From Adrian Gutzelnig

5 - 31 Jan 2020




It’s very silent here says a book lying on the way to the studio, Nina created it and indeed it’s very quiet here – in this big house, in the village of Trélex. And since I came in January, I guess even quieter during winter. That’s what I searched for. Coming from the city life of Berlin, I was searching for a time of reflection and space to think of new work. 

I got what I wanted. Sitting at my desk, looking out of the window and into the garden – the fields in the background, long walks and looking at the beautiful mountain on the other side of Lake Geneva. A share of Nina’s studio and a lot of time.

Finally, a month to create art, right? 

Just before I came, I had researched the traditions and beliefs of what is called Rauhnächte in Austria, where I come from. An equivalent of the Twelve Days of Christmas in England, this period between the years represents a gap – the darkest time of the year, a time of special connection between this world and the other in many cultures. It is reserved for activities such as prayer, future telling, purification rituals and scaring away the spirits of winter. 


It happened that my spirits were waiting for me in Trélex. No loud noises there, like those of the bells used in some Austrian regions to scare the spirits away. 

I was unable to achieve anything. The spirits would appear and disappear, flying around me, one suggesting one project, and another one trying to change my mind again. A third spirit would tell me to finally finish an old project, and a forth was pushing on me to believe that there are more important things to follow than art, questioning the very existence of my practice. 

The fighting was ongoing. I am a strong person, but they were tearing me into pieces. Two weeks of sitting in the studio. Two weeks without achievement. Even more arguments from the spirits. 

It was painful. 

Despite it being a silent place, there were still two people around, Alia my artist in residence colleague and Nina. In our conversations it became clear to me that these spirits are no problem, actually. They are everywhere throughout the year, hiding away usually, rather than invading the everyday. 

In my way of approaching Trélex, I created it as a gate between different worlds, a space to leave the everyday, to leave the city and to encounter an open process of seeing what would happen, rather than making judgments right away. I expected it to be a new piece of art, a sculpture or installation, something like that. However, in this moment it became more like a performance – I was playing ghost busters. 

So no matter what, I was still in this situation, being teased and pushed. Spirits were flying around me, and I was unable to get a grip on them. I don’t know where they came from, but understanding that it was me who invited them was changing the game. It was the beginning of my stay’s second chapter. 

“Come on in!” I said to them, “It was me who invited you, so come and stay with me.” I stopped trying to fight them. “Come here, don’t fly away; tell me your story! … What is it that you were going to say?” “How come? That’s a bit hard to believe, but if you think so…” 

I can proudly say, I was able to make them mine. 

The spirits became a part of me and after listening to them and wanting to hear more, they became silent and more silent, losing their words altogether. 

I was able to open myself and to feel them crawl in. After a bit, the only feeling that remained was a deep, warm, mesmerizing feeling – a deep glowing from my heart. 

The rest of my stay became gorgeous. After what I’ve been through I stopped caring. I started to see how amazing the resources are, that Nina is sharing so generously. And in the end it happened that I made quite a bit of progress with new work. 

My stay felt more like a trip. I was diving down into the unknown, coming back up with more strength and passion for my practice, an invaluable experience.

If you are curious to see some of my work, please check out my website: www.adriangutzelnig.com


From Anna Ferdenzi


20 Nov - 20 Dec 2019





I arrived in Trélex on the 20th of November. 

30 days to focus completely on my art work, the very thought was something of a dream for me. 

Back in 2012-2014 I had taken part in Crimson Boner’s ABC (Artist book Collaboration). Each artist made a book with a theme and posted their book to another artist, my theme was ‘Juxtaposition’, and the person I would send my book to and all subsequent books, was Nina Rodin, founder of the Trélex Residency. Seven years on I had finally managed to make it to the residency. 

On my arrival, I was greeted by Julio, Nina’s husband’s assistant and the families gorgeous Great Dane dog. Julio showed me to the studio space at the top of the house and the lovely room where I would be spending my residency. Apparently I would be sharing the space with one other artist, Mariana, a painter from Portugal. Mariana was in Berlin, as was Nina until Friday, which gave me a couple of days alone in the house. 



