{"title":"2026 WARP Wood","description":"\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003eABOUT THE WINDGATE ARTS RESIDENCY PROGRAM (WARP) IN WOOD \u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe Windgate Arts Residency Program (WARP) in Wood is an integral part of the Museum for Art in Wood’s programming and is made possible through the transformative support from the Windgate Foundation. The residency is an annual two-month program that takes place from early June to early August. Each cohort of resident fellows consists of several artists, one student artist, a documentary artist, and a scholar (who typically joins for a week at the midpoint of the program). The residents live and work in a collaborative environment, visiting cultural sites in the region and meeting artists, curators, and collectors. The work made during the residency is presented in a group exhibition in the Museum’s main gallery, opening the first Friday of August and continuing through October. The residency is designed as a collegial experience and encourages an open exchange of creative and technical occupation. Resident fellows can pursue both individual and collaborative work that is explorative, experimental, research-based, or otherwise enriching to the artistic practice.\u003c\/p\u003e","products":[{"product_id":"adam-atkindon-perfect-form","title":"Adam Atkinson - Perfect Form","description":"\u003cp\u003eAdam Atkinson\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ePerfect Form\u003cbr\u003e2026\u003cbr\u003eBasswood, acrylic\u003cbr\u003e32\"H x 20\"W x 16\"D\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAbout Adam Atkinson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eAdam Atkinson’s practice explores masculinity and queer identity through sculpture, adornment, and functional objects that blur distinctions between utility, ornament, and self-representation. Across the works presented in this exhibition—including three wearable cherry wood pieces, a life-sized maple wood hand, and an autobiographical basswood bust—the body becomes both subject and medium. The artist’s body works upon wood that repeatedly returns to them as another body: in the form of his hand, intestines and an almost life-sized replica of himself from the lower crotch upward. Here, making becomes a reciprocal encounter in which identity is not simply represented through wood but literally negotiated with and \u003ci\u003ethrough \u003c\/i\u003eit.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe wearable pieces are among the exhibition’s most intimate works. Their soft, dark pink hue reinforces the bodily associations of the bulbous, fleshy forms that recur throughout Atkinson’s work, where inside often becomes placed outside. Internal bodily forms evoking intestinal folds; anal openings, and other visceral structures are all transformed into external, wearable objects. Each piece begins as a hand-carved form and is then repeatedly sanded to produce a smooth, tactile surface while preserving the expressive grain of the wood. Leather straps are a practical addition to enable the pieces to be worn but also serve to invoke the visual language of kink aesthetics and queer leather subcultures. Rather than simply attaching the object to the body, these sculptures now become a mechanism through which the body is extended and reimagined.\u003c\/p\u003e\n\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"252\" style=\"border-collapse: collapse; width: 11px;\" height=\"23\"\u003e\n\u003ccolgroup\u003e \u003ccol width=\"252\" style=\"width: 10px;\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"29\" style=\"mso-height-source: userset; height: 22.5pt;\"\u003e\n\u003ctd height=\"29\" class=\"xl65\" width=\"252\" style=\"height: 22.5pt; width: 189pt;\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Adam Atkinson","offers":[{"title":"Default Title","offer_id":70999836885245,"sku":null,"price":10000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093145_18d7a821-4cd8-413a-b951-102fe540e5ad.jpg?v=1786115890"},{"product_id":"adam-atkinson-perfect-form-copy","title":"Adam Atkinson - What You Wear","description":"\u003cp\u003eAdam Atkinson\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eWhat You Wear\u003cbr\u003e2026\u003cbr\u003eMaple, acrylic\u003cbr\u003e24\"H x 8L x 16\"D\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAbout Adam Atkinson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eAdam Atkinson’s practice explores masculinity and queer identity through sculpture, adornment, and functional objects that blur distinctions between utility, ornament, and self-representation. Across the works presented in this exhibition—including three wearable cherry wood pieces, a life-sized maple wood hand, and an autobiographical basswood bust—the body becomes both subject and medium. The artist’s body works upon wood that repeatedly returns to them as another body: in the form of his hand, intestines and an almost life-sized replica of himself from the lower crotch upward. Here, making becomes a reciprocal encounter in which identity is not simply represented through wood but literally negotiated with and \u003ci\u003ethrough \u003c\/i\u003eit.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe wearable pieces are among the exhibition’s most intimate works. Their soft, dark pink hue reinforces the bodily associations of the bulbous, fleshy forms that recur throughout Atkinson’s work, where inside often becomes placed outside. Internal bodily forms evoking intestinal folds; anal openings, and other visceral structures are all transformed into external, wearable objects. Each piece begins as a hand-carved form and is then repeatedly sanded to produce a smooth, tactile surface while preserving the expressive grain of the wood. Leather straps are a practical addition to enable the pieces to be worn but also serve to invoke the visual language of kink aesthetics and queer leather subcultures. Rather than simply attaching the object to the body, these sculptures now become a mechanism through which the body is extended and reimagined.