This all began as a dream to give an opportunity to multidisciplinary artists who work in the intersections of live-performance and installation-art to research, inquire and be in creative-process in the actual space of their performances. This project also fit with the sustainable ecological models both Monica Mata Gilliam & Vanessa DeWolf have been actively creating for artists to grow and thrive in.

We created this series of residencies to cultivate dialog and research ideas of engaged healthy creative practices, art-culture and actively unravelling the traps of isolation we often feel as artists. This project has a rare emphasis on creative process and discovery.

We selected these artists as explorers, adventurers into the unknown pathways of their own creativity. Certainly the work will represent a diverse range of aesthetic points of view, mediums and events. Each artist will create their own ecosystem that will emerge in unique and unpredictable ways….. please join us to see how these mysteries unfold.

• May, 2011: ALICE GOSTI
• June 2011:  HELGA HIZER
• July 2011: TBA
• August – September 2011: CHRISTIN CALL
• November – December 2011:  MONICA GILLIAM
• January – February 2012: PARIS HURLEY
• March – April 2012: AMELIA REEBER
• May –  June 2012: PAUL BUDRAITIS
• July 2012: ALICE GOSTI
• August 2012: TBA

For more see http://gostia.net

Nobody knows Christin Call, and that is why you are reading her bio.  You are asking, “Who the hell is this?  I’ve never heard of her!  Is she any good?” which is totally understandable and natural.  This is why she will totally impress you with random information about her, such as she received her BA in Painting and Art History from Wichita State University, KS in 2004.  Note the year, which makes this factoid more official.  Also, she has published poetry in some literary journals and was even featured in the Boston Review as an emerging poet for her series of visual poems that utilized her own invented language.  See! Someone thinks she is cool!  When Christin was four-years-old she decided she would be a ballerina.  Despite incorrigible self-determination that didn’t happen.  However, she co-founded Coriolis Dance Collective a couple of years ago with Natascha Greenwalt Murphy, so it wasn’t all for naught.  Christin has exhibited her drawings, paintings, books, and sculptures in the Midwest and Washington, as well as co-curated exhibitions at the Ulrich Museum of Art and Project Gallery (KS).  She likes to do a lot of different kinds of stuff. The end.

seamlessly morphing between styles and genres, paris has come to be known for her chameleon-like abilities, exquisitely manipulating her strong classical roots to embody and push the boundaries of many traditions from around the world including balkan, javanese, brazilian, argentinian, noise, jazz, fiddle, rock, and pop, to name a few.

while finishing her degree at cornish college of the arts, paris became a core member of the hyper-experimental performance group, degenerate art ensemble. for over two years she worked closely with the collective, collaboratively creating multimedia works that ranged from explosive rock club sets to large-scale dance/theater productions, most notably performing at the moore theatre (seattle), the REDCAT (L.A.), and the TFF festival (germany).

in summer 2008, she joined the ranks of art-rock-gypsy-metal-punk band, kultur shock– since performing on the 2009 release, integration, and co-writing / co-producing / performing on the 2011 release, ministry of kultur. fall 2011 marked her 7th european tour with the group – nearly 200 shows in over 50 cities spanning 30 countries in venues ranging from tiny punk clubs to 100,000 seater festivals including sziget (budapest), stufstock (romania), exit (serbia), the creation of peace festival (russia), sayan ring (siberia), and earth festival (greece).

an avid experimenter and improviser, paris is at home in a multitude of environments, appearing on more than 50 recordings since her carnegie hall debut at age 15. from orchestras and experimental chamber ensembles to rock bands, her fertile list of collaborations includes music for dance, film, theater, and multimedia installations in venues ranging from concert halls, rock clubs, and warehouses to parks, theaters, and prisons.

taking an anthropological approach, paris works to amplify the collective/shared human experience through examining, exploring, and sharing her individual experience. in fall 2009, her piece, BRIDGING WOUNDS: staying the course of uncertainty, was presented as the inaugural performance of the northwest film forum’s live at the film forum series. in 2012, she will share the stage with legendary vocalist, david byrne, as concertmaster of the jherek bischoff orchestra in new york. her latest project, ON EMBODIMENT, features a series of commissioned solos choreographed specifically for paris by 7 of seattle’s most exciting movement artists.

paris was awarded a 2-month residency at PROJECT: space available (january/february 2012), a leaf season residency at studio current (october 2011-june 2012), and will be the first music/dance artist in-residence at the james washington foundation (april 2012), all in seattle.

Amelia Reeber performs, dances, choreographs, practices BodyTalk.  Using dance as a medium for self knowledge and transformation, she has created many short works that reflect her interest in the narrative of the body in relationship with time/space, landscape, humor,and the human experience.   In 2010, Amelia produced/performed an evening length solo, this is a forgery.  This work was presented in Philadelphia, Minneapolis, San Francisco, and Seattle as part of SCUBA 2011.

In 2001, Paul received a State Department Fulbright grant to pursue a master’s degree in theatre directing from the Lithuanian Music and Theatre Academy (LMTA) in Vilnius, Lithuania, under the mentorship of visionary theatre director Jonas Vaitkus. Upon completing his studies, Paul worked extensively in Lithuania, collaborating with the National Drama Theatre of Lithuania, the State Youth Theatre of Lithuania, the Kaunas State Drama Theatre, and Oskaras Koršunovas/Vilnius City Theatre (OKT). He has assisted directors Jonas Vaitkus and Oskaras Koršunovas, and most recently worked as an actor with innovative Finnish director Kristian Smeds on a contemporary re-imagining of Chekhov’s “The Cherry Orchard”.

As a teacher, Paul has worked as a lecturer in the acting and directing faculty of the LMTA, and has taught the “biomechanics” technique of Russian theatre director Vsevolod Meyerhold at the LMTA, as well as to students at Cornish College of the Arts and the Iceland Academy of the Arts in Reykjavik, Iceland. He holds an MFA in Theatre Directing from the LMTA and a B.A. in Political Science from Indiana University in Bloomington, Indiana.