A movable white wall divided Mariana’s and my working space. I walked around to her side, I wanted to have a look at her set up. The space was filled with abstract shapes painted on canvas, brushes and earthy coloured pigments. I was looking forward to meeting her and discussing her work. An appealing part of this residency/social experiment, was to speak with other like minded artists. To talk about our process, share our work and experiences. I made myself a cup of tea and took a moment to take in my surroundings. Alone, upstairs in the attic of this very grand home with views of the Jura Mountains from almost every window, away from the distractions and responsibilities of living in the ‘real world’. Silence. 



Mariana arrived back on Friday, we made our introductions and that evening shared a meal and a glass of wine. It was nice to have a chat and get some insight into her work. Mariana had excellent English considering it wasn’t her first language, but she made me laugh because when I offered her a glass of wine her response was, “I accept”, this became somewhat of a joke between us, a great response to an offering, far better than, “that’s nice, thanks”, much more direct. I’m going to start using it myself, “I accept”! 

The dynamic of the working space obviously changes when a new artist arrives. Mindful, we gave each other space and naturally settled into a new routine. I wake early so tried to be respectful that I wasn’t making any noise before 9am. Behind the dividing wall, I could hear her work and she could hear me, the sound of us both working separately was amplified by the silence. We had some lovely chats around mealtimes, mainly about food and life, I’m half Italian, so food always comes into the conversation, it was nice to have company. Of course we spoke also about art. Andy Warhol said, “It is futile to verbalise art”, this quote resonates with me. The very reason I love creating art, is because it is non verbal. Why should you have to verbalise a non verbal process? Of course I understand that if a piece of art impacts you, your going to react. If you have someone with you, you’ll most likely talk about that piece of art. I’m not talking about that type of verbalising; I’m talking about the rhetoric that many art critics come out with when their analysing a work of art. This is ‘their’interpretation, not mine, nor yours. Art is subjective, each person’s interpretation is different. The art world, like many establishments, can be so patronising, so elitist, born from a place of privilege. It’s enough to put you off, it put me off. That’s what’s so great about being at the residency, there really is no judgement. 



I have always struggled to define what type of 'artist' I am. I would consider my art to be multi-faceted, using various styles and techniques. I studied graphic design and majored in illustration, my current work, the style I go for, is something in between. I don’t like labels, but am aware that I have to call myself something, I’m a graphic artist, that’s what I am…for now. I hadn’t selected a project to develop before I arrived, instead I wanted to see how I would feel when I started working in this new space. I did however have two dominant themes. The first was a silent story, a narrative based around a central character, for this theme I was experimenting with pencil. The second was, ‘the female form and sexual representation’. I made a start on both. Bit by bit and without any pressure it became clear that I felt more compelled to work uninhibited, with movement, flow and gesture, without the detail that pencil often lends itself to. So my decision was made, the pencil project, for the time being would have to be parked. The power of the female form prevailed and the empty white wall started to fill. 



Notebooks really help me; I always keep a notebook. Generally, it may be just a word, heading or phrase that can spark an interest. From this starting point I can develop my theme, sketch out some ideas. I took a lot of pleasure in the the experimental process, folding, cutting, tearing, line work, not really knowing where it would lead, but it all started to naturally unfold. I took photos of each stage of development and made little GIFs bringing my still images to life and giving me a bit of a laugh in the process. This movement added another dimension to my work. I made paper sculptures and scaled up my existing work. I wanted to paint and experiment with print, but didn’t, so like a 4 year old I used big chunky oil crayons and neon markers, I love neon. I would continue experimenting once I got home. 



I worked and walked every day discovering the many trails and beautiful scenery that this part of Switzerland has to offer. I really enjoyed the convenience of the little train, only about 300 metres from the house, the train takes about 7 minutes from Trélex to Nyon. I went to the flea market in Nyon, the last Sunday of every month, fabulous. The market was full of local treasures, little stalls lined up and down Lake Geneva, chestnuts roasting on an open fire and lots of Swiss army knives. I live in Ireland (the other half of me is Irish), but was brought up in South London and thought about all the markets and car boot sales I used to religiously go to in my teens. Camden, Portobello road, Spitalfield, Abbey Mills. I love markets, the smells, the sounds, the people. I treated myself to a beer and some pizza, heaven! 

