

Yiwei Lu is an artist and refrigerator based in New York and Nanjing. As an artist, Yiwei’s work has been exhibited internationally, including Nanjing Powerlong Art Center, The Wallach Art Gallery, SVA Library, Nanjing University of Arts, Trieste Photo Days, and Open Air Art Project. As a refrigerator, Yiwei aims to unfreeze time, to make it hers. She focuses on the man-altered and social landscape. Created by humans, left with traces of use, they become part of human society and the figurative representation of collective memory. Through methodical composition, the deepest levels of emotion transfers into extreme restraint. Yiwei holds an MFA in Visual Art from Columbia University, and an BFA in Photography and Video from the School of Visual Arts.

Tickets: $0-$25, pay what you can
Purchase Tickets

Thurs, May 29 at 4PM and 7PM
Fri, May 30 at 7PM and 9PM

For sold out performances, an in-person wait list will open 30 minutes prior to showtime.


Pussypaws Puppetry, an inclusive puppetry collective composed of artists with and without disabilities working (and playing!) together, will present Pussypaws Pleasure Faire, a full-bodied celebration of eroticism and its spoils. The Pussypaws Pleasure Faire will expand Pussypaws’ years-long quest to celebrate stories about the sex, love, and fantasy lives of artists with disabilities. As the culmination of their 2025 Technical Residency at CPR – Center for Performance Research, the show is a Renaissance Faire fever dream combining puppetry, poetry, storytelling, and song in an experimental and immersive environment. Expect tales of masquerade hookups, frogs that transform into men, and a love triangle between a water wench, a musician, and a juggler. Most of all, expect an invitation into a world of puppet pleasure and spirited play. Everyone in attendance will become part of the Pussypaws Pleasure Faire and part of the Pussypaws community, so come ready to get weird and feel good.

This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.

View the program.

ABOUT THE ARTISTS

Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.

Tickets: $0-$25, pay what you can
Purchase Tickets

Thurs, May 29 at 4PM and 7PM
Fri, May 30 at 7PM and 9PM

For sold out performances, an in-person wait list will open 30 minutes prior to showtime.


Pussypaws Puppetry, an inclusive puppetry collective composed of artists with and without disabilities working (and playing!) together, will present Pussypaws Pleasure Faire, a full-bodied celebration of eroticism and its spoils. The Pussypaws Pleasure Faire will expand Pussypaws’ years-long quest to celebrate stories about the sex, love, and fantasy lives of artists with disabilities. As the culmination of their 2025 Technical Residency at CPR – Center for Performance Research, the show is a Renaissance Faire fever dream combining puppetry, poetry, storytelling, and song in an experimental and immersive environment. Expect tales of masquerade hookups, frogs that transform into men, and a love triangle between a water wench, a musician, and a juggler. Most of all, expect an invitation into a world of puppet pleasure and spirited play. Everyone in attendance will become part of the Pussypaws Pleasure Faire and part of the Pussypaws community, so come ready to get weird and feel good.

This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.

View the program.

ABOUT THE ARTISTS

Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.

Tickets: $0-$25, pay what you can
Purchase Tickets


Thurs, May 29 at 4PM and 7PM
Fri, May 30 at 7PM and 9PM

For sold out performances, an in-person wait list will open 30 minutes prior to showtime.


Pussypaws Puppetry, an inclusive puppetry collective composed of artists with and without disabilities working (and playing!) together, will present Pussypaws Pleasure Faire, a full-bodied celebration of eroticism and its spoils. The Pussypaws Pleasure Faire will expand Pussypaws’ years-long quest to celebrate stories about the sex, love, and fantasy lives of artists with disabilities. As the culmination of their 2025 Technical Residency at CPR – Center for Performance Research, the show is a Renaissance Faire fever dream combining puppetry, poetry, storytelling, and song in an experimental and immersive environment. Expect tales of masquerade hookups, frogs that transform into men, and a love triangle between a water wench, a musician, and a juggler. Most of all, expect an invitation into a world of puppet pleasure and spirited play. Everyone in attendance will become part of the Pussypaws Pleasure Faire and part of the Pussypaws community, so come ready to get weird and feel good.

This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.

View the program.

ABOUT THE ARTISTS

Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.

Tickets: $0-$25, pay what you can
Purchase Tickets


Thurs, May 29 at 4PM and 7PM
Fri, May 30 at 7PM and 9PM

For sold out performances, an in-person wait list will open 30 minutes prior to showtime.


Pussypaws Puppetry, an inclusive puppetry collective composed of artists with and without disabilities working (and playing!) together, will present Pussypaws Pleasure Faire, a full-bodied celebration of eroticism and its spoils. The Pussypaws Pleasure Faire will expand Pussypaws’ years-long quest to celebrate stories about the sex, love, and fantasy lives of artists with disabilities. As the culmination of their 2025 Technical Residency at CPR – Center for Performance Research, the show is a Renaissance Faire fever dream combining puppetry, poetry, storytelling, and song in an experimental and immersive environment. Expect tales of masquerade hookups, frogs that transform into men, and a love triangle between a water wench, a musician, and a juggler. Most of all, expect an invitation into a world of puppet pleasure and spirited play. Everyone in attendance will become part of the Pussypaws Pleasure Faire and part of the Pussypaws community, so come ready to get weird and feel good.

This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.

View the program.

ABOUT THE ARTISTS

Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 4 (recently added!)
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Free with RSVP
RSVP


How can we honor and incorporate our unique, beautiful bodies into our poetic/artistic practice? Together with choreic poet and 2025 Artist-in-Residence Latif Askia Ba, we will listen, read, and practice with the work of Larry Eigner, a 20th Century poet with cerebral palsy. We will practice being present in our bodies to express our intuitive selves in our work.


ABOUT THE ARTIST

Latif Askia Ba is a choreic poet. Dancing in and out of various forms, he tries again and again to realize the music of the disabled body-mind-universe. You can find his work in Poetry Magazine and Poem-a-Day. His newest collection, The Choreic Period, was published by Milkweed Editions.

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Tickets: $0-$25, pay what you can
Purchase Tickets


In this OPEN STUDIOS, Abrons Arts Center 2024-26 Performance AIRSpace Residents Cleo Reed and Symara Sarai will share works in process. The Performance AIRspace Residency supports a cohort of two early career performing artists for a project development residency and premiere at Abrons Arts Center.

