Here you can find some of artist profiles who are participating in Casa Na Ilha Residency Program. Keep checking as we will be adding artists over the next few weeks!





Yasmina Huckins is a young painter currently based in Brooklyn, New York. She was born in Upstate New York in 1993, and grew up in the home of her Lebanese American family. In 2016, she graduated with a BFA from Pratt Institute in Brooklyn, and since has been working in her studio in Crown Heights. Throughout the past years she has made it her intention not to become static when creating, as her work is inspired by travel and exotic environments. She has worked in places such as Venice, Italy and New South Wales, Australia.


Yasmina’s most recent body of work depicts worlds she desires. She paints abstracted landscapes that have grown from a series of travels through unfamiliar lands. The paintings interpret ecological paradises that dance on the line between fantasy and reality. They are defined by the whimsicality of tropical environments. The series can be seen as a path through a world created by her own wanderlust and vision of the tropical. They embody her oasis away from the concrete jungle of New York. Yasmina dreams of a sultry landscape, pulsing with heat and life. She has fallen in love with her imaginings of Brazil. At Casa Na Ilha she plans to develop her paintings further, while being surrounded by the stage in which her paintings transport their viewers.







I have been a  translator of literature since 1989. I live in Helsinki, Finland, with my youngest son, already 21, and a 14-year-old cat named Salsa. I started as a translator of Spanish and Latin American literature. (That's why the cat is called Salsa, not Samba!) I translated such writers as Antonio Muñoz Molina, Baltazar Gracián, Alejo Carpentier, Eduardo Mendoza, Carlos Ruiz Zafón, Andrés Neuman and Manuel Puig, but after reading The Hour of the Star of Clarice Lispector in English wanted to translate it, and then I studied Portuguese to make it possible. Today I have translated five novels from my favorite writer and work will continue. At first I thought I would translate only Lispector's books, but soon a publisher offered me the novel Nenhum Olhar by the Portuguese writer José Luís Peixoto, today very famous, winner of Oceanos award last year. And now I am in the new disconcerting situation that all the next works are of the Portuguese language. It all started with the translation of a poetry book by Wilmar Silva de Andrade, Estilhaços no Lago de Púrpura, a work that opened the door for the translation of Paulo Lins' novel Cidade de Deus. A few years ago I translated fados for a Finnish fado singer, Kirsi Poutanen. The album is called Amalia Tribute. Now I am working on the novel O Professor of Cristovão Tezza.

Next spring I will make my first trip to Brazil. I will stay in the country of Clarice and Inferninho (a protagonist of Paulo's novel) for two or three months and I think I need a quiet start, a place where I can breathe the Brazilian air first, get used to the weather and the language. The residence in Ilhabela on the coast of the Atlantic Ocean in the exotic nature reserve is an ideal place for the translator who after translating the book of Lins does not have any illusions of the life of a tourist in the streets of the metropolis of Brazil! In addition, the island itself will be a source of inspiration and learning, because descriptions of fauna and flora are very common in literature. I look forward to the walks. In Casa Na Ilha I will apply to the translation of Desde que o samba é samba by Paulo Lins or Um sopro de vida by Clarice Lispector. I will translate the two novels, only the order is unclear. I think it will be the Samba book. I will also continue to point at my notepad. I already started in the summer when I decided to travel to Brazil. Where will this path lead ...

After four weeks I will be ready to go out into the vast world. ”Vasto mundo que me tem, enorme mundo que me abriga, Quem sou eu? Porque razão estou em ti?”First to Sao Paulo to know the literary life of the city and meet my writers and colleagues, then I will travel to Rio and visit the places of the books of Lins and Lispector. The last destination will be Salvador and voluntary work in the charity of the Cidade da Luz. I will work part time in the cities as well.

I am a middle-aged woman with three grown children. Now in my new freedom I feel that I am living the spring of my life again. I love my new freedom.







Katherine Boxall is an artist based in San Francisco, CA. She was born in Ottawa, Canada and grew in a bilingual family, speaking French and English. In 2016, she graduated with a BFA from Queen’s University, including an international exchange at the University of New South Wales Art & Design in 2015.  Currently, Katherine is an MFA candidate at San Francisco Art Institute focusing in painting.  She experiments with dry drawing media, spray paint and oil on a variety of surfaces including textiles. Her paintings deal with the figure, femininity and intimacy. Katherine has exhibited her work in Canada, Australia and the United States.




Quebec, Canada

 Jerome Trudelle, born in 1995, is a multidisciplinary artist working and living in Quebec City, Canada. In 2017, he graduated from Laval University with a Bachelor's degree in Visual and Media Arts. Jerome makes various forms of artistic expression such as video, drawing and painting. However, installation sculpture is currently his medium of choice, working mainly with pure materials such as fabric threads and plaster strips. His sculptures, composed of floating particles in space, are the result of a hooking technique he developed and improved during his college years. Jerome’s artistic proposition deploys around the themes of time, past/present and nostalgia. Starting from philosophical reflections on the concept of the momentary and the perishable, he creates suspended sculptures that seem everlasting yet ephemeral by their fragile appearance. Through his work, the artist attempts to confront people to their own evanescence and to the immensity of their surrounding. The dichotomy between the tiny and the incommensurable governs his artistic vision, both on the formal and reflective level. His intention is to relate and oppose the smaller and the greater phenomena of human existence. Disintegration, immateriality, fragmentation and vagueness are the main guidelines of Jerome’s work. He explores the phenomenon of time in its infinite flow and fatality; he manipulates it, manifests it and magnifies it to finally accept it completely through his artistic process. Of poetic and transcendant nature, his creations aim to recall the value of each moment, place and action in such a precarious universe. Jerome is currently taking a one-year study break to work on his artistic approach and improve his sculptural techniques. To continue his artistic journey, he intends to begin his Master in Visual Arts as soon as next year. The Casa Na Ilha art residency is the perfect occasion to achieve his current goals. He aspires to use his one month residency to connect with other artists and, through exploration, to produce several works which will allow him to develop his creativity while extending his field of creation.





Gaylord Brewer is author of 15 books of poetry, fiction, creative nonfiction, and literary criticism, including the novella Octavius the 1st (Red Hen, 2008), the poetry collection Country of Ghost (Red Hen Press, 2015), the cookbook-memoir The Poet’s Guide to Food, Drink, & Desire (Stephen F. Austin UP, 2015), and most recently a 10th volume of poetry, The Feral Condition (Negative Capability, 2018). Nearly 1000 individual poems have been published in such journals and anthologies as The Bedford Introduction to Literature and Best American Poetry.


Brewer was awarded a Tennessee Arts Commission Individual Artist Fellowship in 2009. He has had numerous international writing residencies—including at Hawthornden Castle (Scotland), the Fundación Valparaíso (Spain), and the Global Arts Village (India)—and has taught in Russia, Kenya, and the Czech Republic. He earned a Ph.D. from Ohio State University and has been a member of the Middle Tennessee State University Department of English since 1993.




Growing up in California has an enormous amount of value in my life. From the way I treat my coastlines, encounter a variety of big cities filled with many different cultures, and through the movements of skateboarding, surfing, and street art. In California I am lucky enough to have been shaped with so much diversity in order to preserve qualities of life that are so challenged in today's forecast. Within each of those aspects, the speed of modern life gives me adrenaline to use creative linework through the culture that I've lived with for many years with confident decision making and control. Obsessed with a variety of fearless application, I also commit to slow the brush and downshift through moments using charcoal, oils, acrylics, graphite, and ink. If I hesitate, the action won't feel genuine because hesitation kills.