Nyon has a lot to offer, I took lots of photos and sat in the Italian inspired gardens eating my lunch in the winter sunshine. I reflected on the manicured environment I was in, a very different place indeed to what I am used to, to what most people are used to. I visited the Roman Museum, one ticket allows entry to the Castle close by, as well as the Lake Geneva Museum, so very good value. For food supplies I took the little train again into Nyon, a couple of times a week to get shopping at Coop and Migros, Coop being cheaper and with very reasonably priced wine. 



One of the highlights for me was visiting the Collection de l’Art Brut, in Lausanne, an amazing permanent exhibition of art, drawings, paintings, sculptures, embroidery, created by people who were interned in psychiatric hospitals, prisons and institutions. I spent a couple of hours taking it all in. Reading the little bio’s and explanations of how the work came to be. From Nyon, I took a short train journey to Geneva to visit the International Red Cross Museum, which was very moving. A bonus was the extensive Poster Exhibition they had on show. Whilst in Geneva I also discovered that there was a small exhibition of Rodolphe Töpffer work. Rodolphe Töpffer was considered the father of the comic strip. My final year thesis was called, ‘The Universal Language of Comics’, and included examples of his work, so I was quite excited to see the original drawings. I love his line work and the exaggerated gesture used in his characters, in particular Monsieur Jabot, the humour and simplicity have always appealed to me. After the exhibition I walked through the lovely Christmas market and sat with a large cup of mulled hot wine, which perfectly completed my day out. 



It’s quite unusual for most of us past our 20s, to take 30 days off from ‘the real world stuff’ and dedicate it to our passions, whether that be a road trip, holiday with friends or family, exercise, or an artist residency. If you’re a parent, a single parent, a carer, or struggling internally, you rarely put yourself first. There’s little time, money or motivation to focus on your ‘art’, catch up with loved ones or arrange a day out with friends. But sometimes a little window opens just enough for an opportunity to present itself. Being in Trélex was my opportunity. Being almost forced to be so ‘present’ made me examine myself as an individual, as an artist and helped me understand what drives me and makes me feel fulfilled. The residency highlighted the benefits of spending time alone, but also the importance of being part of something bigger than yourself, working with others to make a difference, whatever that may be. 

In the final days I looked through all the work I had produced and reflected on my experiences. The experience of the residency has been a really positive one and has added a new dimension to my work. I had created a large body of work, which I was excited to develop and hope to keep up the momentum when I returned home. 

I really would like to thank Nina again and her family for giving me the space and time to grow. I value their hospitality and generosity, sharing their home is a very noble act! Thank you so much for a wonderful opportunity. 

Annagrafix

From Sara Mark

28 Oct - 11 Nov 2019



The hemp rope consented to travel from Spain and demarcated a secluded area of the garden associated with the woodland.

One morning I woke to find that the tree standing on the Energy Line had been felled to hedge height. I collect the saw dust and place it on the table in the Station Master’s Hut.

CONSENTING OBJECTS

Thank you Nina for a comfortable, rich and fascinating residency. 

The low clouds and short November days lent an intense introspective energy to my short time at Trélex; just two weeks. I came prepared with a proto-project entitled Consenting Objects, which was informed by a place-making installation undertaken in South Africa in August 2017.

The relationship between Place, its genius loci and Object is a core interest. Using divining rods I enquire what a Place wants and where Objects wish to be in the world. The answers are often surprisingly precise.

Since September, I have been living in a small town near Valencia and I decided to ask random objects if they would consent to travel with me to Switzerland. Some said ‘yes’ and others declined. Certain lengths of rope, stones, animal bones, fragments of pottery, tiny dried pomegranates and oranges from my house and garden.

Shimenawa with eco-print

I had also been making eco-prints on paper with local vegetation and spring water: mainly pomegranate, walnut, vine, olive and bramble. I was curious if the Mediterranean species would consent to travel to a northern winter? Most consented to travel.

Once I arrived in Trélex the garden provided the arena of investigation. With the divining rods I asked what was flowing through the site. An energy line and two underground streams consented to reveal themselves. 