OPEN STUDIOS is a series of work-in-progress showings held regularly throughout the year, organized by guest curators, and serves as an incubator for new work, inviting the public into the artistic process.

View the Program

PROGRAM

Cleo Reed: cuntry: wip
Cleo Reed arrives with a work in process performance meant to address labor both in the body and the workplace. Reed will preview original music manifested into a new character — the working mule. The album that accompanies this work is set to be released in July 2025. Reed will be accompanied by Natalia Catalan on bass guitar. As well, cuntry: wip features original work choreographed by Cemiyon Barber and Chanel Stone. 

Symara Sarai: Angelic Architectures This is a performance experiment that showcases the inner anarchy of black queer femininity blown out the stage space. With this work I create scores for three dancers including myself that enliven, awaken, and honor our urges.  The scores ask us what do we want to do right now and what does that look like? I give us the permission to be indulgent, we honor the practice of doing what we want, when we want–a mode often denied to us by systems beyond our control. I am opening the portal to performance as an act of protest against set expectations for black femininity and showing the expansion that it holds.

ABOUT THE ARTISTS

Ella Josephine Julia Moore aka Cleo Reed is a multi-disciplinary artist whose practices uses participatory art, music composition, instrument-making, bandleading, installation, and fabric arts. Under the alias Cleo Reed, they complete musical projects that are rooted in their ancestral and cultural lineage. Recently, they developed software instruments for Jon Batiste’s American Symphony at Carnegie Hall. Their debut album project Root Cause was released in 2023 and alongside the work they premiered a self-directed performance art piece titled Black American Circus at AFROPUNK Festival, Banlieues Bleues in Paris, and Brooklyn Museum. They work toward a future that enables them to realize intentional creative endeavors and encourage joy within collaborative spaces such as museums, theaters, and unseen spaces. In their practice, they are currently drawn to notions of tradition, dissolving the binary, making noise, and breaking the barrier between artist and audience.

Symara Sarai, a Portland, OR native currently residing in Brooklyn, has immersed herself in interdisciplinary and choreographic studies globally. A 2023 Bessie Award winner for Breakout Choreographer, Symara is also a recipient of the Dai Ailian Foundation Scholarship based in Trinidad and Tobago. The scholarship led her to Beijing, China where she spent two years gaining an associate degree in modern choreography at the renowned Beijing Dance Academy. Symara is a 2019 graduate of SUNY Purchase’s Conservatory of Dance Program. She was a resident artist for Bearnstow, Gibney 6.2 Work Up, Gallim’s 2022 Moving Artist’s Residency, BAX’s Fall 2022 Space Grant Program, and CPR – Center for Performance Research’s 2022 AiR Program. She is a 2023/2024 New York Live Arts Fresh Tracks Artist and a 2023/2024 Women in Motion Commissioned artist. Their work as a performer and maker has been reviewed and featured in the New York Times, Dance Enthusiast, and Fjord, and promoted through Forbes. She has had multiple film works commissioned by Berlin-based choreographer Christoph Winkler. They have presented work at New York Live Arts, The Clarice at UMD, The LGBT Center, Judson Church, BAAD, Kestrels, and other venues throughout the United States, China, and Germany. She is currently an Urban Bush Women company member. She has also notably worked with Jasmine Hearn, Ogemdi Ude, Pioneers Go East Collective, Kevin Wynn, Joanna Kotze, Nattie Trogdon+Hollis Bartlett, and Slowdanger, among others.

Free, RSVP required (limited audience)
RSVP


Tues, April 8 from 7-8PM
Tues, April 15 from 7-8PM
Tues, April 22 from 7-8PM
Tues, May 6 from 7-8PM


In this weekly performance series, 2025 Artist-in-Residence Kat Sotelo invites the audience into her research surrounding seductive, ephemeral worlds – fantasies staged as a peep show for intimate consumption. Indulge in humiliation or glory as she enacts tropes of Filipino subservience. Let boundaries blur between spectator and spectacle, sensation and transaction. What is being revealed, exchanged, exploited? Who is in control? Become the voyeur, the voyeur of the voyeur, the object of desire, the furniture, the wall.


ABOUT THE ARTIST

Kat Sotelo is a first-generation Filipino American performance artist, choreographer, and set designer whose practice blends movement, satire, and constructed environments. She explores the body as a site of commerce, often using her experience in "exotic" dance to examine fantasy and cultural hybridity. As a film industry professional, Sotelo’s compositions also integrate elements of cinema to create layered realities. Her current body of work focuses on eroticism and servitude through a Filipino American lens – at the intersection of nostalgia, rage, and melancholy. By weaving video, personal archives, and Philippine folk traditions, she critiques the commodification of art and identity with humor and pop visions. Sotelo is currently an Artist-in-Residence at Movement Research (2024-2026) and CPR – Center for Performance Research (2025). 

Tickets: $0-$25, pay what you can
Purchase Tickets


Sun, May 4 at 3PM (w/ Sophia Parker)
Sun, May 4 at 6PM (w/ Glenn Potter-Takata)
Mon, May 5 at 7PM (w/ Lena Engelstein)


Comedy Pilates is a fitness parody, an interview series, and a workout. As instructor and host, artist, choreographer, and certified Pilates teacher Amelia Heintzelman guides humbling exercises while interviewing select participants (maybe even you!) about life, work, and art. Special guests and surprise performances will keep you guessing. Using CPR’s suite of film equipment for a live, multi-camera shoot, each class will be filmed and subsequently edited into a 10-minute Hot Ones-style episode, archiving these intimate and vulnerable conversations between creatives while embracing humor, clumsiness, and humility in the service of physical and professional optimization. No Pilates experience needed, be ready to sweat, costumes welcome.

Comedy Pilates will be a 1-hour class, and will be filmed. Please bring your own mat, and wear clothes (or a costume) that you can move in. There is no shower available at CPR, and please note that there is limited private changing space.