Inspired by the optically rebellious artistic attitudes that exist between Futurism, Abstract Expressionism, and even Impressionism, my mixed Native American and Mexican heritage is expressed through primitive mark-making and primordial elements. Imagery redefines direct experiences and real time intimacy. People-watching and unapologetic sexual expression are central to my artistic lust by investigating masculine and feminine interaction. I process real life situations then unleash artistic fascinations through rapid painterly gesture. Now affirming that the world has been enriched by a new form of beauty: the beauty of speed.


I went to California State University, Long Beach for undergraduate BFA in Drawing and Painting, while currently receiving my MFA in Painting at San Francisco Art Institute. From a very observational training in painting to a less graphic and more candid painting process has evolved over the last 5 years. I wanted to make visible the process of searching and essence in every mark accessible in which I cared so much about. Investigative approaches has taught me how to preserve color integrity and understand painting in more of the present moment.


To connect more please visit my website: www.chasenwolcott.com


Or go to my Instagram: @poursauce




Maldive Islands

I'm an imaginative soul inspired by nature. My curiosity to explore and interact with nature grabbed my attention to participate in your Art Residency. The diversity of the Island Illabela will give me a superb chance to see its rainforest, waterfalls, shorelines where I have never been. Additionally on the off chance that I get chosen on this, will be the first occasion to travel to Brazil. I would love to find out more about the Brazilian culture. The main objective of coming to the retreat is for me to collaborate and additionally build up my aptitudes and abilities by working with other innovative personalities. I had been working consistently, during my break this year I chose to travel to a place where I could learn and receive something in return.

During my stay in the house, my idea is to exhibit my Yoga and Art journey in a radical point of view. To Perform an aerial silk sequence by projecting my artworks to the set of postures I demonstrate. I will be developing on a concept and practicing my routine. A blend of both my professions as a creative expression.


I want to remain detached to gadgets and completely concentrate on my venture, tuning into the sound of nature peacefully. Contemplate each morning to get a clearer thought of what I'm going to feature. I trust that taking an interest in your art residency will develop myself as an artist and a performer. Here in Maldives openings are exceptionally limited and at this moment I'm hoping to explore the world to additionally build up my abilities, to share and educate what I can offer. Anticipating for this open door.





Marco Castaneda is an interdisciplinary artist based in San Francisco and Los Angeles. His work deals with migration, constructs of whiteness, and geopolitics. What interests him most is the intersection of the three, and figuring out how to exist in between the established norms   



Patrice is a visual artist whose work is currently focused on mental conceptions of death. She explores these ideas through multimedia pieces involving painting, printmaking, drawing, and sculpture. While abstract, the forms used in her work are inspired by those found in natural environments, a technique left over from a past interest in landscape painting. Though this focus is largely general, the topics explored in her work are deeply personal and are a method of understanding herself and exploring her own relationship to spirituality. She also views artmaking as a therapeutical process, as her art is shaped by other issues she encounters throughout life, both positive and negative. Overall, she intends to use her artwork to reflect larger patterns of grieving, healing, and rebuilding in the face of the knowledge of our imminent demises. Her work at Casa Na Ilha will take a similar form, though with a higher emphasis on the bodily experiences involved in this holding this knowledge.


Patrice grew up in Connecticut and currently attends Oberlin College in Ohio. She will graduate in May of 2018 with her bachelors in studio art and psychology.




marjolijn kok and line kramer form the collective called THE KOKRA FAMILY. Their project starts from a marriage of two artists and develops into a social critical body. “Being a same-sex couple, working both on our own oeuvres, it has become increasingly important for us to make work together.” This work has its roots in family structures, at the same time they are interested in more theoretical topics in art at large, such as the ways of representation. Being aware that we are a representation of ourselves, they are keen on researching how or what representation is. They look forward to participate in Casa Na Ilha since they have found that their cooperation have benefited from residencies as we are not distracted by everyday issues.

Their research into the concept of family encompasses:

- the material culture of a family: by making inventories of households or map houses.

- gender related issues such as patriarchy and queer families.

- family cultures; specific ways doing or of representation.

- family histories, embedded in photographs and stories.

- artificial families, or communes, collaborations, political bodies (inclusion).

- the non-family (exclusion).

They have been working as artists in residency on Fogo Island where they spent a lot of time being open and hospitable to the communities, they gave lectures at the school and their studio was always open for everyone. They still nurture their contacts with the local people. On Fogo Island they focussed on inclusion and exclusion, culminating in our work 'The Pink Gaze'. On Iceland they investigated a remote area where five generations of a family had stored their belongings in a large barn.

During the Casa Na Ilha residency they would like to research the family in a post-colonial context. The influence of European and African culture on the native culture and the dynamics involved in these mingling will be a rich source for their work. But also the effects of tourism on family structures and the organization of space is of interest.

“Contact with the native community of Caicaras, could be a big step for us into new concepts of ‘family-hood’. The language barrier is interesting, being artist we work with ‘visuals’: codes and notations that are based on visual information. Anything that surpasses language in communication is a focal point.”

In their research they are not objectively zooming in on people’s lives. “We are artist who collaborate and forge relations through interest and respect, while opening up new views. Results could be anything from a song to a film or an artwork but also a classic art-show is, of course, always a good stage for interdisciplinary and social engagement.”

line kramer states “My life unfolds while I make art or facilitate others to make art, this simultaneity tells me that what I do is not about anything but is something, like a life itself is something. The course of the time and of my life is the only process that I want and can appoint. There are no other projects or other processes, there are no other issues no artificial time limits. I promise myself here: I won’t come up with, nor won’t I fake any other topics, projects or concepts; everything I make flows from me. All the real issues are my characteristics, this in my time, surrounded by my experience and my social embedment. My social awareness that wants to express: you are not alone, that living means other people shape me, I shape them.
The only thing that really interests me is how to develop as a human, a viewer, a thinker, a creator, the social I, while we all continue to be unpredictable. I pull myself out of the "artificial art world” with its laws of time, age and successes, contests, comparisons and financial structures, all processes with a huge negative impact on the art itself and honesty”

For over ten years marjolijn kok worked at the University of Amsterdam as a theoretical archaeologist. Not satisfied with the way academic work became more constrained, she started her own company Bureau Archeologie en Toekomst (archaeology and future), to focus on contemporary archaeology and art. marjolijn did participatory research on Occupy Rotterdam. In the last 4 years she has been working as an artist. She does not limit herself to a specific medium, but collages, digital drawings, collecting, photography and video are her main tools. In her work is keen on the aporetic turn of reclaiming historical traces and turning them into contemporary actions. Her work involves long term projects and events that focus on the connections between and the perceptions of people and their material context.






Vancouver, Canada


I’m the owner of Body Mind Spirit Business & Life Coaching. I support people to break through fear and limiting beliefs by clearing the clutter of the mind, using simple techniques that have immediate and powerful impact.


I’m also the co-founder of Yoga Vacations, providing a safe space for people to explore their inner world through yoga, while traveling to beautiful destinations.


My own journey into yoga, which began twenty years ago, has taken me around the world many times and sparked my passion to give back. I’m a proud board member of Helping Hands for India, formed by a group of yoga teachers, who have built a school in northern India, providing free education to almost 300 children.