I covered the roof of the Wendy House with red creeper-leaves.
The image marks the meeting of the water and energy lines- a marriage of sorts.

Interestingly, both flowed under existing garden structures: a Wendy House (containing a child’s notebook) and a wooden cabin ‘The Station Master’s hut. These became sites for installations as did the intersections (marriage) of the water and energy lines.

A haiku written in response to drawings in the child’s note-book left in the Wendy House. 

The energy line flowed from the northwest to south east passing through a small overgrown deciduous wood growing on a 2.5 metre high outcrop. Oak, mistletoe and hornbeam; a  somewhat disconcerting place.


Eco prints gifted to the woodland; I left them twirling in the wind. Objects in Place.

For a Northern Wood

Walnut Gone

My reading material was THE GIFT by Lewis Hyde. It became clear that some of the Consenting Objects were gifts to be passed on, but that some would be carried back to their home in Spain.


The gift I received from a fellow Trélex Residency artist in return for three tiny pomegranates. I took it back to Spain with me, gifted it to the next resident. It is the residue from the bottom of one her paint pots; prima materia.

Manifestations included:
  • A series of temporary installations in the garden including a quasi Shimenawa (a festooned rope delineating a sacred area in the Shinto tradition).
  • Haiku poems responding to the place, installations and weather; they were written in the child’s notebook left in the Wendy House with the pencils provided. It remains there.
  • Short videos 
  • A daily illustrated blog posted on my website: Sara Mark
  • A daily series of photographs posted on my Instagram account: saramark_artist
  • The giving and receiving of gifts.


From Dim Tim


1 Oct - 4 Dec 2018


In the studio
63 days at Trelex … for three of us in Dim Tim Art Collaborative Group, it was the place where the artist finds the peace and feels the freedom. Conditions for work were magnificent. Working space was equipped with indispensable items, all that artist could ask for. There was also substantial selection of books about art, artists and history of art. At the beginning we were told that it is not easy to organize an exhibition in any of local galleries and that sometimes it takes years. Anyway we suggested Nina that we can paint mural on some suitable wall in the area. We mentioned our experience to enlarge our paintings and paint them as murals on the walls in different places. May be the school could be such a place. So Nina made important initial steps.
Nina asked a friend to make for us the first contact with prominent International School of Geneva. Also she organized the meeting with Madame Eve-Marie Koehler, the director of the International School for talented and advanced children in Etoy. Ecole Germaine de Stael was the school which her daughter and son were both attending. 

As the first step we agreed to give a lecture for the students of International School of Geneva and to present our work. Then the management asked if we can provide two simulation drawings for the mural on the main wall of reception hall at the main entrance to the school. We made two proposals and soon the choice was made. Conditions were excellent and we painted our mural Roadmap to success. The inauguration of the mural was great; it was organized in the form of Dim Tim Art conference with the lecture on history of murals. Students gave us a selection of their written thoughts about our mural and that is part of our art portfolio now. At the end of the event Ecolint management made for us champagne party with snacks and sweets. 

Our plan for Ecole Germaine de Stael was different, this time the mural lecture was followed by a workshop. More than 20 students took part so we organized them in three groups. First group has free choice to make drawings of different forms. We were involved of course and later the stencils were made. Second group was with Danijela, mixing and preparing different acrylic colors. They were mostly Ice cream colors as we prefer to call them. Finally, third group was preparing the walls with Milenko and painted rhombic frames for the mural. When we started to compose the forms students were very excited. Mural was emerging quickly and we saw many happy faces. The result was great and everybody liked the murals. Next day students also wanted to help, but Dim Tim of course had to do some corrections and to finalize the Rolling square mural, 16 meters long. Iskra was invited to attend the school for one month and it was great experience for a six year old.
The four murals that we left in Geneva and Etoy were our gifts to the community and to generations of children. 

During the residency we made 21 minimalistic ink drawings on special and rare Dzo paper that we brought from Vietnam; later we applied few details made of specially embossed leafs of gold. Following Nina’s advice we also started with some basic bookbinding practice.