CREDITS

Conceived and directed by Amelia Heintzelman
with Leah Fournier, teaching assistant; Tess Michaelson, dramaturg

Special guests:
Sophia Parker, dancer and dramaturg (May 4 at 3PM)
Glenn Potter-Takata, media designer and artist working in performance (May 4 at 6PM)
Lena Engelstein, dancer, performer, and choreographer (May 5 at 7PM)

Additional Performers: Sofia Engelman, Em Papineau, Skjold Rambow, Justin Sterling


ABOUT THE ARTISTS

Amelia Heintzelman is a dancer, choreographer, and teacher. Her work has been shown at CPR – Center for Performance Research, Draftwork at Danspace Project, Lubov Gallery, Movement Research at the Judson Church, Pageant, and Snug Harbor. Her work has been supported by residencies and grants through Atlantic Center for the Arts, Foundation for Contemporary Arts, UCross Foundation, and University Settlement. Most recently, she has worked as a collaborating performer for Jesi Cook, Ayano Elson, Deborah Hay, evan ray suzuki, and Alexa West. She is on teaching faculty at Movement Research and Pageant, and sometimes/rarely teaches Comedy Pilates. www.ameliakh.com

Sophia Parker is a dancer and dramaturg from Berkeley, CA. She received her BFA in Dance from Fordham University/The Ailey School. Sophia has dramaturged works by Scottie Harvey, Amelia Heintzelman, and Sacha Vega. Most recently, she performed in and dramaturged G R A P H, a new work by Sidra Bell, which was presented by The Metropolitan Museum of Art as part of their Flight Into Egypt exhibition.

Glenn Potter-Takata (Bronx, NY) is a Japanese-American media designer and artist working in performance. His practice is somatic-based, utilizing butoh, improvisation, media equipment, and consumer materials to create performances around the body as a historical site in post-internment America. Preoccupied with the consumer culture runoff from the Japanese archipelago, Glenn juxtaposes the materiality of consumer detritus with his interests in Buddhist concepts of emptiness and Western notions of nothingness. Both rigorous and playful in his process, Glenn incorporates aspects of Buddhist philosophy and pedagogy into his work, but also sometimes performs wearing a giant Pikachu costume. glennpottertakata.com/about

Lena Engelstein is a dancer, performer, and choreographer. Her work has been dubbed “The High Weird” by critics and lauded as “subtly campy and hilariously queer” by the Brooklyn Rail. She has been part of the interdisciplinary performance collective CHILD, headed by Lisa Fagan, since 2019. Her recent work with Fagan Friday Night Rat Catchers premiered at New York Live Arts in March 2025 and their previous piece Deepe Darknesse was presented in Live Arts’ 2024 Live Artery festival. She has performed work by Alexa West, Barnett Cohen, Brendan Drake, Chafin Seymour, Falcon Dance (company member, 2018-present), Isa Spector, Owen Prum + Lili Dekker, Miguel Alejandro Castillo, and Third Rail Company (Then She Fell company member, 2019-2020). Engelstein has created new works with performer and director Magda San Millan and choreographer Jo Warren. She choreographs for and performs with the band Lou Tides. She has taught dance technique, improvisation, and directing at SUNY Brockport, Colorado Mesa University, Barnard College, University of Maryland, and The Field Center. Lena holds a B.A. in Mathematics from Colorado College. www.lenaengelstein.com 

Tickets: $0-$25, pay what you can
Purchase Tickets


Sun, May 4 at 3PM (w/ Sophia Parker)
Sun, May 4 at 6PM (w/ Glenn Potter-Takata)
Mon, May 5 at 7PM (w/ Lena Engelstein)


Comedy Pilates is a fitness parody, an interview series, and a workout. As instructor and host, artist, choreographer, and certified Pilates teacher Amelia Heintzelman guides humbling exercises while interviewing select participants (maybe even you!) about life, work, and art. Special guests and surprise performances will keep you guessing. Using CPR’s suite of film equipment for a live, multi-camera shoot, each class will be filmed and subsequently edited into a 10-minute Hot Ones-style episode, archiving these intimate and vulnerable conversations between creatives while embracing humor, clumsiness, and humility in the service of physical and professional optimization. No Pilates experience needed, be ready to sweat, costumes welcome.

Comedy Pilates will be a 1-hour class, and will be filmed. Please bring your own mat, and wear clothes (or a costume) that you can move in. There is no shower available at CPR, and please note that there is limited private changing space.


CREDITS

Conceived and directed by Amelia Heintzelman
with Leah Fournier, teaching assistant; Tess Michaelson, dramaturg

Special guests:
Sophia Parker, dancer and dramaturg (May 4 at 3PM)
Glenn Potter-Takata, media designer and artist working in performance (May 4 at 6PM)
Lena Engelstein, dancer, performer, and choreographer (May 5 at 7PM)

Additional Performers: Sofia Engelman, Em Papineau, Skjold Rambow, Justin Sterling


ABOUT THE ARTISTS

Amelia Heintzelman is a dancer, choreographer, and teacher. Her work has been shown at CPR – Center for Performance Research, Draftwork at Danspace Project, Lubov Gallery, Movement Research at the Judson Church, Pageant, and Snug Harbor. Her work has been supported by residencies and grants through Atlantic Center for the Arts, Foundation for Contemporary Arts, UCross Foundation, and University Settlement. Most recently, she has worked as a collaborating performer for Jesi Cook, Ayano Elson, Deborah Hay, evan ray suzuki, and Alexa West. She is on teaching faculty at Movement Research and Pageant, and sometimes/rarely teaches Comedy Pilates. www.ameliakh.com

Sophia Parker is a dancer and dramaturg from Berkeley, CA. She received her BFA in Dance from Fordham University/The Ailey School. Sophia has dramaturged works by Scottie Harvey, Amelia Heintzelman, and Sacha Vega. Most recently, she performed in and dramaturged G R A P H, a new work by Sidra Bell, which was presented by The Metropolitan Museum of Art as part of their Flight Into Egypt exhibition.