Incorporating mindfulness and meditation into my own life has been essential to my well being when navigating life’s events. I’ve shared my story to inspire others, who are craving something more out of life, in my first book “Life Reboot – An Inner Wisdom Guide To Finding Your Passion And Purpose. “


I’m taking time out for myself at Casa Na Ilha to refine my ideas, dive deeper into self and to work on my second book. The working title is ‘God and me’.


At the root my next book is about exploring my connection with and perception of God. I will revisit my childhood, being raised in a non-religious household, and how my experience of God has changed over the years of my life.


I am interested to connect with people of different cultural, religious and spiritual backgrounds, so I may research and incorporate some of their stories directly into my book. I am particularly interested in learning more about the native community of the island, the Caicaras. I would like to know how their spirituality helps them amidst changing times, as they are at risk of losing their way of life of living off the land.


I’m an avid photographer and I look forward to taking lots of photos during my stay too!


A portion of all my creative works goes to charity.


To connect with me, visit http://body-mind-spirit-coach.com/






Tucker Hollingsworth (b. Boston 1984) is a conceptual photographer. His photos have been described by photography curator Patricia Briggs as “memorable and eye- grabbing.” In the past year he has completed residencies at SFAI (Santa Fe, NM), Opus House (Truchas, NM), Fundacion Valparaiso (Mojacar, Spain), VCCA (Amherst, VA). He is a two-time McKnight Visual Artist finalist. In 2011 Mr. Hollingsworth received his second Jerome Foundation Emerging Artist Residency at Tofte Lake Center (Winton, MN) as well as an Artist Initiative grant from MSAB. Mr. Hollingsworth has been a recipient of fellowships at the Virginia Center for the Creative Arts (Amherst, VA), The Ragdale Foundation (Chicago, IL), and has been in residency at Lanesboro Arts Center (Lanesboro, MN) and MacDowell Arts Colony (Peterborough, NH). Prior to a full-time artist practice, Mr. Hollingsworth was a productions staff photographer at the Guthrie Theater (Minneapolis, MN) and Stratford Shakespeare Festival (Stratford, Ontario).




Paula Lifschitz is a visual artist living in Buenos Aires. She grew up in Texas, and got a Bachelor of Arts degree from the University of Pennsylvania in art history. She has had many art shows in New York, San Francisco and Buenos Aires.  She focuses her art on drawing and painting, and she enjoys exploring the effects of mixed media on traditional canvas.

For Paula, art is playful; art is fun. When she paints, she flourishes in the world of color. She creates a new reality, transposing the real world onto the canvas in vibrant colors that have nothing to do with the dull world of “reality”. She paints to express her inner being, to make the world a better place, in her own way. Her creative process has emerged like a child growing up; as if she has turned the mirror away from herself to reflect the world at large, which she then paints.

Her creative process is constantly drawing inspiration from the world around her, which is why the residency at Casa Na Ilha will be such an amazing experience.  She has recently focused her work on exploring the beauty of natural landscapes.  In the city of Buenos Aires she has limited real world inspiration in her surroundings, but the month she will spend in Brazil will give her an abundance of material to paint.

            The city exhausts the people who live there, running around frantically in the day to day chaos of the world. One becomes nervous, stressed, and unhappy in the hectic environment of city life.  Urbanization doesn’t provide its residents with a lot of landscapes, green spaces, or peaceful retreats where people can easily rest from their busy lives.  People seek out these peaceful, majestic places in remote, scenic places that aren’t usually easily accessible retreats.  During this residency, I am going to disconnect myself from the crowded, busy daily routine of city life and enjoy the beautiful terrain of Ilhabela. I am going to paint landscapes and people, in situ, and really allow the natural world to show me its beauty, peacefully and graciously.  My art is going to reflect the inner harmony and peace I know this residency will bring me. 





Los Angeles – U.S.A


Charles Papillo was born in 1986 into an Italian American family in Boston, Massachusetts, in the United States of America.  From a young age, he was constantly performing, sculpting with random material and creating invented worlds for himself and others.  He moved to New York City at the age of 18 and attended Parsons the New School for Design where he received a BFA in Fine Arts in 2008.  During that time, he travelled around Europe, Ecuador, and North America and also attended Hellenic International Studies in the Arts in Paros, Greece.  Post-graduation, he attended a handful of artist residencies within Spain, but ended up settling in San Francisco, California by late 2009.  He recently moved to Los Angeles last year and has continued to work on large scale de-collage drawings, “The Book” (hand-made stream of consciousness books) and new video work pertaining to the human body, movement, identity and ritual.  Articulated concisely within his artist’s statement:


Taking things - both living and inanimate - out of a particular context yields a new and sometimes ambiguous identity; a palimpsest of the former self remains.  

My work is a ritual that is presented through imagery and through space, and the resulting conversation within this territory.  



U.S.A – South Korea


I take photographs. I am inspired by stillness, nature, music, relationships and the complexity of everyday life. I am an art educator and a yoga teacher. I am interested in the spiritual, meditation, ritual and prayer. In my time in Brazil, I plan to document the magical vibrations of the Brazilian jungle. My response will focus on my direct relationship to my surroundings, through meditative practice, visceral sensation and spirit guidance. Nature has the capacity to enchant and reveal deep truths and healing wisdom within us. It is my goal to listen to this communication and create photographic stories. I hope my proposed body of work will reveal a sense of love, nurture and light.

My background is in painting, photography, education and dance. I studied at Black Hills State University in Spearfish South Dakota, Herron School of Art in Indianapolis, Indiana and received my Art Education K12 teaching license as well as Master in Art Curriculum at Indiana University in Bloomington, Indiana. I am passionate about the creative process being a source of healing and therapy for all people. I have been a yoga practitioner for the past 15 years and consider my practice a critical part of my growth and experience in life. Currently, I live and work in Jeju Island, South Korea and have been here for the past 5 years.






 Anaka truly believes that the way to heal the Self from the abuse of the colonized world is to (re)connect with nature. This provides a space to remember the natural flow of time, space and resources.  During her stay in Casa Na Ilha, she wants to feel the direct connection to the nature of Brazil.  She wishes that the literal healing properties of the land will bring the infinite knowledge into her art.

´I plan to heal my body, mind and spirit by absorbing this wisdom and giving back what I can to the Earth protectors of Caicaras. I plan to give back through many mediums of intuitive, natural creation including dance, gardening, visual art, installation, photography & film documentation and zine curation´

Anaka is an active storyteller with the mission to protect the Earth and learn from as many beings she can along the way. In 2012 she began Imagery is Infinite™ Archives, which serves to document the conscious artistic movements around the world in areas that have been colonized. She is a professional photographer and filmmaker. During her time in undergrad from 2012-2016 in Los Angeles she was working in the entertainment industry and the underground conscious artist movements. She curates Silient Zine, which archives the work of artists she meets creating from the Source (rather than being an artist in order to oversaturate the media waves).

She spent the past six months in Cape Town, South Africa working as an archival documenter of the underground arts scene there. During these six months she collaborated with many artists who are pushing consciousness within their work, including Tony Gum for her exhibition in this year's Art Basel Miami.

This May she will finish a documentary she is organizing with 8 other artists of colour from the USA & South Africa by collaborating with artists in a Northern region of Uganda called the Oyam District. This collaboration between artists from colonized countries and artists in a place healing from recent genocide (at the hands of Joseph Kony & the Lord’s Resistance Army) serves to create a whole new type of documentary where the subject and the creators are the same.