\u003c\/p\u003e\n\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"252\" style=\"border-collapse: collapse; width: 11px;\" height=\"23\"\u003e\n\u003ccolgroup\u003e \u003ccol width=\"252\" style=\"width: 10px;\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"29\" style=\"mso-height-source: userset; height: 22.5pt;\"\u003e\n\u003ctd height=\"29\" class=\"xl65\" width=\"252\" style=\"height: 22.5pt; width: 189pt;\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Adam Atkinson","offers":[{"title":"Default Title","offer_id":70999861264637,"sku":null,"price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093255.jpg?v=1786115919"},{"product_id":"adam-atkinson-what-you-wear-copy","title":"Adam Atkinson - Gutted I","description":"\u003cp\u003eAdam Atkinson\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eGutted I\u003cbr\u003e2026\u003cbr\u003eCherry, leather, brass\u003cbr\u003e9\"H x 8W x 2.5\"D\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAbout Adam Atkinson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eAdam Atkinson’s practice explores masculinity and queer identity through sculpture, adornment, and functional objects that blur distinctions between utility, ornament, and self-representation. Across the works presented in this exhibition—including three wearable cherry wood pieces, a life-sized maple wood hand, and an autobiographical basswood bust—the body becomes both subject and medium. The artist’s body works upon wood that repeatedly returns to them as another body: in the form of his hand, intestines and an almost life-sized replica of himself from the lower crotch upward. Here, making becomes a reciprocal encounter in which identity is not simply represented through wood but literally negotiated with and \u003ci\u003ethrough \u003c\/i\u003eit.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe wearable pieces are among the exhibition’s most intimate works. Their soft, dark pink hue reinforces the bodily associations of the bulbous, fleshy forms that recur throughout Atkinson’s work, where inside often becomes placed outside. Internal bodily forms evoking intestinal folds; anal openings, and other visceral structures are all transformed into external, wearable objects. Each piece begins as a hand-carved form and is then repeatedly sanded to produce a smooth, tactile surface while preserving the expressive grain of the wood. Leather straps are a practical addition to enable the pieces to be worn but also serve to invoke the visual language of kink aesthetics and queer leather subcultures. Rather than simply attaching the object to the body, these sculptures now become a mechanism through which the body is extended and reimagined.\u003c\/p\u003e\n\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"252\" style=\"border-collapse: collapse; width: 11px;\" height=\"23\"\u003e\n\u003ccolgroup\u003e \u003ccol width=\"252\" style=\"width: 10px;\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"29\" style=\"mso-height-source: userset; height: 22.5pt;\"\u003e\n\u003ctd height=\"29\" class=\"xl65\" width=\"252\" style=\"height: 22.5pt; width: 189pt;\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Adam Atkinson","offers":[{"title":"Default Title","offer_id":70999862509821,"sku":null,"price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093215.jpg?v=1786115968"},{"product_id":"adam-atkinson-gutted-ii-copy","title":"Adam Atkinson - Gutted III","description":"\u003cp\u003eAdam Atkinson\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eGutted III\u003cbr\u003e2026\u003cbr\u003eCherry, leather, brass\u003cbr\u003e12\"H x 9W x 3\"D\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAbout Adam Atkinson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eAdam Atkinson’s practice explores masculinity and queer identity through sculpture, adornment, and functional objects that blur distinctions between utility, ornament, and self-representation. Across the works presented in this exhibition—including three wearable cherry wood pieces, a life-sized maple wood hand, and an autobiographical basswood bust—the body becomes both subject and medium. The artist’s body works upon wood that repeatedly returns to them as another body: in the form of his hand, intestines and an almost life-sized replica of himself from the lower crotch upward. Here, making becomes a reciprocal encounter in which identity is not simply represented through wood but literally negotiated with and \u003ci\u003ethrough \u003c\/i\u003eit.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe wearable pieces are among the exhibition’s most intimate works. Their soft, dark pink hue reinforces the bodily associations of the bulbous, fleshy forms that recur throughout Atkinson’s work, where inside often becomes placed outside. Internal bodily forms evoking intestinal folds; anal openings, and other visceral structures are all transformed into external, wearable objects. Each piece begins as a hand-carved form and is then repeatedly sanded to produce a smooth, tactile surface while preserving the expressive grain of the wood. Leather straps are a practical addition to enable the pieces to be worn but also serve to invoke the visual language of kink aesthetics and queer leather subcultures. Rather than simply attaching the object to the body, these sculptures now become a mechanism through which the body is extended and reimagined.\u003c\/p\u003e\n\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"252\" style=\"border-collapse: collapse; width: 11px;\" height=\"23\"\u003e\n\u003ccolgroup\u003e \u003ccol width=\"252\" style=\"width: 10px;\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"29\" style=\"mso-height-source: userset; height: 22.5pt;\"\u003e\n\u003ctd height=\"29\" class=\"xl65\" width=\"252\" style=\"height: 22.5pt; width: 189pt;\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Adam Atkinson","offers":[{"title":"Default Title","offer_id":70999868997885,"sku":null,"price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093240.jpg?v=1786116059"},{"product_id":"joyce-lin-doodle-leaf-pins","title":"Joyce Lin - Doodle Leaf Pins","description":"\u003cp\u003eJoyce Lin\u003cbr\u003eDoodle Leaf Pins\u003cbr\u003e2026\u003cbr\u003eEpoxy, fabric, wire, pin back, oak, acrylic\u003cbr\u003e7\"H x 4.5\"W x 3.5\"D\u003c\/p\u003e\n\u003cp\u003eAbout Joyce Lin:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eJoyce Lin’s sculptures are often structured around interconnected tensions—part and whole, interior and exterior, organic and artificial—yet these oppositions are deliberately never resolved. Instead, they remain suspended in a state of productive instability, a process Lin describes as a form of “material autopsy.” Her work occupies this unsettled territory of in-between states, where objects and materials appear displaced from their expected contexts.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAppearing at first as a fledgling red oak tree in autumn, with richly colored foliage extending from its branches, \u003ci\u003eCoat Tree \u003c\/i\u003egradually transitions downward into the familiar form of a contemporary coat stand. Neither entirely tree nor entirely object, the work exists somewhere between the organic world and the functional language of contemporary mass-manufactured furniture design. As discussed in relation to Atkinson’s example where the body works on a body, this sculpture is also deeply self-referential: it is made from red oak, simultaneously being made to resemble red oak. The work captures the tree at a moment of seasonal transformation, suspended between the fullness of autumn and the dormancy of winter, existing between states of growth and decline.