Glenn Potter-Takata (Bronx, NY) is a Japanese-American media designer and artist working in performance. His practice is somatic-based, utilizing butoh, improvisation, media equipment, and consumer materials to create performances around the body as a historical site in post-internment America. Preoccupied with the consumer culture runoff from the Japanese archipelago, Glenn juxtaposes the materiality of consumer detritus with his interests in Buddhist concepts of emptiness and Western notions of nothingness. Both rigorous and playful in his process, Glenn incorporates aspects of Buddhist philosophy and pedagogy into his work, but also sometimes performs wearing a giant Pikachu costume. glennpottertakata.com/about

Lena Engelstein is a dancer, performer, and choreographer. Her work has been dubbed “The High Weird” by critics and lauded as “subtly campy and hilariously queer” by the Brooklyn Rail. She has been part of the interdisciplinary performance collective CHILD, headed by Lisa Fagan, since 2019. Her recent work with Fagan Friday Night Rat Catchers premiered at New York Live Arts in March 2025 and their previous piece Deepe Darknesse was presented in Live Arts’ 2024 Live Artery festival. She has performed work by Alexa West, Barnett Cohen, Brendan Drake, Chafin Seymour, Falcon Dance (company member, 2018-present), Isa Spector, Owen Prum + Lili Dekker, Miguel Alejandro Castillo, and Third Rail Company (Then She Fell company member, 2019-2020). Engelstein has created new works with performer and director Magda San Millan and choreographer Jo Warren. She choreographs for and performs with the band Lou Tides. She has taught dance technique, improvisation, and directing at SUNY Brockport, Colorado Mesa University, Barnard College, University of Maryland, and The Field Center. Lena holds a B.A. in Mathematics from Colorado College. www.lenaengelstein.com 

Tickets: $0-$25, pay what you can
Purchase Tickets


Sun, May 4 at 3PM (w/ Sophia Parker)
Sun, May 4 at 6PM (w/ Glenn Potter-Takata)
Mon, May 5 at 7PM (w/ Lena Engelstein)


Comedy Pilates is a fitness parody, an interview series, and a workout. As instructor and host, artist, choreographer, and certified Pilates teacher Amelia Heintzelman guides humbling exercises while interviewing select participants (maybe even you!) about life, work, and art. Special guests and surprise performances will keep you guessing. Using CPR’s suite of film equipment for a live, multi-camera shoot, each class will be filmed and subsequently edited into a 10-minute Hot Ones-style episode, archiving these intimate and vulnerable conversations between creatives while embracing humor, clumsiness, and humility in the service of physical and professional optimization. No Pilates experience needed, be ready to sweat, costumes welcome.

Comedy Pilates will be a 1-hour class, and will be filmed. Please bring your own mat, and wear clothes (or a costume) that you can move in. There is no shower available at CPR, and please note that there is limited private changing space.


CREDITS

Conceived and directed by Amelia Heintzelman
with Leah Fournier, teaching assistant; Tess Michaelson, dramaturg

Special guests:
Sophia Parker, dancer and dramaturg (May 4 at 3PM)
Glenn Potter-Takata, media designer and artist working in performance (May 4 at 6PM)
Lena Engelstein, dancer, performer, and choreographer (May 5 at 7PM)

Additional Performers: Sofia Engelman, Em Papineau, Skjold Rambow, Justin Sterling


ABOUT THE ARTISTS

Amelia Heintzelman is a dancer, choreographer, and teacher. Her work has been shown at CPR – Center for Performance Research, Draftwork at Danspace Project, Lubov Gallery, Movement Research at the Judson Church, Pageant, and Snug Harbor. Her work has been supported by residencies and grants through Atlantic Center for the Arts, Foundation for Contemporary Arts, UCross Foundation, and University Settlement. Most recently, she has worked as a collaborating performer for Jesi Cook, Ayano Elson, Deborah Hay, evan ray suzuki, and Alexa West. She is on teaching faculty at Movement Research and Pageant, and sometimes/rarely teaches Comedy Pilates. www.ameliakh.com

Sophia Parker is a dancer and dramaturg from Berkeley, CA. She received her BFA in Dance from Fordham University/The Ailey School. Sophia has dramaturged works by Scottie Harvey, Amelia Heintzelman, and Sacha Vega. Most recently, she performed in and dramaturged G R A P H, a new work by Sidra Bell, which was presented by The Metropolitan Museum of Art as part of their Flight Into Egypt exhibition.

Glenn Potter-Takata (Bronx, NY) is a Japanese-American media designer and artist working in performance. His practice is somatic-based, utilizing butoh, improvisation, media equipment, and consumer materials to create performances around the body as a historical site in post-internment America. Preoccupied with the consumer culture runoff from the Japanese archipelago, Glenn juxtaposes the materiality of consumer detritus with his interests in Buddhist concepts of emptiness and Western notions of nothingness. Both rigorous and playful in his process, Glenn incorporates aspects of Buddhist philosophy and pedagogy into his work, but also sometimes performs wearing a giant Pikachu costume. glennpottertakata.com/about

Lena Engelstein is a dancer, performer, and choreographer. Her work has been dubbed “The High Weird” by critics and lauded as “subtly campy and hilariously queer” by the Brooklyn Rail. She has been part of the interdisciplinary performance collective CHILD, headed by Lisa Fagan, since 2019. Her recent work with Fagan Friday Night Rat Catchers premiered at New York Live Arts in March 2025 and their previous piece Deepe Darknesse was presented in Live Arts’ 2024 Live Artery festival. She has performed work by Alexa West, Barnett Cohen, Brendan Drake, Chafin Seymour, Falcon Dance (company member, 2018-present), Isa Spector, Owen Prum + Lili Dekker, Miguel Alejandro Castillo, and Third Rail Company (Then She Fell company member, 2019-2020). Engelstein has created new works with performer and director Magda San Millan and choreographer Jo Warren. She choreographs for and performs with the band Lou Tides. She has taught dance technique, improvisation, and directing at SUNY Brockport, Colorado Mesa University, Barnard College, University of Maryland, and The Field Center. Lena holds a B.A. in Mathematics from Colorado College. www.lenaengelstein.com 

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 4 (recently added!)
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Live In-Person Event
Fri, June 13 at 7PM
Tickets $0-$25, pay what you can
Purchase tickets


Virtual Live-Streamed Episodes
Sat, May 3 at 10AM
Sat, May 17 at 12PM
Sat, June 7 at 12PM
Free. Tune in virtually via Instagram Live @crackheadbarneyandfriends__ or Twitch @crackheadbarney


Live from Crackhead Barney’s sweat-soaked mattress comes In Bed with Crackhead Barney: The Bed Wench Podcast, a series of conversations with fellow artists, derelicts, sworn enemies, and strangers from Plenty of Fish, consummating her signature ambush street interviews under the sheets. 