Besides doing projects such as these, she is developing her own forms of movement meditation and also find tranquility within the art of collage. She enjoys making murals out of collage work and also encouraging movement within the public space as a healing process. She is  on the quest to re-learn my ancestral knowledge through artistic channeling.


http:// Anaka.work


United Kingdom

Rachel and Hannah project for Casa Na Ilha is to work together in their project called LUNA SOLACE. Both artists wish to engage in new ways of combining fashion illustration & poetry.

The collaboration of the two artists, is however, not restrained to one medium.  As a collaboration, experiments with form include; short film making, photography & other innovative ways of communicating artistic expression to a greater audience as possible.

LUNA SOLACE as a collective artistic movement, wishes to push the boundaries within the arts. Neither artists restrict themselves to one form of creative expression & hope that by combining their skills, can merge & intertwine, numerous artistic projects.

Rachel, who goes by the pen name Sia Jane Lloyd, has an academic background in culture, communication and psychology, with a profound and prolonged interest in human relationships and the human mind, psychological wounds and their healings. Sia Jane is currently working on her second book due for release in 2017, whilst also completing her MA in Creative Writing. She recently began collaborating artistically with Westminster fashion student Gia D'Arcadia, working on LUNA Solace.
Gia is currently in her third year of study in Fashion Design and, as part of her degree course is on a year in industry, currently working in Stockholm. This year for her is about having the time to develop her own artistic skills both in Fashion and Art and to expand her capabilities and achieve full focus. With that in mind, Gia wanted to take the time to pursue her collaboration on LUNA Solace.
Neither artists have had the opportunity to dedicate themselves solely to their creative work, certainly not immersing themselves in the ways Casa Na Ilha will allow.
They both believe their time in Casa Na Ilha  will not only allow them the chance to spend one to one time together developing ideas, but also the chance to work alongside other artists who are devoting themselves to the same work.
They are seeking for attending Casa De Ilha residency to take advantage of being on an island, where true silence and solitude will enable productive creative engagement.
Both artists are avid travellers, and show a deep-seated interest in differing cultures, languages and ways of living. 

“Gia and I truly want to find our own voice within the arts. We want to do this as independent artists and as a collaboration. The beginning of LUNA SOLACE came from a mutual love and passion for the arts, most notably writing and fashion.

At its core LUNA SOLACE is two young emerging artists trying to find a voice in the world. By enlisting the help of fellow artists and peers, engaging with the tutoring staff available, and a lot of hard work and dedication, we hope to be able to make something we dreamed of into a reality.”




United Kingdom

Jack is involved in Poetry Documentary. Jack´s idea is working with Caicara´s community in the island. He wants to introduce poetry to them and teach them how to express their feelings and thoughts in poetic form. He is then going to use the poetry they've written as a narration for a documentary. He feels it is a way of educating people in art as well as giving them ownership of a project.

Jack lives in Copenhagen. He  has been producing documentaries and art films for around nine years. His feature-length documentary The Man Who Prints Houses has been shown at a number of international festivals, as well as being broadcast on Italian television. His short poetry film Ten Thousand Things was shown at the Body Electric Festival in Colorado, and Cyclop festival in Kiev. He has frequently collaborated with poets Isobel Dixon, Simon Barraclough and Chris McCabe, and musician Oli Barrett on projects such as Shad Thames, Broken Wharf at the London Word Festival, Doppelgänger at King’s Place, and The Debris Field, a live 45-minute poetry/film experience first shown at the BFI. In 2014, Jack’s poetry film Photon – part of a new collaboration entitled Sunspots – was nominated for best film at the Zebra Poetry Film Festival in Berlin. 




With my colour design work I am creating colour concepts for public buildings as schools, hospitals, senior residencys, kindergardens, offices etc. The design is aimed to suit the people who are spending a lot of time inside the building, so as a consequence their health is improving, they are feeling more happy, because they are in an environment they like and feel comfortable with, and it is also improving their working capacities. Currently I am doing research about showing that people feel much better in naturally coloured environments. Painting During the process of painting it is important to me to advance to the essence of the painting I am working on. From this a specifc colouring or ambiance accrues. By conceiving the energy of a certain person / situation / object / space a kind of translation process is taking place in which this kind of energy is being transferred into a visual expression of colour and form. This can embody both figurative and purely abstract elements. During the process of painting something autonomous is emerging. As the painting is developping it is getting more and more complex. It is obtaining its specifc character. In this way both multilayeredness and visual depth emerge. This is being intensifed through synaesthetic references; the chime of a certain colour is playing an important role to this. Thematically the painting refers to the installation work, only the way of expression is being different. It is a matter of the connection between inside and outside space, the movements in-between. A movement that flows, becomes firm, and again dissolves. In my latest series reflections I am working with traces that light is leaving behind on certain surfaces, in certain surroundings and the ambiance which is created through this. In my Installation work I am dealing with the tension between inside and outside space. Creating the inside spaces I am using predominantly semi-transparent fabric, mainly silk. The outer shape of the sewed spaces depends on the site or is to be seen in relation to it. I like collaborating with other artists, musicians and choreographers, since there is a strong connection between colour, form, space, sound, light and movement. One can relate to the other or be transferred into one another. My sewed silk spaces can be seen as site-specifc work in which maybe another artist can produce an appropriate sound work or movement. A choreographical interpretation or interference could also be possible. Site and light are important factors of my work.


During my stay at Casa Na Ilha I would like to forward two things in particular. One is more directed towards the outside, the other one towards the inside. Talking about the so called outside first: I want to be working on colour concepts for schools and hospitals in particular. The aim behind is to serve health and wellbeing of children and people who are ill. I am deeply convinced that the surrounding environment is having a great impact on people and a bad environment can do much damage. In addition to this I would like to contribute to the wellbeing of the people who are living nearby. This could be very interesting I think. The more introspective part of my stay would be about art. I would like to develop my painting and installation work in a place where I will be surrounded by nature and where I will be free of every-day-life-distractions. Being in an intercultural and interdisciplinary environment will enable me to exchange and share my ideas with others which I would highly appreciate. Short Biography _Fine Art studies: Karlsruhe (GER), Akademie der Bildenden Kunste, painting class Prof. Max G. Kaminski Berlin (GER), Hochschule der Kunste, painting class Prof. Lemke Brussels (B), Académie Royale des Beaux-Arts Glasgow (UK), Glasgow School of Art _ scholarships: Glasgow (UK), Barcelone (S), Landau (GER) _ personal assistant of Marina Abramovic, Madrid, 1992



Elena Boni was born in Latina in 1972, grew up in Switzerland and completed her studies in Turin. She lives and works in Rome. Her works explores various artistic techniques and forms such as drawing, painting, installation, performance video and design. She has worked in site specific planning and re contextualization of objects, a project concept of interior design in Russia. She has also worked for several years as an art director for cultural and artistic events within projects to assist the mentally disturbed. It was her most recent experience in Tanzania, Vietnam and Madagascar.

She draws inspiration from nature and how it affects her. “My     work often starts witha specific object and gradually evolves into an entire space, evoking a larger story or narrative. One of my recentworksconcerns processes of personal rebirth .I began by painting large fabric panels and hanging them in a room. The images represented drew on scenery to Tanzania and Brazil, were the works were partially realized, before being exhibited in Rome. In addition to the visual element, the sound of a heartbeat resonated throughout the space, together with a more elaborate soundscape designed specifically for the occasion”                 

Elena aims to completely immerse in the environment during her time in Casa Na Ilha, in order to create an installation with materials found in and around the house and its environs.