Drawings on Dzo paper
For our exhibition Bauhaus Revisited 1919-2019, which was planned for May 2019, we painted one acrylic on canvas dim 100 x 200 cm; the painting Bauhaus Revisited was geometrical in black and white color and dedicated to Bauhaus centenary.


Bauhaus revisited
The period of year that we spent in Trelex could be considered as mild and dry autumn. The photographs testify the richness of pallet that nature offered in shades of yellow, orange and brown. It was real and beautiful Indian summer that we enjoyed very much all the time. Long walks by the lake, passing and touching vineyards and castles; Jura and the magnificent view towards Mont Blanc, the same view that was enjoyed by some of greatest masters of written words, to mention Rilke and Voltaire only. 


Our daughter Iskra was picking grapes and berries in the garden and was excited picking apples to feed the neighbor’s horses. She was sad when the fox ravaged the pen one night and left on the grass only few gray feathers. Six beautiful hens disappeared overnight. 
Alexander and Iskra made special masks and toured the village for the Halloween; they collected a pile of candies.  
It was great that we could use the car; it was indispensable for supplies and shopping. It also took us to Martigny, a wonderful little town in the Swiss Alps, a magic place that we already visited 6 years earlier. There is Pierre Gianadda Foundation, the private collection of sculptures in open air, one of the best in Europe and lovely museum with a dedicated antique car section downstairs - not to be missed by car enthusiasts. Upstairs there was retrospective exhibition of Soulages, the master of Black color, as well as the permanent display of Roman artifacts found on the site. We highly recommend this place for the visit as we had marvelous time there. 
Visit to Lausanne was great. The city is more interesting for art lovers than Geneva. There we found some special branded paints we needed the most. Just opposite to the Cathedral (must see) is MUDAC, the Museum where we visited exhibition about Bauhaus. The Art Brut Museum established by Dubuffet was catching our attention by surprise. There were also few high quality photograph exhibitions, to mention only Liu Bolin at Museum Elysee.


Dim Tim at MEG, Geneva
The Trelex residency was great experience for us as to develop our art further and to open and explore some new chapters. It was productive but also interesting and culturally comprehensive. The walks and tours that we had around Trelex and Lake Leman, exhibitions that we visited during 63 beautiful days are going to stay in our memory.
Finaly we have to thank Nina and David for all the hospitality and understanding, to Annais and Alexander for exchange of smiles and to Jonathan for help and interesting conversation during our stay.
Dim Tim Art Collaborative Group

From Fay Ku



15 July - 24 Aug 2019


I can never predict how a new environment will impact my work, except that it’s usually the more humdrum and pedestrian arrangements that produces the biggest shifts—and that I am usually am unaware of their influence until afterwards. 

For five weeks, Trélex would be my idyllic temporary home and respite from New York City I set up the studio so that I would command the breathtaking view over the fields and into the mountains, the colors and lights constantly shifting. I loved my view so much, I felt little need to actually go out into the physical nature. Instead, I began the transformation that usually happens: I left the socialized land of the living as I adopted later and later working hours, barely leaving the third floor, much less even leaving Trélex for Nyon, Geneva and beyond. I am usually an active person, social, physical, with a love of grocery shopping and cooking elaborate meals, here instead I curled inwards, my life becoming more asetic, cloistering myself like some atheist nun—a fantasy enhanced by the church bells, heard and not seen, reminiscent of the funeral at sea in Lars Van Triers’s Breaking the Waves

Here is an example of a works I completed soon before coming to Trélex. In hindsight, I must have been anticipating being in a less urban environment.

The Desert is My Home, 2019, graphite and oil paint on translucent film, 20 x 30 inches

While there is no requirement to produce work (as I would have preferred to spend the time doing more research and replenishment), I had both a solo and group exhibitions, and therefore internal pressure towards production. As a veteran of several residencies (Trélex is lucky 13th, officially), I’ve learned to bring at least one work already in progress so I can begin with the ground running. When I brought this to Trélex, but then only the faces and hair had been drawn, the bodies barely outlined.  