After getting down and dirty with guests during three steamy Saturday virtual broadcasts, 2025 Artist-in-Residence Crackhead Barney invites the public into her conjugal bed for a live, in-person podcast event at CPR on Friday, June 13, celebrating the imminent success of her 10,000-man Birthday Gang Bang Challenge.

Surprise guests to be announced.


ABOUT THE ARTIST

Crackhead Barney was born in Jamaica, Queens to strict religious parents who immigrated to America from Northern Nigeria. She was raised in a one bedroom apartment with her siblings in an era before wokeness and identity politics ruled the cultural landscape and was always taunted for her immigrant African roots and dark complexion. She studied Fine Arts and Media at Hunter College and was told her artwork wasn't shit. Rejected from museums and galleries, she decided to take matters into her own hands and use the streets of NYC as her canvas, painting pictures with her body across the landscape without the need to satisfy the desires of the cultural institutions. Her street performances garnered attention and she began to go viral all over the Internet with people reacting in confusion, laughter, anger, pity, concern, and all the other emotions available to humans. Rejecting any hierarchies that didn't feature her at the very pinnacle, she naturally was attracted to social media where she could form a universe centered on her performance art. She began a “Crackhead Barney and Friends” account on Instagram and TikTok where she’s developed a cult of personality supportive of her creative practice.

Tickets: $0-$25, pay what you can
Purchase Tickets
In the event that advance tickets are sold out, an in-person wait list will open at 6:30PM.


Doors will open at 6:30 P.M. for the beginning of the performance installation.


closed mouths dont get fed is an immersive performance installation by 2024 Artist-in-Residence Dorchel Haqq that explores the genesis of human consciousness. In a two-part experiential journey, the work examines the formative moments when we first recognize our desires and develop the autonomy to express them. In a world constructed through sculpture, movement, and sound, Dorchel navigates a home environment where objects become metaphors for the emerging weight of consciousness of a NYC upbringing where one is influenced by their environment, and illuminates the profound developmental milestone of finding one's voice and agency through play and participation.

Dorchel is in collaboration with Hakeem Olayinka for installation art and Kneaku Ashe for the soundscape.

Featuring performance artist: Nailah Murray
Artist talk facilitated by: Christian Allen

Ask and you shall receive.

View the Program

ABOUT THE ARTIST

Dorchel Haqq, raised in Harlem, began to embody history at the Dance Theater of Harlem. With an education from Fiorello H. LaGuardia High School of Performing Arts then later at the Conservatory of Dance at SUNY Purchase College, Haqq initiated her discovery of the body as a political statement. While studying at Purchase College, Haqq’s education expanded at Korea National School of the Arts. The development of Haqq’s movement practices induces an imaginative world focusing on the care of the nervous system. Haqq explores fantasy and abstracts the echo of transgenerational trauma in her body of culture through film, sound exploration, and object investigation. These explorations were made possible through the Springboard-curated Jonah Bokaer Arts Foundation Founder’s Residency, Gallim’s Moving Women AIR, Leimay’s Incubation AIR, a City Artist Corps grant, and Foundation for Contemporary Arts emergency grant. Haqq is an adjunct lecturer at Purchase College. Haqq performed with AIM by Kyle Abraham for two years before immersing in Punchdrunk’s Sleep No More in Shanghai. Haqq expanded her sensory research in 2024 as an AiR at CPR – Center for Performance Research and Baryshnikov Arts Center. Haqq is currently a guest artist in Emursive Theater’s Life And Trust and a 2025 Movement Research Van Lier Artist of Color Fellow. 

Tickets: $0-$25, pay what you can
Purchase Tickets


Artist, designer, creative technologist, and beloved former Production and Facilities Manager at CPR Nico Cabalquinto guest curates OPEN STUDIOS, inviting multimedia artists Fernando Gregório, Kevin Peter He, and MIZU to share works in development.

OPEN STUDIOS is a series of work-in-progress showings held regularly throughout the year, organized by guest curators, and serves as an incubator for new work, inviting the public into the artistic process.

View the Program

PROGRAM

Fernando Gregório: bichinha

In Brazilian Portuguese, bichinha is a slang term that can mean “little fag” or the feminine form of “little critter”. In this work-in-progress performance, Fernando plays an augmented DJ set in a territory where forbidden words need noisy spaces to survive.

Kevin Peter He: Vestige (WIP)

Kevin Peter He’s work sits at the intersection of performance, cinema, and interactive technology. Rooted in freestyle hip-hop dance, he approaches movement not just as physical expression but as a way of shaping images in real time. He's audiovisual performances unfold like live cinema—he constructs and manipulates virtual worlds inside a game engine with a series of custom controllers, directing the camera and environment improvisationally to the music. The result is a constantly shifting, immersive world where bodies and landscapes emerge and dissolve. This work-in-progress expands He’s virtual performance practice by introducing a live dancer on stage. Projected onto a large screen behind them, the visuals function not as a static backdrop but as an active presence—at times a second dancer, an evolving environment, or an abstract force that guides or resists movement. The performance experiments with different modes of interaction: moments of mirroring, tension, and transformation that blur the lines between physical and digital embodiment. By weaving together real-time visuals, improvisation, and choreography, this piece explores new ways of storytelling—where body and image merge, and where the boundary between human and virtual presence remains fluid and unresolved.

MIZU: Forest Scenes Live

MIZU presents a cinematic realization of her sophomore album Forest Scenes, featuring a companion film by director Dan Silver.

ABOUT THE ARTISTS

Nico Cabalquinto is a Brooklyn-based light artist, designer, creative technologist and production manager who uses audiovisual equipment, interactive technologies, and digital fabrication tools for their light sculptures and installations to transform public spaces, blur material boundaries, and enhance live performances. They completed their postdoctoral artist residency at NYU Tisch’s Interactive Telecommunications Program, where they earned their Masters of Professional Studies. They have shown their light and sound installations at Knockdown Center, Elsewhere, National Sawdust, and in various art and music festivals.