\u003c\/p\u003e","brand":"Joyce Lin","offers":[{"title":"Doodle Leaf Pin (1)","offer_id":71015270285565,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true},{"title":"Doodle Leaf Pin (2)","offer_id":71015270318333,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true},{"title":"Doodle Leaf Pin (3)","offer_id":71015270351101,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true},{"title":"Doodle Leaf Pin (4)","offer_id":71015270383869,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093836.jpg?v=1786116383"},{"product_id":"anders-nienstaedt-dovecote","title":"Anders Nienstaedt - Dovecote","description":"\u003cp\u003eAnders Nienstaedt\u003cbr\u003eDovecote\u003cbr\u003e2026\u003cbr\u003eBeech\u003cbr\u003e24\" x 40\" x 70\"\u003c\/p\u003e\n\u003cp\u003eAbout Anders Nienstaedt:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe sculptures of Anders Nienstaedt examine the relationship between design, architecture, and the persistent allure of utopian thinking. He is interested in wood because of its broad conceptual range: it can be humble and disposable, as in a toothpick or a piece of flat-pack furniture, or monumental, symbolic, and culturally charged, as in the timber structures of temples or civic architecture. His sculptures and furniture-like objects inhabit this tension, questioning what it means for an object to be functional while resisting any singular purpose. As Nienstaedt explains, “I seek to make objects that suggest an imaginative or unpredictable activation. Often this lies in a balance between carefully rendered craft and moments of intentional space, incompleteness, or constraint.”\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDovecote\u003c\/i\u003e, the largest work in the exhibition, consists of 37 stacked beechwood elements that appear improbably balanced, generating a sense of instability despite being structurally secure. This tension between visual precarity and physical stability encourages viewers to question their assumptions about construction and support. For the exhibition, these beechwood units have been arranged in ways that enhance a feeling of precarity while also showcasing their materiality. \u003ci\u003eUtopian Structure, Tower \u003c\/i\u003esits atop a rocking concrete base, while \u003ci\u003eKit-of-Parts Utopian Structure 1 \u003c\/i\u003eand \u003ci\u003e2 \u003c\/i\u003eare double-cut like jigsaw puzzle pieces and placed on the wall. The repeated profile carved into each component forms a distinctive architectural motif. Although Nienstaedt insists that the shape carries no predetermined meaning, viewers frequently associate it with birdhouses, the arrow slits of medieval fortifications, or dovecotes. These references all suggest shelter, enclosure, and protection: spaces that sit between inside and outside, safety and exposure. Birdhouses protect their inhabitants from predators and the weather, arrow slits shield those within while allowing them to shoot outward, and dovecotes provide refuge while also serving a practical purpose.\u003c\/p\u003e","brand":"Anders Nienstaedt","offers":[{"title":"Default Title","offer_id":70999888789757,"sku":null,"price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_091708.jpg?v=1786116472"},{"product_id":"anders-nienstaedt-dovecote-copy","title":"Anders Nienstaedt - Utopian Structure, Tower","description":"\u003cp\u003eAnders Nienstaedt\u003cbr\u003e\u003cem\u003eUtopian Structure, Tower\u003c\/em\u003e\u003cbr\u003e2026\u003cbr\u003eBeech\u003cbr\u003e2\" x 8\" x 84\"\u003c\/p\u003e\n\u003cp\u003eAbout Anders Nienstaedt:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe sculptures of Anders Nienstaedt examine the relationship between design, architecture, and the persistent allure of utopian thinking. He is interested in wood because of its broad conceptual range: it can be humble and disposable, as in a toothpick or a piece of flat-pack furniture, or monumental, symbolic, and culturally charged, as in the timber structures of temples or civic architecture. His sculptures and furniture-like objects inhabit this tension, questioning what it means for an object to be functional while resisting any singular purpose. As Nienstaedt explains, “I seek to make objects that suggest an imaginative or unpredictable activation. Often this lies in a balance between carefully rendered craft and moments of intentional space, incompleteness, or constraint.”\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDovecote\u003c\/i\u003e, the largest work in the exhibition, consists of 37 stacked beechwood elements that appear improbably balanced, generating a sense of instability despite being structurally secure. This tension between visual precarity and physical stability encourages viewers to question their assumptions about construction and support. For the exhibition, these beechwood units have been arranged in ways that enhance a feeling of precarity while also showcasing their materiality. \u003ci\u003eUtopian Structure, Tower \u003c\/i\u003esits atop a rocking concrete base, while \u003ci\u003eKit-of-Parts Utopian Structure 1 \u003c\/i\u003eand \u003ci\u003e2 \u003c\/i\u003eare double-cut like jigsaw puzzle pieces and placed on the wall. The repeated profile carved into each component forms a distinctive architectural motif. Although Nienstaedt insists that the shape carries no predetermined meaning, viewers frequently associate it with birdhouses, the arrow slits of medieval fortifications, or dovecotes. These references all suggest shelter, enclosure, and protection: spaces that sit between inside and outside, safety and exposure. Birdhouses protect their inhabitants from predators and the weather, arrow slits shield those within while allowing them to shoot outward, and dovecotes provide refuge while also serving a practical purpose.