Artist Residency

LIZN’BOW (Liz Ferrer & Bow Ty Enterprises Venture Capital) are an artist duo whose decade long collaborative practice merges performance, installation, and technology to create immersive works within their expanding Niñalandia universe. Working across digital art, sculpture, music, and performance, their projects use humor and world-building to explore identity, connection, and power through queer and Latinx futurisms.

LIZN’BOW construct speculative environments that blur the line between fantasy and reality, spaces where cultural icons, pop media, and personal mythologies become one. Their practice centers Niña, their femme reggaeton band, as protagonists in their universe. Through a queer and comedic lens, their work transforms the language of American and Latin pop into sites of humor, resistance, and reinvention.

Their practice has been supported by Creative Capital, Knight Foundation, New England Foundation for the Arts, Oolite Arts, and Locust Projects, and many more. Their work has been presented across national museums, residencies, and festivals. Their upcoming projects include the premiere and national tour of “Novelas de Niñas,” and a performance and large-scale Midnight Moment with Times Square Arts in New York City.

Liz’s and Bow’s work has been featured at PAMM Museum, A.I.R Gallery, Locust Projects, No Vacancy Miami Beach, Ignite Festival, Headlands Center for the Arts, MOCA North Miami, Institute of Contemporary Art Miami, Mad Arts Museum, David Castillo Gallery, Borscht Film Festival among others.

Liz and Bow are recipients of a Knights Arts + Tech Fellowship, Creative Capital Wild Futures, NEFA Development & Touring Grant, Knights Art Challenge from the Knight Foundation, Franklin Furnace Award, Locust Projects WaveMaker, Oolite Arts Ellies Award, LMCC Creative Engagement, Foundation for Contemporary Arts, Sundance Short Film Miami Intensive Fellow and more. Liz and Bow have been awarded residencies and fellowships at Macdowell, Headlands, Ucross, Centrum, Elizabeth Murray Residency, Atlantic Center for the Arts, Squeaky Wheel, and many more

Website: vimeo.com/user19551444 | Instagram: @liznbow

Jennifer Harley is an artist and art historian. She is a PhD candidate in the Department of Art History & Archaeology at Columbia University and the incoming 2026-2027 Menil Drawing Institute Pre-Doctoral Fellow. In her dissertation, she analyzes the site-specific creative practices of Black artists in North America and the Caribbean. Her project unfolds through a series of case studies from the 19th century to the present, and in each section, she examines how Black creative actions in the landscape intersect with North American Indigenous/Native artistic practices in those sites. Her dissertation unpacks the significance of multidisciplinary and collaborative practice between artists and scientists, within intergenerational community knowledge systems, and with the non-human world.

As a sculptor, she creates ceramics that respond to the historical archives that are at the center of her research. The archives she works with include botanical, geological, archeological, and art historical archives housed in art museums, natural history museums, plantations, and botanical gardens. Jennifer’s ceramics mirror her physical and intellectual process of conducting research in these archives. Her

sculptures question the boundaries, biases, unethical holdings, and gaps in the archives she studies. In her most recent body of work, she gathers discarded ceramic fragments and embeds them in slabs of wet clay. She challenges the stability of the clay by firing many times and working with different clay bodies to encourage broken surfaces and warping. The project investigates the complex power and violent limitations of the fragment.

Prior to her PhD work, Jennifer was the School & Community Partnerships Manager at The Studio Museum in Harlem. She has previously held roles in education and community programs at The Museum of the City of New York and The Metropolitan Museum of Art. She holds a BFA in Sculpture and a BS in Arts Management from Appalachian State University.

Instagram: @jennifer.harley

Mimi Ọnụọha is a Nigerian-American artist who creates work that questions and exposes the contradictory logics of technological progress. Through print, code, data, video, installation, and archival media, Ọnụọha offers new orientations for making sense of the seeming absences that define systems of labor, ecology and relations.