Fernando Gregório, aka DJ FeG, is a Brazilian mixed media artist and experimental performer based in Brooklyn, NY. Meditating on the binaries between humans, nature, and technology, he works with augmented reality while playing with a navigational model in which “augmentation is neither a more nor a better, but an elsewhere.”

Kevin Peter He is an NYC-based, Shanghai-raised artist working across film, live performance, and game engines to create living stories—narratives shaped not only by human intent but by the evolving systems, infrastructures, and technologies that sustain them. Rooted in the cinematic language and shaped by procedural systems, his practice explores how agency is modulated by the structures we build, the tools we wield, and the ecologies we inhabit. Kevin’s work constructs environments where narrative is not imposed but emerges—an unfolding dialogue between participants, digital frameworks, and the logics that govern them. The camera, a recurring presence, functions not just as a recording device but as an embodied interface—framing, mediating, and actively shaping the world it observes. Kevin’s work has been showcased at SIGGRAPH, MUTEK Montreal, Tribeca Festival, NOWNESS, and Onassis ONX, with recent projects including Passage_SoftRains, a sensor-driven installation where a digital ecosystem reshapes itself in response to human presence, and Flux, a live audiovisual duet where improvisational movement collides with machine perception. The former creative director of ZeroSpace, he has collaborated with institutions such as Lincoln Center, Cartier, and Nike, bridging emerging technologies with experimental storytelling. Kevin holds a Master’s from NYU’s Interactive Telecommunications Program (ITP), where he also teaches, and a Bachelor’s in Film from USC.

“Frequently gorgeous, at times unsettling, and constantly in flux” (Pitchfork), MIZU explores themes of transformation and the infinite possibilities of self through her singular cello playing and daring performing. Trained as a cellist at Juilliard, her experimental practice sees her transforming self-recorded explorations on her instrument into bold and distinct soundscapes. Her works 4 | 2 | 3, Forest Scenes, and Distant Intervals received critical praise and attention from platforms such as Pitchfork, The FADER, NOWNESS Asia, Bandcamp Daily, The New York Times, New Sounds, Stereogum, and Them.

Free, RSVP required (limited audience)
RSVP


Tues, April 8 from 7-8PM
Tues, April 15 from 7-8PM
Tues, April 22 from 7-8PM
Tues, May 6 from 7-8PM


In this weekly performance series, 2025 Artist-in-Residence Kat Sotelo invites the audience into her research surrounding seductive, ephemeral worlds – fantasies staged as a peep show for intimate consumption. Indulge in humiliation or glory as she enacts tropes of Filipino subservience. Let boundaries blur between spectator and spectacle, sensation and transaction. What is being revealed, exchanged, exploited? Who is in control? Become the voyeur, the voyeur of the voyeur, the object of desire, the furniture, the wall.


ABOUT THE ARTIST

Kat Sotelo is a first-generation Filipino American performance artist, choreographer, and set designer whose practice blends movement, satire, and constructed environments. She explores the body as a site of commerce, often using her experience in "exotic" dance to examine fantasy and cultural hybridity. As a film industry professional, Sotelo’s compositions also integrate elements of cinema to create layered realities. Her current body of work focuses on eroticism and servitude through a Filipino American lens – at the intersection of nostalgia, rage, and melancholy. By weaving video, personal archives, and Philippine folk traditions, she critiques the commodification of art and identity with humor and pop visions. Sotelo is currently an Artist-in-Residence at Movement Research (2024-2026) and CPR – Center for Performance Research (2025). 

Tickets: $0-$25, pay what you can
Purchase Tickets


Fri, April 18 at 7:00 PM (w/ Holland Andrews)
Sat, April 19 at 7:00 PM (w/ Darian Donovan Thomas)

*The two original performance times (6:30 and 8:30PM) have been consolidated into a single 7PM performance each evening, to make more time for River’s demons, dread, and special guests.


River L. Ramirez has come to the conclusion that the time for healing is over. No more tarot, astrology, or meditation retreats, there are bills to pay. Healing is Over is a meandering, improvisational set (with drawings and a song) about possession, demons, healing, money, god, and the existential dread of life as a freak in the USA.

Featuring special guests Holland Andrews (Apr 18) and Darian Donovan Thomas (Apr 19).

View the Program

ABOUT THE ARTISTS

River L. Ramirez is a NYC-based artist originally from Miami, FL. Working in the mediums of comedy, film, TV, writing, visual art, and music it's easy to forget they are just a little furby with a knife. River’s work explores magick, class consciousness, and liberation through play. Their work has been written about in the New York Times, Forbes, Art in America, SSENSE, and GQ. They teach a class called "How To Be In Front Of People '' at The Brick Aux and just released a single called i remember off their new EP: GIVING. You can also find them in Julio Torres's film PROBLEMISTA.

Holland Andrews is a composer, vocalist, clarinetist, and improviser whose work focuses on generating expansive tapestries of cathartic and dissonant soundscapes. Frequently highlighting themes surrounding vulnerability, healing, and transformation, Andrews composes music with their voice, clarinet, and electronics to serve as a vessel for these themes. As a musician, their influences stem from a dynamic range of styles, including contemporary opera, free jazz, american experimentalism, as well as ambient, drone, and noise music. A self-taught vocalist and improviser, they have also been cultivating a unique vocal style, which integrates these influences with language disintegration, environmental foley, and vocal distortion. Andrews previously performed solo music under the stage name Like a Villain. Some notable musical collaborations include Son Lux, Christina Vantzou, William Brittelle, Jjjjerome Ellis, yuniya edi kwon, Shahzad Ismaily, West Thordson, Peter Broderick, Darian Donovan Thomas, and Nils Frahm.

Tickets: $0-$25, pay what you can
Purchase Tickets


Fri, April 18 at 7:00 PM (w/ Holland Andrews)
Sat, April 19 at 7:00 PM (w/ Darian Donovan Thomas)

*The two original performance times (6:30 and 8:30PM) have been consolidated into a single 7PM performance each evening, to make more time for River’s demons, dread, and special guests.


River L. Ramirez has come to the conclusion that the time for healing is over. No more tarot, astrology, or meditation retreats, there are bills to pay. Healing is Over is a meandering, improvisational set (with drawings and a song) about possession, demons, healing, money, god, and the existential dread of life as a freak in the USA.