 DeShawn is interested in representations of the feminine divine as expressed in non- Western and Western societies. His project will explore the human-divine relationship by producing and researching images of God as the Great Mother, after the art historian Meinard Craighead.  In particular he hopes to produce several small oil paintings depicting black Madonna as protector of the Earth. 

‘By interacting with decedents of the indigenous population of llhabela, I hope to “absorb” the energy of the people and the island so as to transfer it into my paintings. This process might be described as a form of cathexis.’  Freud defined cathexis as the concentration of emotional and mental energy within an object, person or idea.

Arguably, the Earth has passed judgment on Western capitalistic society. Numerous biologist and conservationist agree that industrial capitalism has caused Earth to enter the ‘Sixth Great Mass Extinction’ of all flora and fauna. Along similar lines, the methods and values of neo-capitalism threaten the Caicaras people as well as the Atlantic rain forest. He wishes to objectify beauty and trauma, the intersection of spirituality and Western Imperialism. 

He lives and works in Brooklyn, New York.  






Hayden practice and thinking is motivated by the environmental and spiritual crisis that are increasingly apparent in the contemporary moment. This has formed the bais of his practice over the past fifteen years, and is evidenced in his work. ‘ The  ongoing problematic in my work  has been around developing increasingly succinct ways of poetically visualizing the power structures acting against nature and humanity, including            exploring the grief and mourning as responses to destruction and loss. However, he I have been driven to exploring the hope that remains in the spiritual and intimate relationships between humanity and the natural world.’

Hayden is  at an important juncture in his practice and thinking, where he wants to shift further towards an articulation of nature-based or animist spirituality, exploring and positioning this as a positive, cultural and future alternative, and as a means to developing work that explores alternative modes of being and thinking. The creating work with further potential to subvert and acts in opposition to the status quo.

Hayden has spent several months in Central and South America. Most of the time exploring Mayan and Inca ruins and in the jungle. This was a profound experience with deep effects on his practice and himself, and he has continued to be driven to return and continue relationships with Latin America, the environment, indigenous history, spiritual practices and philosophy.  

He has been commissioned to present new work at the Adelaide Biennale in Australia. The research and work he would undertake in Casa Na Ilha will be leading towards the development and production of this new work.            


Hayden Fowler is a New Zealand born Artist, based in Sydney, Australia. He holds a Master of Fine Arts degree from the University of New South Wales Art & Design (formerly COFA) in Sydney, as well as an earlier degree in Biology.

Fowler's methodology involves the construction of elaborate sets in which he choreographs human and animal subjects, creating hyper-real video, photographic, installation and performance work from within these fictional spaces.

Fowler has exhibited nationally and internationally and his work is held in a number of public and private collections. He is a previous recipient of the Samstag International Visual Arts Scholarship, undertaking his year of study abroad at the Universitat der Kunst in Berlin, Germany.

He lectures in Fine Arts studio at UNSW Art & Design and at the University of Wollongong.







My career as an environmental analyst has long mirrored my love affair with nature and my desire to capture beautiful moments observed outdoors and in my travels.  Though not formally trained in art, I have taken many classes and workshops, sometimes in other countries, to enrich my repertoire of techniques.  Although most at ease with oil paint, I also enjoy using water color  I am also a proficient fused glass artist, and have had a fair body of work represented in galleries and shows. The challenge of transforming the cold hard properties of glass into light-filled sparkling landscapes and sea escapes is a fascination for me. Over and over, I find myself drawn to images of water - ocean waves, waterfalls, lake reflections and refractions.  This theme recurs in much of my work in all the media in which I work.  


During my time in Casa Na Ilha,  I would like to pursue a project that I will call "Waters of the World."  Using oil paint, and perhaps water color and mixed media, I would like to explore the creation of different water environments around our planet.  I want to try to capture the mood and spirit of the selected places so that they will reveal my love and admiration for these locales.  I hope to discover something new and engaging about the waters of Brazil and in your nature reserve.




Point forms, Guide lines — News from within


The work I want to carry out in the Casa Na Ilha residency is part of a broad project that I intend to develop in several countries that share similar although distinctive topological characteristics – the sea, mountains, a rich fauna, flora and mineral environment – and mixed communities living on the land, forming a complex ecosystem.


Concrete speculation is a tool of the imagination that can allow us to go beyond our human limitations, to make a walking/awaking dream happen. With the Point forms, Guide lines — News from within project, I want to create context-specific pieces that are inspired by modes of existence I encountered in the last two years, which I believe offer perspectives to escape the anthropocentric, capitalist and colonial paradigms. I am very concerned about how these mindsets and systems are dividing and harming the living creatures – human, animal, mineral, botanical, aquatic and the other existing things –, inside and outside. In response to feelings of sorrow emerged the need to understand their global damaging effects from a very local, immersive and introspective point of view.


For the Casa Na Ilha residency, I want to invite the Ilhabela Island’s communities, including the Caicara – I am especially interested in learning about the Caicaras’ way of living, thinking, know-how and beliefs –, to contribute to the work by anonymously dropping off written lines in an amphora, related to a particular guidance. Although writing will play an important role within this piece, it won’t be visible in the final form. I think of the work’s material form as a concentration of matters, an inscribed presence. A flow, a wave. A wavelength. I would like the piece to be crafted by a local artist or artisan, and I plan to collaborate with her/him to develop a form that would embody the words others have offered. As this work will emerge, I will start the composition of a book by sounding out the vibrant textures of the Island. Each piece of the whole project will be an integral part of this Pavilion book – carrying several meanings of the pavilion concept – that will form an extended organ.


Over the past twelve years, from writing about art, I’ve gradually moved toward writing with art, in a post-critique perspective and a more experimental way, anchored in acoustic paradigm and more recently in deep listening practices. For me, writing is a medium of attention, a work of time, a form-giving apparatus. Words matter. So is the language, a sphere holding a meadow of possible meanings with concrete imprints. This awareness comes with a necessary constant vigilance. Point forms, Guide lines — News from within is a body of decolonial thoughts and gestures aimed at transformation – one encounter, one line, one layer, one crystallization at a time. I believe this process can change the plasticity of the mind, inner and ultimately outside matter. It starts with me but it is deeply rooted in the common. The project is also informed by Boris Groys’ argument for “the obligation to self-design.” This obligation is, indeed, the lineament of my archi-textural framework, my small contribution to initiate a tonal shift, working with what is at my finger tips, with the conviction that power exists within individual and collective minor actions, on a molecular scale. I hope the pieces and book created through the series of residencies will form vibrant points of resonance, a sound field leaking through the world and forming a syncretic continent with no border or owned land. If “there’s more to listening than meets the ear,” with writing there is more than meets the eye.


Image Credit : Collage by Louise Branchu, amplified. Courtesy of the artist.





Maca Yanez wants to create new work in her stay in Ilhabela. She works with collage techniques, on murals, installations and street art.

She has a BFA from the University of Chile and a MA from Central Saint Martins – University of the Arts London.