Ọnụọha’s solo exhibition credits include Secession (Austria), Victoria and Albert Musuem (UK), and bitforms Gallery (USA). Her work has been featured at the Whitney Museum of Art (USA), the Australian Centre for Contemporary Art (AUS), Mao Jihong Arts Foundation (China), La Gaîté Lyrique (France), Gropius Bau (Germany), The Photographers Gallery (UK), and Espaço Cultural Futuros Arte e Tecnologia (Brazil) among others. Her public art engagements have been supported by Akademie der Kunst (Germany), Le Centre Pompidou (France) the Royal College of Art (UK), the Rockefeller Foundation (USA), and Princeton University (USA).

Ọnụọha earned her MPS from NYU Tisch’s Interactive Telecommunications Program, where she has taught as an Assistant Professor. She is a United States Artist, Creative Capital, and Fulbright-National Geographic grantee. She is also the Co-founder of A People’s Guide To Tech, an artist-led organization that makes educational guides and workshops about emerging technology.

Website: mimionuoha.com

Sasha Wortzel is an award-winning filmmaker and interdisciplinary artist using video, installation, sculpture, and sound to explore how past and present are inextricably linked through resonant spaces and their hauntings. Raised in Southwest Florida and based in New York, Wortzel specifically attends to sites and stories systematically erased or ignored from these regions’ histories. Wortzel is a recipient of a 2023 Guggenheim Fellowship in Film-Video. Her films have screened at venues world-wide including at MoMA DocFortnight, CPH:DOX, True/False, Margaret Mead, San Francisco International, and Dokufest. Her expanded cinematic work has been exhibited at the New Museum, The International Center for Photography, The Kitchen, and the Douglas F. Cooley Memorial Art Gallery.

Her debut feature documentary RIVER OF GRASS (2025) won the Pare Lorentz Award from the International Documentary Association, Hot Docs Joan VanDuzer Special Jury Prize – International Feature Documentary, and Mead Audience Award, among others. Wortzel has received institutional support from Sundance, Ford Foundation, Sandbox Films, Knight Foundation, Doc Society, Field of Vision, and Chicken & Egg Pictures. Her short films include HOW TO CARRY WATER (2023), an IDA Awards nominee for best short documentary and currently streaming on Criterion Channel; THIS IS AN ADDRESS (2020) distributed by Field of Vision; and HAPPY BIRTHDAY, MARSHA! (2018; co-director Tourmaline) which won special mention at Outfest and is in the permanent collection of the Studio Museum of Harlem.

Her artwork is in the permanent collections of the Brooklyn Museum, Leslie Lohman Museum of Art, and Miami-Dade County Art in Public Places. She has participated in residencies at MacDowell, Fine Arts Work Center, ISCP, and Artists in Residence in the Everglades (AIRIE). Wortzel has been featured in The New York Times, Artforum, and Art in America. She is Assistant professor of Film and Electronic Media at Bard College.

Website: sashawortzel.com | Instagram: @sashawortzel

Chunghee Yun was born and raised in Seoul, South Korea, and is currently based in New York City. She is a painter exploring psychological tension and emotional ambiguity in intimate relationships, focusing on gendered power and the blurred boundaries between self and other, desire and repulsion. Bodily encounters are reimagined through symbolic transformation, opening onto women’s interior psycho-sexual landscapes.

Yun holds a BFA from Hunter College (2020) and an MFA from Virginia Commonwealth University (2024). Her solo exhibitions include The Blue Mirror at Gladwell in Jersey City and Bleat at Harlem House Gallery in New York City. She has also presented a two-person exhibition, Summoning: Juried Open Call Exhibition at Peep Projects, and participated in group exhibitions including Performing Trees at The University of Manchester Whitworth Art Gallery, as well as exhibitions at Page Bond Gallery, Kent State University Downtown Gallery, and Field Projects. Her work has been featured in New American Paintings #176 (2025 Northeast) and New American Paintings #166 (2023 South).

In 2025, Yun was an artist-in-residence at ChaNorth and was awarded a Vermont Studio Center Fellowship, where she will participate in April 2027.

Website: chungheeyun.com | Instagram: @chunghee_yun