Writer-in-Residence
Writing Space’s Writer-in-Residence program offers artists and designers dedicated time to develop and receive feedback on a writing project.
The project may take any form, including creative, critical, or history.
Residencies typically last four months.
The current term runs May-August 2025.
Applications for the Fall (September-December) 2025 term will open in late June.
Luiza Dale
is a graphic designer and teacher based in Richmond, VA. Her work explores (1) visual representation that pushes against norms of clarity and (2) the combination of theater and graphic design.
During the residency, Luiza will work on a play that traces the experiences of a group of students and a teacher who gather twice a week for an introduction to visual art class. This work takes from past teaching notes that explore how art students first learn to see and speak with the world, recognize and push against preconceptions, and become a group, connected by making and sharing what they make with each other over the course of a semester. The goal of the project is to show the inside of a classroom where learning happens between students, in person with their bodies, and through collective critical thinking, as opposed to a one-way process where teachers impose right answers.
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An unauthorized edition of the 1977 play Fefu and Her Friends with a formal change to the typesetting of the second act which makes it so all scenes happen at once on the chapter’s spreads.
Chris Domenick
is an interdisciplinary artist whose work explores the poetics of materiality and craft, often engaged with vernacular forms of architecture, design, and the decorative arts. In his work, abstraction is both a means and a site of interrogation of the semantics of surface, shape, and touch.
During the residency, Chris will develop a series of stories and texts on, of, and about art handling. The texts include fictional accounts of a day at work, experimental manifestoes on the built environment, glib descriptions of the stewards of high-end cultural commodities, and uncouth interactions of independent contractors. These stories focus on the culture surrounding the art object: they deal with class, masculinity, community, the professionalization of the art world, and the various invisible labor latent in high culture and its contexts.
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Lamp (Column #13), 2025
Wood, milk paint, steel, screenprint on paper, lamp hardware
80 ¾ x 30 ¾ x 13 7/8 inches
B. Ingrid Olson’s
artwork engages the reciprocities between photography, sculpture and architecture, staging a manifold approach to plurality, gender, and power. Her works and installations poetically test the capacities of the artist's body, viewers' bodies, as well as the architectural conditions of the exhibition space, in order to call attention to both psychological and physical structuring of the spaces around us.
During the residency, Olson will collect, review, edit, and draft notes about her artwork, studio process and life. Further developing a practice of writing in tandem with making visual art, she will hone in on the act of journaling, or sketching—whether to explicate the underpinnings of an artwork, or to simply mark seemingly mundane encounters or experiences. Through the intensive articulation, processing and weeding of ideas, the project will document, archive, and reflect the artists’ life and total work.
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Installation view of B. Ingrid Olson, “Hys” at XYZcollective, Tokyo, 2024. Photo: Yohei Watanabe