\u003c\/p\u003e","brand":"Anders Nienstaedt","offers":[{"title":"Default Title","offer_id":70999889576189,"sku":null,"price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_091746.jpg?v=1786116547"},{"product_id":"anders-nienstaedt-aphorism-for-future-use-part-1-copy","title":"Anders Nienstaedt - Aphorism for Future Use, Part 2","description":"\u003cp\u003eAnders Nienstaedt\u003cbr\u003e\u003cem\u003eAphorism for Future Use, Part 2\u003c\/em\u003e\u003cbr\u003e2026\u003cbr\u003eCherry\u003cbr\u003e16\" x 16\" x 16\"\u003c\/p\u003e\n\u003cp\u003eAbout Anders Nienstaedt:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe sculptures of Anders Nienstaedt examine the relationship between design, architecture, and the persistent allure of utopian thinking. He is interested in wood because of its broad conceptual range: it can be humble and disposable, as in a toothpick or a piece of flat-pack furniture, or monumental, symbolic, and culturally charged, as in the timber structures of temples or civic architecture. His sculptures and furniture-like objects inhabit this tension, questioning what it means for an object to be functional while resisting any singular purpose. As Nienstaedt explains, “I seek to make objects that suggest an imaginative or unpredictable activation. Often this lies in a balance between carefully rendered craft and moments of intentional space, incompleteness, or constraint.”\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDovecote\u003c\/i\u003e, the largest work in the exhibition, consists of 37 stacked beechwood elements that appear improbably balanced, generating a sense of instability despite being structurally secure. This tension between visual precarity and physical stability encourages viewers to question their assumptions about construction and support. For the exhibition, these beechwood units have been arranged in ways that enhance a feeling of precarity while also showcasing their materiality. \u003ci\u003eUtopian Structure, Tower \u003c\/i\u003esits atop a rocking concrete base, while \u003ci\u003eKit-of-Parts Utopian Structure 1 \u003c\/i\u003eand \u003ci\u003e2 \u003c\/i\u003eare double-cut like jigsaw puzzle pieces and placed on the wall. The repeated profile carved into each component forms a distinctive architectural motif. Although Nienstaedt insists that the shape carries no predetermined meaning, viewers frequently associate it with birdhouses, the arrow slits of medieval fortifications, or dovecotes. These references all suggest shelter, enclosure, and protection: spaces that sit between inside and outside, safety and exposure. Birdhouses protect their inhabitants from predators and the weather, arrow slits shield those within while allowing them to shoot outward, and dovecotes provide refuge while also serving a practical purpose.\u003c\/p\u003e","brand":"Anders Nienstaedt","offers":[{"title":"Default Title","offer_id":70999893803261,"sku":null,"price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_091827_6dd880a4-9b24-4774-bf3a-286f66e604ab.jpg?v=1786116653"},{"product_id":"anders-nienstaedt-aphorism-for-future-use-part-2-copy","title":"Anders Nienstaedt - Kit-Of-Parts Utopian Structure 1","description":"\u003cp\u003eAnders Nienstaedt\u003cbr\u003e\u003cem\u003eKit-Of-Parts Utopian Structure 1\u003c\/em\u003e\u003cbr\u003e2026\u003cbr\u003eBeech\u003cbr\u003e2\" x 8\" x 36\"\u003c\/p\u003e\n\u003cp\u003eAbout Anders Nienstaedt:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe sculptures of Anders Nienstaedt examine the relationship between design, architecture, and the persistent allure of utopian thinking. He is interested in wood because of its broad conceptual range: it can be humble and disposable, as in a toothpick or a piece of flat-pack furniture, or monumental, symbolic, and culturally charged, as in the timber structures of temples or civic architecture. His sculptures and furniture-like objects inhabit this tension, questioning what it means for an object to be functional while resisting any singular purpose. As Nienstaedt explains, “I seek to make objects that suggest an imaginative or unpredictable activation. Often this lies in a balance between carefully rendered craft and moments of intentional space, incompleteness, or constraint.”\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDovecote\u003c\/i\u003e, the largest work in the exhibition, consists of 37 stacked beechwood elements that appear improbably balanced, generating a sense of instability despite being structurally secure. This tension between visual precarity and physical stability encourages viewers to question their assumptions about construction and support. For the exhibition, these beechwood units have been arranged in ways that enhance a feeling of precarity while also showcasing their materiality. \u003ci\u003eUtopian Structure, Tower \u003c\/i\u003esits atop a rocking concrete base, while \u003ci\u003eKit-of-Parts Utopian Structure 1 \u003c\/i\u003eand \u003ci\u003e2 \u003c\/i\u003eare double-cut like jigsaw puzzle pieces and placed on the wall. The repeated profile carved into each component forms a distinctive architectural motif. Although Nienstaedt insists that the shape carries no predetermined meaning, viewers frequently associate it with birdhouses, the arrow slits of medieval fortifications, or dovecotes. These references all suggest shelter, enclosure, and protection: spaces that sit between inside and outside, safety and exposure. Birdhouses protect their inhabitants from predators and the weather, arrow slits shield those within while allowing them to shoot outward, and dovecotes provide refuge while also serving a practical purpose.\u003c\/p\u003e","brand":"Anders Nienstaedt","offers":[{"title":"Default Title","offer_id":70999895867645,"sku":null,"price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_091639.jpg?v=1786116743"},{"product_id":"anders-nienstaedt-kit-of-parts-utopian-structure-1-copy","title":"Anders Nienstaedt - Kit-Of-Parts Utopian Structure 2","description":"\u003cp\u003eAnders Nienstaedt\u003cbr\u003e\u003cem\u003eKit-Of-Parts Utopian Structure 2\u003c\/em\u003e\u003cbr\u003e2026\u003cbr\u003eBeech, copper\u003cbr\u003e2\" x 12\" x 20\"\u003c\/p\u003e\n\u003cp\u003eAbout Anders Nienstaedt:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe sculptures of Anders Nienstaedt examine the relationship between design, architecture, and the persistent allure of utopian thinking. He is interested in wood because of its broad conceptual range: it can be humble and disposable, as in a toothpick or a piece of flat-pack furniture, or monumental, symbolic, and culturally charged, as in the timber structures of temples or civic architecture. His sculptures and furniture-like objects inhabit this tension, questioning what it means for an object to be functional while resisting any singular purpose. As Nienstaedt explains, “I seek to make objects that suggest an imaginative or unpredictable activation. Often this lies in a balance between carefully rendered craft and moments of intentional space, incompleteness, or constraint.”