Untitled (in progress), graphite on translucent film, 20 x 30 inches

I left with it still not completed, though I hope to finally do so back in Brooklyn. The flora and fauna, as patterns on skin and clothing, felt unconnected to my new surroundings. Although the work I had done before Trelex contained nature elements, they were more graphic, more like patterns, and often contained to the body and clothing, a form structured onto another central form that provides the narrative focus. As the days and weeks progressed during the residency, the vegetation grew more fecund, more enveloping, and more like a principal character itself.  

King Flower, graphite on cut and layered translucent film, 24.5 x 30 inches

In this work, not only does the sunflower function as an equal (and confrontational) figure, but the vegetation expands beyond the picture frame, extending into the rule world. Also (and this was not consciously done), the perspective of the human figure is skewed, compared to the fully frontal, direct point of view of the other works—as though the figures are tilting away from me. I only realized this a few days ago, the fact of moving from the walls to work to the table, and hence my bodily relationship to the work, affected the perspective of which I drew the characters.

My studio in Brooklyn does not have a window (though I have lovely natural light via a skylight) and I work on the walls while standing, facing my work like facing a person, often eye to eye with my characters. Because I work with graphite on translucent Mylar, I pick up the texture of any surface that is not perfectly smooth. The studio in Trélex came with a desk with a glass surface (perfect for incredibly fine, detailed work), and situated in front of this great with a breathtaking view, so for five weeks I switched from vertically confronting my work to hovering over a horizontal surface, with nature surrounding me through all my senses.

Despite my self-sequestration, I did make a handful of trips, including to Venice, a seven-hour spectacular train. (The other artists-in-residence in Nyon at the time were all from the UK and poked fun at me for positing Venice as close by). My desire was to check out the Biennale and glimpse the global art world at a glance, but it was the interior of the Basilica of San Marco, its onslaught of visual information, history and different worlds that sparked the desire to capture something of that quality. I’m sure that was what was responsible for this work: 

Ripe, 2019, Untitled, graphite on cut an layered translucent film, 20 x 30 inches

Detail.  (Just a side note: the hair—on both the girl and the deer—and other fine details like the skin of the lips are created by using a hard pencil such as a 6H or even 10H by first drawing in the individual lines; next I use a softer pencil, like a 4B, and gently shade. The 10H scratches the surface so the soft pencil misses those fine lines, similar to inking a carved surface in relief printmaking. Thus, having a very smooth surface to draw on is incredibly important.)

The tilted perspective from the sunflower work rotates further in Ripe: the viewer is placed in a similar point of view (seeing the picture plan from above), mimicking my relationship hovering over the drawing. Again, this was not consciously decided at the time, only something I noticed very recently, though it now seems obvious.

While working on this piece, I had an empty space in the top left corner—I knew that I wanted to fill up the entire space, but I didn’t want to keep drawing dying vegetation (which themselves may have been  inspired by the compost collected and then fed to the chickens). Because of the intensity of the drawing, and because I don’t hold the pencil in the “correct” way to prevent potential tendinitis and carpal tunnel, I was forced  to take  a rest day to give my wrist a break. A day trip to Colmar as pilgrimage to the Isenheim Altarpiece by Matthias Grünewald provided a jolt of inspiration. Here are two of the panels... look at the one at the right...


Look closer:


I enjoy examining after a residency the subtle influences that shape the work—but I also enjoy when I encounter a very direct source of inspiration!

I now have 4 to 5 works in various stages of completion, and I’m excited to see how the return to NYC will in turn affect the ones still in progress. I know the effects of Trélex will continue to work its influence, bringing in fresh visual ideas and concepts for months to come. Thank you Nina, and thank you Trélex!

August 25, 2019
Brooklyn, NY

From Helen Knowles and Ezra Elia


24 - 31 Jan 2019

Angelot Residency



Helen

Black Night White Snow

The bank of trees right-angle the field where the house is, this marks the edge. The abyss, the realm of indistinct velvet uncertainty.

Ezra scribbles furiously.

We left with the intention of writing a love-song to a non-human entity. Each night darkness envelopes the house. We walk out into the field, an expanse rather like a rectangle of paper, crisply cut to trim the plot of land. Snow snaps sharp like paper. We are hemmed in by the black mountains and forest. 