She explore ideas associated with urban existence and the ‘concrete jungle’ where the metropolitan condition implies that people have lost their essential connection to nature. The ultra-modern environment and the timelessness of her work provokes a clash between space and time. Genres of human stereotypes of a bygone era are mixed in the printed paper with birds, plants, and female characters, together creating a surreal and fictional world with an illogical use of scale.  Nature is taking a stand. These utopian characters take on anthropomorphic form and enact narratives which remind us of scenes taken from our daily lives. 




Marni's vibrant watercolors represent her love for drawing, desire to create beauty and her inner joy. Her favorite subjects to paint are flowers, camels and scenes from her travels to the American West, Europe and Haiti. Marni never travels without her sketchbook and mini painting supplies and is always ready to capture the spirit of the various cultures.

Marni teaches International Workshops in Laroque des Alberes, France (2014, 2015 and 2016), a Caribbean Cruise Workshop in January 2017 and Tuscany in June 2017. She also teaches Watercolor and Drawing at the Workhouse Arts Center (Lorton, VA), The Loft Art Center (Occoquan, VA), Green Spring Gardens (Alexandria, VA), as well as private students in her studio (Springfield, VA).  Her monthly Art Feast Watercolor Workshop is very popular with beginners as well as more experienced painters because Marni teaches the thrilling and surprising things that watercolor can do as well as provide a safe place to experiment and be creative with positive encouragement from Marni and the other students. Marni coordinates the Enrichment Program at Village of Hope School, Ganthier, in Haiti with www.villageofhopehaiti.org where she teaches Art classes every summer since 2007 to children ages 10 - 18 along with 14 other American and Haitian teachers of various hands on skills. As you might be able to tell, Marni loves to teach almost as much as she loves to paint.


Marni was an Artist in Residence in Dinan, France for the month of November 2016 where she focused on painting the town and surrounding areas. She has a solo exhibit at the Workhouse in April 2017 with all of the paintings created while in France and or inspired by her travels through France.

Marni earned her BFA from Moore College of Art and Design in Philadelphia, PA. She worked as a freelance graphic artist after graduating but gradually transitioned to colored pencil and then to watercolors. Her primary medium is watercolor but she changes the surface on which she paints from paper to yupo (a slick plastic surface) to masa (rice paper), and canvas. Since watercolor acts different on each surface it is almost like changing mediums and the thrill of not knowing just what will happen makes each painting exciting.

Marni has a studio and exhibits continuously at the Workhouse Arts Center in Lorton, VA, participates in local group shows and has had a solo show about once a year for the past 17 years. She has won numerous awards for her watercolors.

Marni also has a studio at the Loft Art Center in Occoquan, VA. She is a member of the Springfield Art Guild, National Watercolor Society and the Potomac Valley Watercolorists, a juried organization of professional watercolorists.



United Kingdom

Having resided and worked creatively in London and Europe for over 15 years, Ben is in an inventive time in his artistic practice. He is looking for an experience that would offer a beautiful environment to reflect as well as the opportunity to engage with the local community to help kick start a new body of work. During his stay at Casa Na Ilha, he is interested in forming local bonds with the surrounding community and local people of Ilhabela to create new portrait work that will convey the local stories and natural environment. He wants to explore many themes through the narrative of each work with local people as models and celebrated characters of each piece.

Ben H. Summers is a London based figurative painter and multimedia artist. After graduating from the Slade School of Fine Art in 2003, Ben diversified his creative career working in Youth Arts Education, music promotion and commercial Illustration, before reigniting a full time art practice in 2010 under a new creative alias. With painting as the predominant discipline, Ben’s work channels a prevailing fascination in documenting human identity in relation to ancestry and social constructs. An anthropological foundation, formed from personal experience is a thread in the work, which seeks to question our innate relationship in the present day. The developing body of work is quietly provocative with consistent references to cultural integration and the experiences of living in diverse communities. Summers draws from a hybrid of first hand encounters with people, friends and family which are routed in conversation. These revered centre pieces, accompanied by imaginary characters, cinematic references and childlike symbolism bestow a highly layered approach to art production.







Kate have travelled extensively throughout Iceland, Australia and the Southwest of the United States. It is very important to her to immerse in these natural environments. She has worked both with rural and urban indigenous people of Australia in teaching and workshops. Her paintings are inspired by the many amazing landscapes she has travelled to and paintings deal with the paradox inherent in our relationship to the natural environment – one fraught with awe and fear, closeness and distance, creation and destruction.  Formed out of poured paint and collage techniques her landscapes capture the transcendent beauty of nature. The swirls of acrylic acrylic paint, ink, glitters and powders mimic the flow of natural processes. Through this she is seeking to illuminate the brutal beauty and the overwhelming magnificence of nature as well as its minute details. Yet beneath these psychedelic natural scenes one can find hints of pollution and artificiality, inducing both wonder and discomfort. This intersection of creation and corruption in her alchemical creations teases out our conflicted relationship to the natural world. She has also created videos that work with macro/micro relationships and how the paint flows mimic this.

During her stay in Casa Na Ilha, she plans to explore and document the natural environment and particularly exploring connection between humans and nature. 

Kate Shaw is an Australian artist living between Melbourne and New York.  She has had solo exhibitions in Hong Kong, New York, San Francisco, London and throughout Australia.  She has exhibited internationally in Berlin, Beijing, Shanghai, Los Angeles, London, New York, Paris, Reykjavik, San Francisco and Tokyo in both private galleries and public museums including MOCA Taipei and POSCO Seoul.

Kate Shaw has been the recipient of numerous grants and residencies, including the Australian Council 2015, New York and SIM, Iceland in 2013.  She has been shortlisted for over 30 prizes, including the Prudential Eye Award 2015, Saatchi Gallery, London and won Artists Wanted 2011, Scope, New York. 

Recent publications including her work are Spectrum Index Book, Barcelona, 2013; Super Lux: Smart Light Art, by Davina Jackson, Thames and Hudson 2015 and The Macquarie Group Collection: The Land and Its Psyche, University of NSW, Sydney, 2013. She has collaborated with Urban Art Projects on large-scale murals in Sydney (2014) and Brisbane (2010).  Her work is held in private collections in USA, Hong Kong, France and Korea as well as corporate and museum collections in Australia.






´The goal of my art and my music is to convey the experiences of communities and environments being threatened or abused by colonialism and mass industrialization (as I am from such a community in the United States). My art strives to promote ways to heal and protect one's self and environment from the many abuses of the colonized world. Further, it attempts to encourage people to get more intimate with the art and nature around them, and their spiritual journey. I explore all these themes through photography, collage, music, and performance art.

I want to come to Casa Na Ilha to connect with the powerful nature (such as in Parque Estadual Ilhabela) and interact with the Caicaras people and learn from their experiences in the face of colonialism, mass industrialization and the many threats these forces have imposed upon their lands and way of life. I believe the insight and resilience of these people and the depth of the nature in Brazil will inform my art and life in limitless ways. In return, I wish to use my visual and performance art in intuitive ways to support the people, local organizations and environment in the area.


Beyond this I hope to learn new styles of music and blend them with my own musical style in hopes of creating new forms of music for healing and meditation. I also believe it will influence my songwriting in profound ways. Most of my songs with vocals are written with the intent of raising awareness about issues I feel connected to and promoting resilience in the face of oppression.´



Simbala was always interested in African and Indigenous arts, music and cultures. She grew up in San Francisco, CA and was been able to witness the fruition of many large masterpieces. While in Casa na Ilha, she wants to dive deep into her art.  She wants to create more large hand painted tapestries and to participate in the painting of a mural.Her art has always reflected her love for music and people. She would also like to create pieces that are inspired by the surrounding environment and culture at Ilhabela.

