Installation

Past Resident

Reenie Charrière

Reenie Charrière

Beginning with chance, and one mark, systems unfold into dream-like environments. I am most interested in how objects accumulate in our everyday spaces. My work is motivated by the drama of landscapes and waterways, urban and rural. I experiment by collecting, and transforming everyday materials, especially throwaways. Through drawing, and sculptural installation my notions play upon the unpredictable juxtaposition of natural and synthetic matter.

Reenie Is originally from Lexington, Massachusetts. She received her BA in Communications from Simmons College in Boston, Massachusetts, and her MFA in Studio Arts from Maine College of Art in Portland, Maine She has received two Foundation for Contemporary Arts Grants, and a Roderick Dew Travel Grant. She has been awarded Artist Residencies by Draw-International in France, Hannacc Can Bourni in Spain, Maine College of Art, the La Napoule Art Foundation in France, SF MOMA, Arts Benicia and Vermont Studio. Her work has been exhibited in venues internationally including Galeria Espai B, in Barcelona, 2017, and the Bojagi Forum in Seoul, Korea, 2016, and at the Chateau de la Napoule, Mandelieu-La Napoule, France, 2014 as well as all over the United States. Her work has been commissioned by San Francisco Arts Commission Gallery in 2011, as well as by the Marin Sanitary Service in 2014, and by the Peoria Playhouse Children’s Museum in 2018.

Past Resident

Carley Zarzeka

Carley Zarzeka is a sculpture and installation artist who builds assemblages from found objects and construction materials. She received her Bachelor’s of Arts in Studio Art from Dickinson College and her MFA from The University of North Carolina at Chapel Hill. Zarzeka has exhibited her work at The Guest Room, The Cleve Carney Gallery, Anchorlight, The Ackland Museum, and The Trout Gallery. Zarzeka currently lives and works in Doylestown, PA.

Critical to evoking a sense of “home,” Zarzeka prefers to utilize common domestic materials in her artwork such as wool, concrete, wood, and cotton, in addition to selectively integrating collected objects that are both found and personal. Layered throughout Zarzeka’s constant relation to the domestic space is the present of the grid and how this axillary structure has imprinted its features on household objects and structures.