We read Timothy Morton on the couch, crushed together, frustrated and intrigued by his inaccessible thoughts. We jump into the car in the morning and head for CERN. An epigraph to the underworld. Speed and matter and minuscule things collide, apparently. But when we get to the architectural warehouses and functional science buildings of one of the largest experiments in the world, we do not know where to look. Do we look at the shabby low-lying buildings, the torpedo-like oversized bullet plonked outside the half hearted Public Understanding of Science building? 

Ezra says “it’s like going to Jurassic Park and being shown the broom cupboard’. 

Each night, we come up with a new script and then we trundle out into the darkness and horizontal snow with the camera and Ezra performs the script. We find it so funny, falling in love with the darkness, that we roll about in hysterics and as we flash strips of light with the torch across the field to light our protagonist, he (Ezra) can hardly get the words out of his mouth cause he is laughing so hard and shouting over the weather.

Ezra

There is a car, and two other artists, and Helen. We are at the airport, grinning at muscular concrete, at each other, at the huge mountains pressing against a broad, grey sky. We mount a ribbon of road, which hovers across gridded farmscapes, warehouses, wildernesses and vague suburbs of nowhere. The road curves; we plunge off it, through narrow agricultural arteries, up into muffled plains of snow and affluence – a golf course, mansions, tennis courts and tall green fences. Everywhere is the hushed whisper of wealth – even the snow seems somehow arranged to sit just so, all cars and houses crisply set – not a dereliction in sight. We come to a long, lavish cottage, abutting a pink mansion beneath a broad white field. This is the Angelot residency. This is where we are supposed to write a love-song to a non-human entity. It seems just the right place. I can’t see another human anywhere. 

I am unwell, and sleepless. I stagger to bed, sweat, sleep, emerge to fondu, and a gaggle of other eager artists. We talk about ourselves, sheepishly, and then dwindle into a vigorous discussion on free will or its absence. I am still immensely tired, drunk tired, but excited. I feel embarrassed for talking too much, and saying too little. Later, Helen and I consider the goal. We strain to empathise with sapling trees, with stones and footprints in the snow, with darkness and the ‘backend’ of networks. We fail, mostly, but failing is fun.

From Rachel Wolfe

7 - 28 February 2019 

Angelot Residency 




To describe the Trélex Residency as unlike any artist residency feels like pointing out how deliciously warm the sun is after a long winter. But that’s exactly what it was like to spend a month in the countryside of the Swiss, French borderland. 

Because I grew up in a woodland area in a farm town I tend to gravitate towards finding peace and focus working in natural surroundings. Instead of getting saddled with social guilt of going around town, I witnessed smiling faces riding horses on my morning and evening walks. While mostly peaceful, I did have an exciting blind encounter with what sounded like two foxes within my first week. Unbeknownst to me, Switzerland has plenty of foxes! 

I had promised myself to journal everyday while on the residency, but what ended up happening was more productivity than I knew I was capable of. After a couple of days of introductions, I got the nudge to just put the paint to the paper, and so I was remembering how to mix colours and draw images with a brush-something I hadn’t done for almost two-decades. As I settled in the lovely surroundings, rekindled my fire building skills, I witnessed a change in my sense of doubt and security. Doubt is really important to me in my work, and sometimes I ebb and flow between venturing out to the edges of my ideas and swirl back to the practical need to attend to subjects I have committed myself to working with-namely beauty. 


On the residency it occurred to me the way I talk about my work makes it difficult to understand-but that the encounter of the work itself is considered poetic. Hearing someone else talk about my work has always been deeply valuable, and an experience I really cherish. There is a special kind of magic in gingerly sharing an idea, to have it understood as a worthwhile endeavour. There’s a modern myth of self-confidence I wrestle with, and so I had experienced a real difference in the reciprocity of attention, listening, and compassionate critique. The input from fellow residents was generative, and thoughtful. We commiserated on various experiences with academia, work, migrant living, finding ourselves every few days gathered for dinner, ridiculous hours of giggles, and hugs. 

The attitude of inclusivity, the sincerity, the lack of pretence or judgement tends to be rare in the world and so the residency became a place to fully embrace life and time without performance pressures. 

Read more from Rachel on her blog here