\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDovecote\u003c\/i\u003e, the largest work in the exhibition, consists of 37 stacked beechwood elements that appear improbably balanced, generating a sense of instability despite being structurally secure. This tension between visual precarity and physical stability encourages viewers to question their assumptions about construction and support. For the exhibition, these beechwood units have been arranged in ways that enhance a feeling of precarity while also showcasing their materiality. \u003ci\u003eUtopian Structure, Tower \u003c\/i\u003esits atop a rocking concrete base, while \u003ci\u003eKit-of-Parts Utopian Structure 1 \u003c\/i\u003eand \u003ci\u003e2 \u003c\/i\u003eare double-cut like jigsaw puzzle pieces and placed on the wall. The repeated profile carved into each component forms a distinctive architectural motif. Although Nienstaedt insists that the shape carries no predetermined meaning, viewers frequently associate it with birdhouses, the arrow slits of medieval fortifications, or dovecotes. These references all suggest shelter, enclosure, and protection: spaces that sit between inside and outside, safety and exposure. Birdhouses protect their inhabitants from predators and the weather, arrow slits shield those within while allowing them to shoot outward, and dovecotes provide refuge while also serving a practical purpose.\u003c\/p\u003e","brand":"Anders Nienstaedt","offers":[{"title":"Default Title","offer_id":70999898587389,"sku":null,"price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_091639_779678d9-1210-464c-acc2-cc9154f63c5d.jpg?v=1786116816"},{"product_id":"liza-stout-sisters-basket","title":"Liza Stout - Sisters Basket","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLiza Stout\u003cbr\u003e\u003cem\u003eSisters Basket\u003c\/em\u003e\u003cbr\u003e2026\u003cbr\u003eDouglas fir, linen\u003cbr\u003e38\" x 12\" x 28\"\u003c\/p\u003e\n\u003cp\u003eAbout Liza Stout:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eLiza Stout’s practice reimagines domestic objects and tools, removing them from their familiar functions and placing them into new shapes that encourage different relationships with the body. Drawing upon the visual language of domestic design, everyday objects such as brooms, brushes, cooking utensils, and cleaning tools become removed from their conventional roles and are transformed into sculptural instruments of empowerment. Through the creation of a large basket and three broom pieces for the exhibition, Stout expands upon these ongoing concerns, focusing specifically on the repetitive and gendered dynamics of labor, and the ways in which acts of care can be both embodied and politicized.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe genesis of the work presented here began with a chance discovery. While visiting friends who specialize in furniture making, Stout encountered a book on Shaker furniture. Within its pages was an illustration of a Hancock Shaker clothes crate designed for two sisters to carry together. The basket features a pair of projecting handles on either side, enabling shared transport. Stout became captivated by the object and the unseen histories contained within its design. Who were these two sisters? Why were they specifically identified as the intended users of the basket in the caption of the image? How did they carry it—resting on their shoulders or held at waist height? What forms of cooperation, endurance, and intimacy were embedded within this seemingly ordinary domestic object?\u003c\/p\u003e","brand":"Liza Stout","offers":[{"title":"Default Title","offer_id":70999935877373,"sku":null,"price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093354.jpg?v=1786116927"},{"product_id":"liza-stout-sisters-basket-copy","title":"Liza Stout - Sisters Basket Performance Photo","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLiza Stout\u003cbr\u003e\u003cem\u003eSisters Basket Performance Photo\u003c\/em\u003e\u003cbr\u003e2026\u003cbr\u003eDouglas fir, inkject print\u003cbr\u003e12\" x 14\" x 2\"\u003c\/p\u003e\n\u003cp\u003eAbout Liza Stout:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eLiza Stout’s practice reimagines domestic objects and tools, removing them from their familiar functions and placing them into new shapes that encourage different relationships with the body. Drawing upon the visual language of domestic design, everyday objects such as brooms, brushes, cooking utensils, and cleaning tools become removed from their conventional roles and are transformed into sculptural instruments of empowerment. Through the creation of a large basket and three broom pieces for the exhibition, Stout expands upon these ongoing concerns, focusing specifically on the repetitive and gendered dynamics of labor, and the ways in which acts of care can be both embodied and politicized.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe genesis of the work presented here began with a chance discovery. While visiting friends who specialize in furniture making, Stout encountered a book on Shaker furniture. Within its pages was an illustration of a Hancock Shaker clothes crate designed for two sisters to carry together. The basket features a pair of projecting handles on either side, enabling shared transport. Stout became captivated by the object and the unseen histories contained within its design. Who were these two sisters? Why were they specifically identified as the intended users of the basket in the caption of the image? How did they carry it—resting on their shoulders or held at waist height? What forms of cooperation, endurance, and intimacy were embedded within this seemingly ordinary domestic object?\u003c\/p\u003e","brand":"Liza Stout","offers":[{"title":"Default Title","offer_id":70999998824701,"sku":null,"price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093407.jpg?v=1786116996"},{"product_id":"liza-stout-three-sisters-bruches-i-copy","title":"Liza Stout - Three Sisters Brushes II","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLiza Stout\u003cbr\u003e\u003cem\u003eThree Sisters Brushes II\u003c\/em\u003e\u003cbr\u003e2026\u003cbr\u003eDouglas fir, ceramic, tampico fibers\u003cbr\u003e34\" x 3\" x 46\"\u003c\/p\u003e\n\u003cp\u003eAbout Liza Stout:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eLiza Stout’s practice reimagines domestic objects and tools, removing them from their familiar functions and placing them into new shapes that encourage different relationships with the body. Drawing upon the visual language of domestic design, everyday objects such as brooms, brushes, cooking utensils, and cleaning tools become removed from their conventional roles and are transformed into sculptural instruments of empowerment. Through the creation of a large basket and three broom pieces for the exhibition, Stout expands upon these ongoing concerns, focusing specifically on the repetitive and gendered dynamics of labor, and the ways in which acts of care can be both embodied and politicized.