She feels passion about painting and she wants to pursue her way in art

She is currently developing an online shop that I will soon be opening and its her ambition to expand this shop into an interactive artists hub encouraging independence and growth for the team.




Global issues constantly inspire Tiera artistic endeavors. Currently, the most pressing of these issues is the increase in our global population that has subsequently led to slum in developing countries. The favelas of Sao Paulo are an example of this exponential growth and accompanying housing crisis.  She believes the solution to this issue lies in the structural reform of slum communities: which is the core of my proposed project.

Her plan is to combine her academic knowledge of environmental science and architecture with my creative, artistic spirit to begin to develop a sustainable and cost effective architectural design for the rehabilitation of slums and slum dwellings. Her  goal is to primarily use Sao Paulo’s favelas as an example to build my models from. I plan to also conduct research into other similar communities, such as the townships of South Africa. Her proposed product from this project are architectural remodels of slum dwellings that will not only improve the visual aspect of slum communities, but the sustainability, safety, and the overall quality of these homes. 

During her childhood, she constantly migrated: living in Atlanta, Georgia; Houston, Texas; Nassau, the Bahamas; and Cape Town, South Africa. Throughout this time she have stayed engaged in both her community and the arts, consistently volunteering and winning regional arts beginning in the second grade, respectively. “Time in each of these cities have shaped me greatly and have provided me with a plethora of experiences that continues to influence my artistic career.”

She has had work experience at the National Art Gallery of the Bahamas and the High Museum of Art in Atlanta, during her teenage years. Her resume also boasts being the executive producer of TEDx Nassau, the first talk of its kind in the Bahamas. Her visual art pieces are often seen as eclectic, diverse, and provoking. They are commonly pieces of social commentary: fixated on speaking about the issues we face as local and global populations.

Her most recent achievements in the arts field include completing the International Baccalaureate Visual Arts Higher Level course and she is currently studying towards a Bachelor of Arts in Environmental Science with concentrations in architectural studies and global development at Emory University in Atlanta, Georgia.





Patti Shields is a 28 year old artist and yogi. From an early age, Patti has used art to express her own experiences and interpret the world around her. She has worked in the mediums of graphic art, music production, drawing, painting and some ceramic and sculptural arts. In addition to the arts, Patti is an enthusiastic environmentalist and animal lover. She recently joined Rios Nete/Amazon Learning to work with local tribes in the Amazon documenting medicinal plants and reforesting plots of jungle land that have been logged or farmed for cash-crops. Much of Patti's art is motivated by her passion and connection to the natural world. Patti resides in Western Massachusetts during most of the year where she teaches yoga, practices Vipassana meditation, DJ's, studies herbalism, & rides horses within the local community. At the age of 16, Patti lived in Ecuador for an exchange semester.  She has traveled independently to Brazil, Peru, Mexico, Costa Rica, Nicaragua, DR, PR and Spain. She has a passion for experiencing the culture and history in Latin American countries and how it's expressed through the arts.
“ Art is a powerful and non-violent way to protest and create change. I have been witness to individuals widening their understanding of human impact on the natural & social world as a result of discussing art. All of my recent work is devoted to creating discussions around the biggest environmental issues, which are inextricably related to many of our biggest social issues.”

Patty intends to use her time in Casa Na Ilha  to develop a series to create dialogue between people and the earth. The works she finishes during her residency will later be transformed into  'art products'-- prints, apparel, and other sellable items. The net proceeds of these products will go towards her larger goal of creating a land trust that purchases jungle land and protects indigenous communities. In addition to creating 'fine art', she will be developing and documenting the art of plant medicinals. In this project, she hopes to work with members of the local community  to cultivate native plant species and explore how they use art to connect with the world around them. “ 

Patty is also going to conduct a series of works in the house garden, including a medical garden development as well as the improvement in the maintenance and expansion  of the actual organic garden as well as conducting a fermentation workshop.

In preparation for an exhibit in December, Patty will have finished 6-10 pieces in the series reflecting "human impact on the planet". She is  also exploring the feminine experience through cubism. 




Tasha is working on a long-term project: DRINKING FROM THE SAME SOURCE, conceived in response to the water crises. The project will be developed as a series of interventions and VR 360 video installations that combine living systems, clean water technologies based on nature, and art objects related to the Anthropocene.

She is developing ways of working with art to support vulnerable communities gain and retain their rights to clean water.

The duration of the project is 2 months, with a possibility of adding a third month to finalize video editing.

Drinking from the Same Source is a series of interventions and video installations responding to the growing scarcity of freshwater sources. The work exists as ephemeral interventions in remote locations, presented to a larger public as 360 video or VR installations in public spaces and on the web. She envisions this new work to serve an ecological function as well as existing as a work of art. Each intervention shows the impact of even a small source of clean water has on a polluted area and raises attention to water issues in remote communities. She hopes to create a space that can reflect the simplicity of a growing movement of small community based solutions to replace the adverse impacts of the Anthropocene.

Thinking in terms of systems and ecological impact, is part of the emergence of ecological consciousness. She feels that it is important at this time to developher practice in new directions to better expose and express the indivisibility of nature, technology and culture.

Tasha believes nature speaks to us in a language of patterns and systems behavior. To observe nature is to learn a sense of ‘beingness’ - the feeling of being alive and interconnected with all living things around us. Nature is a reminder of our primal sentience, the sense of ‘I am alive’. In current times, the state of nature also signals the necessity of a shift in consciousness to develop alternatives to the current capitalist system.

Her work is concerned with a variety of types of relationships between humans and nature. Increasingly, her thoughts are in response to ecological crises and the emergence of ecological movements rising in the context of the Anthropocene. She is interested in how the crises can lead to the understanding our potential to positively impact this collective living system we know as Earth. In times of crises, arises the opportunity for creativity and transcendence. Thinking about the Earth as a collaborative life system, from this position everything changes.

Tasha Aulls was born in Minneapolis, USA, in 1972. She has lived and worked in Canada and the UK. Graduating from MFA Fine Art at Goldsmiths University, London (UK) in 2009, Aulls has since exhibited internationally and in Canada.

Tasha Aulls’ work has entered the collection of the Centre d’Art Contemporain de Baie-Saint-Paul in Quebec and been published in Carte Blanche 2, Painting (Magenta Foundation: 2008), and The Nomadic Studio, Art Life and the Colonisation of Meanwhile Space, Michael Heilgemeir (Edition Taube: 2013).


She directed over 125 students and teachers at Coatupo Primary School, Guna Yala, Panama, to participate in creating Bote Vida (2016). Aulls has also taught painting workshops at the Woodmill Studios in London, UK (2011) in Forest Row Primary School, and in the Forest proper, UK (2013) at Casey House and Creative Works Studios in Toronto, Canada (2005, 2006). 


Having a background in contemporary dance, Maude work is strongly connected to her body and its different emotional states. Her drawings, videos and performative work are the result of a connection between her inner and outer body. She strongly believe that the body needs to be reappropriated and loved.  She has been inspired by Bell Hooks Sisters of the Yam, where the author states that the decolonisation of the feminine body, and therefore its recovery, can be achieved through a connection with nature or with something more gentle for our soul, more organic. The reconciliation with our animal-self is a recurrent theme in the works of many female authors that has inspired her, but she also looks at the topic discussed in scientific communities, like biologist Edward O. Wilson. He states human well-being would be deeply affected if nature were to completely disappear. He defines biophilia, his personal theory, as ‘the innate tendency [in human beings] to focus on life and lifelike process. To an extent still undervalued in philosophy and religion, our existence depends on this propensity, our spirit is woven from it, hopes rise on its currents.’. Both Hooks and Wilson are defending the obvious connection between human beings and nature. A transformation has to be made in our perception of ourselves and our position in the realm of nature.