Featuring special guests Holland Andrews (Apr 18) and Darian Donovan Thomas (Apr 19).

View the Program

ABOUT THE ARTISTS

River L. Ramirez is a NYC-based artist originally from Miami, FL. Working in the mediums of comedy, film, TV, writing, visual art, and music it's easy to forget they are just a little furby with a knife. River’s work explores magick, class consciousness, and liberation through play. Their work has been written about in the New York Times, Forbes, Art in America, SSENSE, and GQ. They teach a class called "How To Be In Front Of People '' at The Brick Aux and just released a single called i remember off their new EP: GIVING. You can also find them in Julio Torres's film PROBLEMISTA.

Holland Andrews is a composer, vocalist, clarinetist, and improviser whose work focuses on generating expansive tapestries of cathartic and dissonant soundscapes. Frequently highlighting themes surrounding vulnerability, healing, and transformation, Andrews composes music with their voice, clarinet, and electronics to serve as a vessel for these themes. As a musician, their influences stem from a dynamic range of styles, including contemporary opera, free jazz, american experimentalism, as well as ambient, drone, and noise music. A self-taught vocalist and improviser, they have also been cultivating a unique vocal style, which integrates these influences with language disintegration, environmental foley, and vocal distortion. Andrews previously performed solo music under the stage name Like a Villain. Some notable musical collaborations include Son Lux, Christina Vantzou, William Brittelle, Jjjjerome Ellis, yuniya edi kwon, Shahzad Ismaily, West Thordson, Peter Broderick, Darian Donovan Thomas, and Nils Frahm.

Free, RSVP required (limited audience)
RSVP


Tues, April 8 from 7-8PM
Tues, April 15 from 7-8PM
Tues, April 22 from 7-8PM
Tues, May 6 from 7-8PM


In this weekly performance series, 2025 Artist-in-Residence Kat Sotelo invites the audience into her research surrounding seductive, ephemeral worlds – fantasies staged as a peep show for intimate consumption. Indulge in humiliation or glory as she enacts tropes of Filipino subservience. Let boundaries blur between spectator and spectacle, sensation and transaction. What is being revealed, exchanged, exploited? Who is in control? Become the voyeur, the voyeur of the voyeur, the object of desire, the furniture, the wall.


ABOUT THE ARTIST

Kat Sotelo is a first-generation Filipino American performance artist, choreographer, and set designer whose practice blends movement, satire, and constructed environments. She explores the body as a site of commerce, often using her experience in "exotic" dance to examine fantasy and cultural hybridity. As a film industry professional, Sotelo’s compositions also integrate elements of cinema to create layered realities. Her current body of work focuses on eroticism and servitude through a Filipino American lens – at the intersection of nostalgia, rage, and melancholy. By weaving video, personal archives, and Philippine folk traditions, she critiques the commodification of art and identity with humor and pop visions. Sotelo is currently an Artist-in-Residence at Movement Research (2024-2026) and CPR – Center for Performance Research (2025). 

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Free, RSVP required (limited audience)
RSVP


Tues, April 8 from 7-8PM
Tues, April 15 from 7-8PM
Tues, April 22 from 7-8PM
Tues, May 6 from 7-8PM


In this weekly performance series, 2025 Artist-in-Residence Kat Sotelo invites the audience into her research surrounding seductive, ephemeral worlds – fantasies staged as a peep show for intimate consumption. Indulge in humiliation or glory as she enacts tropes of Filipino subservience. Let boundaries blur between spectator and spectacle, sensation and transaction. What is being revealed, exchanged, exploited? Who is in control? Become the voyeur, the voyeur of the voyeur, the object of desire, the furniture, the wall.


ABOUT THE ARTIST

Kat Sotelo is a first-generation Filipino American performance artist, choreographer, and set designer whose practice blends movement, satire, and constructed environments. She explores the body as a site of commerce, often using her experience in "exotic" dance to examine fantasy and cultural hybridity. As a film industry professional, Sotelo’s compositions also integrate elements of cinema to create layered realities. Her current body of work focuses on eroticism and servitude through a Filipino American lens – at the intersection of nostalgia, rage, and melancholy. By weaving video, personal archives, and Philippine folk traditions, she critiques the commodification of art and identity with humor and pop visions. Sotelo is currently an Artist-in-Residence at Movement Research (2024-2026) and CPR – Center for Performance Research (2025). 

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Tickets: $0-$25, pay what you can
Purchase Tickets

*In the event that advance tickets for this program are sold out, an in-person wait list will open at 7PM. We always do our best to get everyone inside comfortably!


For These are precarious times…, dancer, choreographer, and educator Joanna Kotze assembles Martita Abril, Natalie Green, Catherine Kirk, and Molly Poerstel – four artists who embody power, vulnerability, rigor, beauty, and risk in both their work and their performances – to share new work in development.

OPEN STUDIOS is a series of work-in-progress showings held regularly throughout the year, organized by guest curators, and serves as an incubator for new work, inviting the public into the artistic process.

View the Program

PROGRAM

Martita Abril: Cart lady 
Heavy on the hands 
Light on the feet 
Razor sharp 
Smooth as slow mo 
Melting underground 
Floating above 
Cleaving too cleavers 
Smog as creatures 
Deepen too deep 
Peed too nepeed 
What is 
Who is 
Where is 
Blow this 
Clack clack
This is the rhythm of my life 
In out 
Adentro por dentro 

Natalie Green: Sharp Wave Ripple
This dance is a distress signal.

Catherine Kirk: No Fire Too Quick
No Fire Too Quick brings the fickle and fleeting virality of pop culture into form. Brain rot is heightened, an ever diminishing attention span is normalized, and unfinished ideas are present in the in-progress and early stages of No Fire Too Quick. 

Molly Poerstel: Flesh House (solo excerpt)
Flesh House (solo excerpt) premiered at Kestrels in 2024 as a trio exposing the personal path, old truths, and inter-lapping connected experiences of dance performers. Within this scaffold, the work also interrogates the immediacy of embedded memory through improvisational scores, text, and visual imagery, and reveals how the mythologies, stories, and experiences of our past come with us into choreography. These interconnected solos give value and voice to a dancer’s story. Revealing the silent labor of our work within the choreographic process, as a live tenable force that breeds and populates the work of the maker.


