2021

Triangle Arts

Nonprofit Arts Organization

Triangle is a visual arts residency in New York founded in 1982, providing a life-changing working environment for committed artists through studio-based opportunities to experiment and create new work; shared community with other artists that lasts a lifetime; introduction of curators and other experts to the work at crucial times; cultivation of new and diverse audiences with public programs, such as open studios; and meaningful exposure to and interaction with the surrounding Brooklyn community and the wider world.

Learn more: https://www.triangleartsnyc.org

DUMBO Residency

Triangle offers spacious studios and a dynamic artistic community to support the development of ambitious projects with emphasis on dialogue and experimentation. Our studios are located at 20 Jay Street in Brooklyn, New York. Triangle’s founding concept and current programs de-emphasize professionalization and specific outcomes, instead allowing artists generous space, context and community within which to focus on their ideas and process. Beyond workspace, regular gatherings, public events, open studios, and visits from curators are organized. Administrative and peer support is provided for all participating artists. Triangle residencies are awarded via our open call.

Current Studio Artists

Ilana Harris-Babou

ilanahb.com

Ilana Harris- Babou’s work is interdisciplinary; spanning sculpture and installation, and grounded in video. She speaks the aspirational language of consumer culture and uses humor as a means to digest painful realities. Her work confronts the contradictions of the American Dream: the ever unreliable notion that hard work will lead to upward mobility and economic freedom. She has exhibited throughout the US and Europe.

Rebecca Levitan

rebeccalevitan.com

Rebecca Levitan’s paintings are a recurring attempt to transmute the flotsam of the world—moldy strawberries, curls of yellow flypaper, and jars of pickles—into larger stories. Her work embraces a multiplicity of forms of image-making without judging their status. She is equally interested in Dutch Still Life, Indian miniature painting, and Chinese restaurant menus. She believes any honest accounting of our world includes all three, shows each equal care, and therefore isn’t limited to a singular style or mode of making. Thus, each work requires new techniques, approaches, and journeys down rabbit-holes. Together, her pieces form a body of work as disparate as the world that informs them, but are linked by an interest in everyday moments and the vernacular image.

Jodie Lyn-Kee-Chow

jodielynkeechow.com

Jodie Lyn-Kee-Chow is an interdisciplinary artist who often stages live and lens-based performances. She constructs narratives with wearable sculptures, drawings, and prints that aim to highlight the lost traditions and stories of her own heritage(s), cultural ideologies and the effects of migration, globalization, and climate change. Using urban and natural landscapes some of which are culturally significant she places the audience as the role of witness to her reclaim. Lyn-Kee-Chow lives in Queens, NY and is currently working on her ongoing series, “Junkanooacome”, based on the 18th-century Jamaican folk masquerade called jonkonnu.

Natalia Nakazawa

natalianakazawa.com

Natalia Nakazawa’s work is concerned with ideas of transnationality, diasporic contexts and cultural identities, storytelling, archives, and patterns of migration. She has long been fascinated by comprehensive cultural institutions like the Metropolitan Museum of Art, but has questioned her own place and personal history within their confines. Nakazawa accumulates archival imagery by entering poetic search terms into the museum’s database, collapsing layered representations of the collection into textiles in order to reconsider the museum’s alienating structures and question national identities. In her wood panel paintings, she uses Jacquard woven ribbons that have been arranged as orthographic architectural forms to present multiple perspectives. Influenced by eastern storytelling devices and illustrated manuscripts, the works seek to present numerous viewpoints of a singular story. Utilizing strategies drawn from a range of experiences in the fields of education, arts administration, and community activism, her work negotiates spaces between institutions and individuals, often inviting participation and collective imagining. Blurring the boundaries between administrative and education practices with more traditional studio art practices, Natalia brings a deeply collaborative approach to her work.