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe genesis of the work presented here began with a chance discovery. While visiting friends who specialize in furniture making, Stout encountered a book on Shaker furniture. Within its pages was an illustration of a Hancock Shaker clothes crate designed for two sisters to carry together. The basket features a pair of projecting handles on either side, enabling shared transport. Stout became captivated by the object and the unseen histories contained within its design. Who were these two sisters? Why were they specifically identified as the intended users of the basket in the caption of the image? How did they carry it—resting on their shoulders or held at waist height? What forms of cooperation, endurance, and intimacy were embedded within this seemingly ordinary domestic object?\u003c\/p\u003e","brand":"Liza Stout","offers":[{"title":"Default Title","offer_id":71014794297597,"sku":null,"price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093424.jpg?v=1786117131"},{"product_id":"liza-stout-three-sisters-bruches-ii-copy","title":"Liza Stout - Three Sisters Brushes III","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLiza Stout\u003cbr\u003e\u003cem\u003eThree Sisters Brushes III\u003c\/em\u003e\u003cbr\u003e2026\u003cbr\u003eDouglas fir, ceramic, tampico fibers\u003cbr\u003e34\" x 3\" x 46\"\u003c\/p\u003e\n\u003cp\u003eAbout Liza Stout:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eLiza Stout’s practice reimagines domestic objects and tools, removing them from their familiar functions and placing them into new shapes that encourage different relationships with the body. Drawing upon the visual language of domestic design, everyday objects such as brooms, brushes, cooking utensils, and cleaning tools become removed from their conventional roles and are transformed into sculptural instruments of empowerment. Through the creation of a large basket and three broom pieces for the exhibition, Stout expands upon these ongoing concerns, focusing specifically on the repetitive and gendered dynamics of labor, and the ways in which acts of care can be both embodied and politicized.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe genesis of the work presented here began with a chance discovery. While visiting friends who specialize in furniture making, Stout encountered a book on Shaker furniture. Within its pages was an illustration of a Hancock Shaker clothes crate designed for two sisters to carry together. The basket features a pair of projecting handles on either side, enabling shared transport. Stout became captivated by the object and the unseen histories contained within its design. Who were these two sisters? Why were they specifically identified as the intended users of the basket in the caption of the image? How did they carry it—resting on their shoulders or held at waist height? What forms of cooperation, endurance, and intimacy were embedded within this seemingly ordinary domestic object?\u003c\/p\u003e","brand":"Liza Stout","offers":[{"title":"Default Title","offer_id":71014806028541,"sku":null,"price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093432.jpg?v=1786117282"},{"product_id":"mark-tan-misaligned-caliper","title":"Mark Tan - Misaligned Caliper","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eMark Tan\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ePhilippine Mahogany, Walnut, Brass\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2026\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e14.25\" X 37.25\" x 4\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-none block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-start para-style-body\"\u003e \u003c\/p\u003e\n\u003cp\u003eAbout Mark Tan:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eWho has the authority to decide who is a “dirty” citizen? This question lies at the heart of Mark Tan’s new work developed during the residency. A pair of basins hang side by side, connected by a single water line that recalls the racial and hygienic divisions imposed between colonizer and colonized. Together, they ask what it means to build infrastructures of care that simultaneously function as infrastructures of surveillance, classification, and control.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe work draws on Warwick Anderson’s book \u003ci\u003eColonial Pathologies \u003c\/i\u003e(2006), which traces how American colonial medicine in the Philippines mobilized hygiene campaigns to construct racial difference. Under the guise of public health, sanitary reform became a technology of colonial governance, regulating access to care while defining who could be considered clean, healthy, and civilized. The installation resonates with a longer theoretical history about discourses of dirt and exclusion. For example, in \u003ci\u003ePowers of Horror \u003c\/i\u003e(1982), Julia Kristeva describes the abject not as something physically unclean but as that which unsettles identity, borders, and systems of classification. As she writes, “it is thus not lack of cleanliness or health that causes abjection, but what disturbs identity, system, order.” Read through this lens, the designation of certain bodies as dirty has little to do with hygiene and everything to do with maintaining political and social boundaries. Zygmunt Bauman similarly argues in \u003ci\u003eWasted Lives \u003c\/i\u003e(2004) that contemporary societies continue to manufacture forms of “human waste,” rendering displaced populations, refugees, and other racialized and marginalized groups as “disposable” by-products of modern systems of governance. Tan’s basins therefore speak not only to a colonial past but to an enduring politics of belonging in which cleanliness becomes a language through which inclusion and exclusion are negotiated.\u003c\/p\u003e","brand":"Mark Tan","offers":[{"title":"Default Title","offer_id":71014852296957,"sku":null,"price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_091934.jpg?v=1786117738"},{"product_id":"niv-tishbi-incident-ended","title":"Niv Tishbi - Incident Ended","description":"\u003cp\u003eNiv Tishbi\u003cbr\u003e\u003cem\u003eIncident Ended\u003c\/em\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eHemlock, maple, and beech woods\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2026 WARP Wood\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8\" x 74\" x 10\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAbout Niv Tishbi:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eWhile Niv Tishbi’s practice has long centered on wood, he has typically concealed rather than celebrated its material qualities. His sculptures are often painted and finished so completely that the timber becomes almost unrecognizable, transformed into an ambiguous and universal material. Over the past year or so, however, Tishbi has adopted the opposite approach. Like the other Fellows, he used the residency opportunity to experiment with unfamiliar methods, allowing the wood itself to remain visible as he sheds the paint and other forms of surface treatment.