ABOUT THE ARTISTS

Martita Abril (Pichu) is an artist from the border city of Tijuana, México. She has collaborated with Lux Boreal, Kim Brandt, Yanira Castro, Yoshiko Chuma, Milka Djordevich, Tess Dworman, Devynn Emory, Daria Fain and Robert Kocik, Lily Gold, Allyson Green, Abigail Levine, Mina Nishimura, Cori Olinghouse, Okwui Okpokwasili and Peter Born, Will Rawls, David Thomson, Larissa Velez-Jackson, and Cathy Weis. Martita was a performer in Simone Forti’s Dance Constructions and most recently the Mirrors I & II piece by Joan Jonas at the Museum of Modern Art. She was part of the Fresh Tracks Residency at New York Live Arts, the Dance and Process artist in residency at The Kitchen, and she is currently in the Movement Research AIR Program, funded, in part, by Mertz Gilmore Foundation. She also continues to guide workshops in Bushwick gardens to immigrant familias, through the iLAND program by Jennifer Monson. Martita co-curates In/Between, the annual immigrant artist group exhibition at New York Live Arts in partnership with NYFA’s Immigrant Artist Mentoring Program originally created by Yanira Castro, Martita, and Poppy DeltaDawn. She is currently the Director of Movement Research at the Judson Church, is the Trisha Brown Dance Company Tour Manager, and a mentor to Immigrant artists as part of the NYFA Coaching program.

Natalie Green has danced for Donna Uchizono, RoseAnne Spradlin, Anna Sperber, Tere O'Connor, Juliette Mapp, Heather Kravas, Levi Gonzalez, Annie-B Parson, and Big Dance Theater. She was a 2023 Movement Research Parent Artist in Residence and has presented work at Dance Theater Workshop, The Chocolate Factory Theater, and BAX, among other NYC venues. She grew up in Austin, TX and is a graduate of SUNY Purchase.

Catherine Kirk is a performing artist, dancer/choreographer, and teaching artist from the unceded land of the Kiickaapoi and Wichita peoples, now known as Dallas, TX. She has a BFA in dance from New York University, gained her Yoga certification through The Perri Institute for Mind and Body, and is Reiki certified. Despite making New York her home base, Catherine's Southern upbringing lingers on in her artistic expression. Inspired by dreams of Black liberation through leisure and rest as an entry and end point to action, Catherine leans towards creating leisurely and socially complex environments that tell stories grounded in soul, communal care, and social equity with strong reference to the fleeting virality within pop culture. Her movement is anchored in release, improvisation, and her ancestral groove. Catherine has created work for installation spaces, commercials, and short films, has presented two solo works supported as an Artist-in-Residence at Art Cake Brooklyn (2020) and Jonah Bokaer Arts Foundation (2021), and curated an evening for Chez Bushwick’s RECESS (2023). Catherine has collaborated and performed with Jasmine Hearn, Sidra Bell Dance New York, Kyle Marshall, Burr Johnson, and Helen Simoneau, and is featured in the award-winning Netflix series, Halston and in the Showtime series Ziwe. Catherine has performed works by an array of choreographers including Bebe Miller, Sharon Eyal, Doug Varone, Keerati Jinakunwiphat, and Andrea Miller. Catherine danced with A.I.M by Kyle Abraham for 11 years, and is currently in her second season with Trisha Brown Dance Company.

Joanna Kotze is a Brooklyn-based dancer, choreographer, and educator. She creates highly physical dance performances through a collaborative, multi-disciplinary process, presenting ways to look at effort, labor, humor, violence, unpredictability, and beauty through movement as well as the body’s relationship to sound, light, physical materials and space. Joanna recently received a 2024 Grant to Artists from the Foundation for Contemporary Arts. Her piece What will we be like when we get there, was nominated for a Bessie in 2018 for Outstanding Music Composition and Sound Design by collaborator Ryan Seaton and she received the Bessie for Outstanding Emerging Choreographer in 2013. Her choreography has been presented by UtahPresents, American Dance Festival, Wanås Konst, Irondale, The Yard, Bates Dance Festival, Stonington Opera House, New York Live Arts, Wexner Center, Velocity, the NAC in Ottawa, Baryshnikov Arts Center, Danspace Project, ADI, Bard, Jacob’s Pillow, DNA, Roulette, Dixon Place, 92nd Street Y, Movement Research at Judson, and others. She has been supported through residencies throughout the US and Europe and has taught classes and workshops around the world. Joanna currently dances for Kimberly Bartosik (2009-present) and Stacy Spence, and has worked with Wally Cardona (2000-2010,2018), Annie-B Parson, Donna Uchizono, Tendayi Kuumba, Kota Yamazaki, Netta Yerushalmy, Sam Kim, Sarah Skaggs, Christopher Williams, the Metropolitan Opera ballet, Daniel Charon, and others. She is originally from South Africa and has a BA in Architecture from Miami University. joannakotze.com

Molly Poerstel is a dance artist whose career spans twenty-five years. A powerful performer, she has gained recognition over the years for her work with Mark Jarecke, David Dorfman Dance Company, Alex Escalante, Susan Rethorst, Larissa Velez-Jackson, Hilary Clark, Ivy Baldwin, Juliana F. May, Roseanne Spradlin, and Jeanine Durning. Poerstel was nominated for a New York Dance and Performance “Bessie” Award for Sustained Achievement in Dance Performance in 2019. Her current choreographic body of works are a trilogy of explorations into embodied memory. I am Also – Monte (2021) was commissioned by Abrons Art Center, featuring acclaimed house dancer Monte Jones, Flesh House (2023), an interconnected trio of solos for herself, Monte Jones, and Eleanor Smith, premiered at Kestrels in Brooklyn, and her next work, Galactic Ash (working title) considers the in-between spaces of our past and future identities through the complicated binds of grief, ancestry, and lineage. Poerstel was a 2015 Movement Research Artist-in-Residence and a 2018 BAX Parent Space Grant Recipient. She has taught at The Eugene Lang College of Liberal Arts, The New School, SUNY Purchase Dance Conservatory, Mason Gross School of the Arts, Rutgers University, Dalton School, and the Nanyang School of the Fine Arts in Singapore.

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).