Governors Island Triangle Residency

We are thrilled to announce we will host artists in residence on Governors Island for the first time this Summer and Fall. This initiative connects us to an incredible range of arts and science organizations, and brings us into conversation with many more New Yorkers across the city. It is exclusively offered to alumni of Triangle, deepening our long-term commitment to our artists.

Join us for First Friday this month, June 7, 6-8pm!

We are located in House 7B in Nolan Park. Map and directions to our building here: https://govisland.com/things-to-do/programs/triangle-arts-association

Ferry schedules and more info on all the great things happening on Governors Island here: https://govisland.com/

Also, visit us on our public days to get an inside look at what our artists are working on: Saturdays and Sundays, 11am - 5pm, June - October.

Our inaugural Governors Island
Artists in Residence are:

Eozen Agopian was born in Athens, Greece. She received an MFA from Pratt Institute, Brooklyn, and a BFA degree from Hunter College, New York. In her work she creates visual parallels between rational and cosmological worlds through constructing and deconstructing, layering and erasing, scraping and marking, unraveling and reconnecting. She incorporates techniques of drawing, painting, sewing and weaving.

During the Governors island residency, along with studies and experimentation with small and medium sized works, she will create a three-dimensional, four-sided art piece/painting that one can enter and exist within. This is an idea that she has been developing as a way to expand her practice from evoking the third dimension on the surface of the paintings to make a more expansive environmental work.
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Brooklyn based Carl E. Hazlewood, born in Guyana, received a BFA (with honors) from Pratt, and an MA from Hunter College. Also a curator and writer, he co-founded Aljira a Center for Contemporary Art in Newark, NJ. Recent honors include Fellowships and residencies from the Virginia Center for the Creative Arts, Headlands Center for the Arts, Yaddo, Vermont Studio Center, and the MacDowell Colony, among others. A 2017 ‘Tree of Life Foundation’ award grantee, his fifty-two foot painting installation, ‘TRAVELER’, was commissioned for the Knockdown Center, Maspeth, Queens, in 2017. Hazlewood’s work has been seen in the PRIZM, Volta, and Scope Art Fairs. BOMB Magazine and the NY Times are among publications that have written about the artist.
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Mo Kong is a researcher and multi-media artist currently based in Brooklyn, NY. His work is deeply impacted by social events and posits questions about the current political environment. His research-led process usually takes the form of large scale installations involving science research and multiple journalism perspectives in which he challenges key issues using complex narratives that synthesize the past with the present.
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Lydia Okrent is committed to an investigation into the agency of the dancer. She writes, “Though my legibility as a dancer is activated by the choreographers I work with, I am the agent of my own form. When I am thinking about dance, performing a dance, rehearsing a dance, I am always making dance. My work is located inside the coordination of embodied ideas. There is something in what I do that isn’t found in training or a final product but, instead, in a quiet transference. I’ve started referring to it as embodied empathy power or, EEP- my EEP is activated by confronting someone else’s needs and vision, and then figuring out how to make it mine and make it move.”
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With the Social Action Archive Committee (SAAC), artist Shane Aslan Selzer is producing a film using images from the archive of artists Carl George, Felix Gonzalez-Torres, and Ross Laycock at Visual AIDS, the only arts organization fully committed to raising AIDS awareness. SAAC is also making a series of seven screen prints based on letters by Laycock from the archive. These prints redact much of the body of the letters, leaving specific fragments on the page in the same original position. SAAC’s act of interpretation seeks to reflect the significance of the fragments themselves. Please consider this an essay in experimental form, which is a dialogue between thirty year old letters and an unfolding critical response. Screen printing is used as a process because it lifts and maintains Laycock’s hand.