{"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}]},{"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\/collections\/workshop_shoot_grp_photo_1_15.jpg?v=1785960608","url":"https:\/\/museum-for-art-in-wood.myshopify.com\/zh-tw\/collections\/2026-warp-wood.oembed","provider":"Museum for Art in Wood","version":"1.0","type":"link"}