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFor the exhibition, Tishbi presents several new works, the largest of which takes the form of a bath occupied by a reclining figure. Constructed from inlaid veneer on plywood, the sculpture initially suggests an intimate scene of rest: someone immersed in a long, hot bath. Yet the saturated crimson surface quickly unsettles this reading. Is the figure relaxing in warm water, or submerged in something altogether more threatening? “It’s a reminder that there is always a hidden threat,” Tishbi explains. Looking closely, the bath reveals another contradiction. The grain appears strangely unfamiliar. Knots dissolve into abstract patterns, and the surface seems simultaneously natural and artificial. Rather than using conventional timber, Tishbi works with bespoke ALPI veneer, an engineered wood produced by dismantling and reconstructing tree trunks into entirely new forms before slicing them into veneer sheets. Although made from 100% natural wood, the material produces grains, textures, and patterns that could never occur in nature. The result is a material that appears authentic while quietly revealing itself to be manufactured—a fitting metaphor for works that continually unsettle the boundary between appearance and reality.\u003c\/p\u003e","brand":"Niv Tishbi","offers":[{"title":"Default Title","offer_id":71014897713405,"sku":null,"price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_104204.jpg?v=1786118001"},{"product_id":"niv-tishbi-incident-ended-copy","title":"Niv Tishbi - I witness","description":"\u003cp\u003eI witness\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eHemlock\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2026 WARP Wood\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e12.5\" x 26\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAbout Niv Tishbi:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eWhile Niv Tishbi’s practice has long centered on wood, he has typically concealed rather than celebrated its material qualities. His sculptures are often painted and finished so completely that the timber becomes almost unrecognizable, transformed into an ambiguous and universal material. Over the past year or so, however, Tishbi has adopted the opposite approach. Like the other Fellows, he used the residency opportunity to experiment with unfamiliar methods, allowing the wood itself to remain visible as he sheds the paint and other forms of surface treatment.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFor the exhibition, Tishbi presents several new works, the largest of which takes the form of a bath occupied by a reclining figure. Constructed from inlaid veneer on plywood, the sculpture initially suggests an intimate scene of rest: someone immersed in a long, hot bath. Yet the saturated crimson surface quickly unsettles this reading. Is the figure relaxing in warm water, or submerged in something altogether more threatening? “It’s a reminder that there is always a hidden threat,” Tishbi explains. Looking closely, the bath reveals another contradiction. The grain appears strangely unfamiliar. Knots dissolve into abstract patterns, and the surface seems simultaneously natural and artificial. Rather than using conventional timber, Tishbi works with bespoke ALPI veneer, an engineered wood produced by dismantling and reconstructing tree trunks into entirely new forms before slicing them into veneer sheets. Although made from 100% natural wood, the material produces grains, textures, and patterns that could never occur in nature. The result is a material that appears authentic while quietly revealing itself to be manufactured—a fitting metaphor for works that continually unsettle the boundary between appearance and reality.\u003c\/p\u003e","brand":"Niv Tishbi","offers":[{"title":"Default Title","offer_id":71014899384573,"sku":null,"price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_104156.jpg?v=1786118241"},{"product_id":"niv-tishbi-bathtub-copy","title":"Niv Tishbi - Interval","description":"\u003cp\u003eNiv Tishbi\u003cbr\u003e\u003cem\u003eInterval\u003c\/em\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eVeneer on plywood\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2026 WARP Wood\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e7.5\" x 10\" each \u003cbr\u003eSold as set\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAbout Niv Tishbi:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eWhile Niv Tishbi’s practice has long centered on wood, he has typically concealed rather than celebrated its material qualities. His sculptures are often painted and finished so completely that the timber becomes almost unrecognizable, transformed into an ambiguous and universal material. Over the past year or so, however, Tishbi has adopted the opposite approach. Like the other Fellows, he used the residency opportunity to experiment with unfamiliar methods, allowing the wood itself to remain visible as he sheds the paint and other forms of surface treatment.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFor the exhibition, Tishbi presents several new works, the largest of which takes the form of a bath occupied by a reclining figure. Constructed from inlaid veneer on plywood, the sculpture initially suggests an intimate scene of rest: someone immersed in a long, hot bath. Yet the saturated crimson surface quickly unsettles this reading. Is the figure relaxing in warm water, or submerged in something altogether more threatening? “It’s a reminder that there is always a hidden threat,” Tishbi explains. Looking closely, the bath reveals another contradiction. The grain appears strangely unfamiliar. Knots dissolve into abstract patterns, and the surface seems simultaneously natural and artificial. Rather than using conventional timber, Tishbi works with bespoke ALPI veneer, an engineered wood produced by dismantling and reconstructing tree trunks into entirely new forms before slicing them into veneer sheets. Although made from 100% natural wood, the material produces grains, textures, and patterns that could never occur in nature. The result is a material that appears authentic while quietly revealing itself to be manufactured—a fitting metaphor for works that continually unsettle the boundary between appearance and reality.\u003c\/p\u003e","brand":"Niv Tishbi","offers":[{"title":"Default Title","offer_id":71014904692989,"sku":null,"price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_120059_1.jpg?v=1786118681"},{"product_id":"joyce-lin-doodle-leaf-pins-copy","title":"Joyce Lin - Doodle Leaf Pins","description":"\u003cp\u003eJoyce Lin\u003cbr\u003eDoodle Leaf Pins\u003cbr\u003e2026\u003cbr\u003eEpoxy, fabric, wire, pin back, oak, acrylic\u003cbr\u003e7\"H x 4.5\"W x 3.5\"D\u003c\/p\u003e\n\u003cp\u003eAbout Joyce Lin:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eJoyce Lin’s sculptures are often structured around interconnected tensions—part and whole, interior and exterior, organic and artificial—yet these oppositions are deliberately never resolved. Instead, they remain suspended in a state of productive instability, a process Lin describes as a form of “material autopsy.” Her work occupies this unsettled territory of in-between states, where objects and materials appear displaced from their expected contexts.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAppearing at first as a fledgling red oak tree in autumn, with richly colored foliage extending from its branches, \u003ci\u003eCoat Tree \u003c\/i\u003egradually transitions downward into the familiar form of a contemporary coat stand. Neither entirely tree nor entirely object, the work exists somewhere between the organic world and the functional language of contemporary mass-manufactured furniture design. As discussed in relation to Atkinson’s example where the body works on a body, this sculpture is also deeply self-referential: it is made from red oak, simultaneously being made to resemble red oak. The work captures the tree at a moment of seasonal transformation, suspended between the fullness of autumn and the dormancy of winter, existing between states of growth and decline.\u003c\/p\u003e","brand":"Joyce Lin","offers":[{"title":"Doodle Leaf Pin (1)","offer_id":71160017649917,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true},{"title":"Doodle Leaf Pin (2)","offer_id":71160017682685,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true},{"title":"Doodle Leaf Pin (3)","offer_id":71160017715453,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true},{"title":"Doodle Leaf Pin (4)","offer_id":71160017748221,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/20260807_093836.jpg?v=1786116383"},{"product_id":"joyce-lin-red-oak-roast","title":"Joyce Lin - Red Oak Roast","description":"\u003cp\u003eJoyce Lin\u003cbr\u003eRed Oak Roast\u003cbr\u003e2026\u003cbr\u003eWood, oil paint, epoxy, fabric, wire, stainless steel plate\u003cbr\u003e15.5\"L x 10.5\"W x 5.25\"D\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e*NOTE: Pictured is the artist's proof; if purchased, a new sculpture will be created and shipped to the buyer once completed by the artist.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAbout Joyce Lin:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eJoyce Lin’s sculptures are often structured around interconnected tensions—part and whole, interior and exterior, organic and artificial—yet these oppositions are deliberately never resolved. Instead, they remain suspended in a state of productive instability, a process Lin describes as a form of “material autopsy.” Her work occupies this unsettled territory of in-between states, where objects and materials appear displaced from their expected contexts.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAppearing at first as a fledgling red oak tree in autumn, with richly colored foliage extending from its branches, \u003ci\u003eCoat Tree \u003c\/i\u003egradually transitions downward into the familiar form of a contemporary coat stand. Neither entirely tree nor entirely object, the work exists somewhere between the organic world and the functional language of contemporary mass-manufactured furniture design. As discussed in relation to Atkinson’s example where the body works on a body, this sculpture is also deeply self-referential: it is made from red oak, simultaneously being made to resemble red oak. The work captures the tree at a moment of seasonal transformation, suspended between the fullness of autumn and the dormancy of winter, existing between states of growth and decline.\u003c\/p\u003e","brand":"Joyce Lin","offers":[{"title":"Default Title","offer_id":71160038818045,"sku":null,"price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/DSC_9446_copy.jpg?v=1787074008"},{"product_id":"joyce-lin-red-oak-roast-copy","title":"Joyce Lin - Coat Tree","description":"\u003cp\u003eJoyce Lin\u003cbr\u003eCoat Tree\u003cbr\u003e2026\u003cbr\u003eRed oak, epoxy clay, epoxy resin, fabric, acrylic paint, steel armature\u003cbr\u003e24 x 21 x 86 inches\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAbout Joyce Lin:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eJoyce Lin’s sculptures are often structured around interconnected tensions—part and whole, interior and exterior, organic and artificial—yet these oppositions are deliberately never resolved. Instead, they remain suspended in a state of productive instability, a process Lin describes as a form of “material autopsy.” Her work occupies this unsettled territory of in-between states, where objects and materials appear displaced from their expected contexts.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAppearing at first as a fledgling red oak tree in autumn, with richly colored foliage extending from its branches, \u003ci\u003eCoat Tree \u003c\/i\u003egradually transitions downward into the familiar form of a contemporary coat stand. Neither entirely tree nor entirely object, the work exists somewhere between the organic world and the functional language of contemporary mass-manufactured furniture design. As discussed in relation to Atkinson’s example where the body works on a body, this sculpture is also deeply self-referential: it is made from red oak, simultaneously being made to resemble red oak. The work captures the tree at a moment of seasonal transformation, suspended between the fullness of autumn and the dormancy of winter, existing between states of growth and decline.\u003c\/p\u003e","brand":"Joyce Lin","offers":[{"title":"Default Title","offer_id":71160038916349,"sku":null,"price":24000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/files\/DSC_9453_copy.jpg?v=1787074085"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0411\/4487\/7221\/collections\/workshop_shoot_grp_photo_1_15.jpg?v=1785960608","url":"https:\/\/museum-for-art-in-wood.myshopify.com\/vi\/collections\/2026-warp-wood.oembed?page=2","provider":"Museum for Art in Wood","version":"1.0","type":"link"}