Like Wilson and Hooks,  she believes that human being belong to the realm of nature, intuition and feelings. When she creates work, she often imagine herself as a giant mouth that wants to touch, kiss, feel. When she opens hereyes and look around her, she sees sensual beings who want to grow, to communicate, to seduce and be seduced, to live and to reproduce. They live in a vessel, an envelope of memories. It becomes a place for visible and invisible things to happen. Water, sun, and wind model it just like fear, pain, joy or love. A quiet monologue emerges slowly, and soon it is difficult to decide whether the voice comes from the outside or from within. Leaving the old skin behind, I wonder what shape this new body will have?

During her stay in Casa Na Ilha, she would like to start by working on a series of drawings that play with the idea of growing, burgeoning and blooming, but also with a recurrent theme, the supernatural body. She came up with the concept of the supernatural body after reading Agua Viva and Near the Wild Heart by the Brazilian author Clarice Lispector and she tries to depict in her work. For her , the supernatural body is like a garden where things are happening and growing together, it is a territory that we have to explore in order to better understand ourselves, and the world around us.  She finds  inspiration in the organic shapes and nature that surrounds her. The beginning of the residency would consist of small observation drawings on site, and eventually the creation of bigger ones. Since she works in a very intuitive way, she would like to stay open and let her project be influenced by her surroundings.

She also is interested in giving a talk or directing a drawing workshop with the local community and the other residency participant




Roswitha began her career as a set/costume designer in opera, theatre and dance. Since the millennium she developed her own ideas and interests as an artist, writer and director and founded her company, Mistress of Time. She has produced, written and directed multi-disciplined opera performances, in both theatrical and academic realms.  

Her performance work incorporates spoken word, movement, opera and digital images, and has involved working with composers, groups of actors, dancers, acrobats and musicians in established theatres. In 2010 she created an operatic ensemble piece that sparked the idea to further explore choral performances. Roswitha’s decision to focus on the collectiveness versa the individual of the ‘chorus’ led her to study towards a PhD at Brunel University.  

Most of her performance-related writing took shape in form of librettos consisting of dialogues, prosaic and poetic pieces and existing text sources. The chorus complements her career-long interest in non-hierarchical performance, which relates directly to the behaviour of bees. 

Roswitha has written poetry throughout the past decade and self-published a edition of hardbacks ‘The Lizard’s Council’. She embarked on writing poetry as part of a novella while directing choral performances of ‘Be the Bee’ and last year’s sequel ‘The Swarm’, that focuses on the bee swarms’ extraordinary way of (democratic) collective decision making which received the People’s Award. It was this work that in part acted as a catalyst for her theoretical and practical studies of the chorus in the light of the collective and the individual which formed the foundation for her first book ‘ The future was bright’.

As a poet, writer, set/costume designer and theatre director, the focus of my writing and my interest as an author, is in the research of how time defines us.  

My writing explores how time in different contexts and the methods of measuring temporality, changes our experiences of it. I want to explore the differences between the Circadian rhythms and the flow of time within our natural ecosystem. Spending time with you would enable me to experience the concepts I have explored in abstract form in my book called 'The Future was Bright' that centers on the relationship between a bee and a human across different planes of existence. During the writing process I wanted to explore this theme across different formats so I created an operatic performance piece about the complex internal and external relationship of bees called ‘The Swarm’ which was performed in London at the ‘Vault festival’ and won the People’s Award.

Being immersed in the natural habitat of Ilhabela, I would have the opportunity to investigate at close proximity the marine life, flora and fauna, and sustainable way of life of the local communities that I have been researching for my book. Having the opportunity to be involved in creating projects that support the ecosystem would enable me to further research the interaction between time and our natural environment while working with you on projects to support and protect the ecological habitat of Ilhabela.

My artistic practice explores the human and non-human condition, consciousness and time by interweaving elements of science,  philosophy and environmental issues. The writers Yuval N. Harari and Robert Whittaker, philosopher Timothy Morton and economist Jeremy Rifkin have inspired my work and have been the source and my research for my book.


Having spent two years of reading through the theoretical side of these subjects, I long for an opportunity to find a new perspective for my artistic work through the experiencing of the natural world at Ilhabela. I have always had a strong connection with South America and in particular Brazil, since I encountered the aquatic life on Fernando de Noronha in 2009. The residency at Ilhabela would give me the opportunity to turn the academic into reality and will inspire the poetry and content of the sequel to my book. 







Ana is a Mexican artist currently living in Barcelona. She has been living in Europe for 5 years and this experience has let her grow my interest for her Latin roots. She wants to meet, connect and collaborate with people, see a completely different side of the world, a world she haven’t been used to lately. She wants to connect with nature and be away from the big cities she has been living her whole life. 

The project  Ana will develop during her stay in Casa Na Ilha is about color. ‘I’ve had a huge obsession with color my entire life, and it’s been one of the main components in my work.’ She  would like to do a strong research on the perception and relation between form and color, and how this transform our perception of the visible world. She thinks that the place at Casa Na Ilha will suit perfectly. ‘Nature is the richest in color but also because color is related to feeling and sensations, and I´m sure that I will discover new senses/colors.’ She wants to develop a graphic project, based in painting,  digital manipulation and printing techniques. Her idea is to create a collection of experiments on color and how color can transform and blend depending on what other element is accompanying. She would also like to make a mural that synthesis her research and a long collection of prints that shows this color evolution. 

She focus her work on visual experimentation, fascinated by texture and color, interested in raw material and the possibilities that range between the analog and the digital. When she decided she wanted to study art, she started working as an assistant for a ceramic workshop for Fundación Sebastián in Mexico City, then she  decided to move to Barcelona, where she started working in a digital arts and music festival called MIRA.  Now she is  the visual curator for the festival, which has let her work with some  of the best artists of contemporary electronic music and digital and  arts.  She also works as a graphic designer for a company named OPTIMUS. As a freelance artist she does  album covers for musicians.  








I am a 70 year old retired accountant. Most of my life art has been observed and enjoyed but not experienced until I was in my late 40’s when I began to work with clay.  Now I want to open up a new part of myself with watercolor.  I moved from Virginia to San Antonio, TX, three years ago and on a return visit, attended a class taught by Marni Maree, which opened up a whole new artistic outlet.  Sadly I have not yet found a painting group to work with and learn from here in San Antonio.  So I take every opportunity I can to be with those artists from Virginia so I can expand my horizons. Although to my mind, I am very much a beginner, I feel a month to concentrate on painting in such beautiful surroundings couldn’t help but improve my ability.  I will be bringing all my paints and paper and a painting stool/backpack that will allow me to sit most anywhere and paint.


South Africa

I am Giselle Le Roux, a mixed-race Johannesburg born artist currently completing my degree at the Michaelis School of Fine Art with electives in religion and anthropology. I also grew up dancing, have completed a diploma in Sound Engineering and have a certificate in the Fundamentals of Photography. I am a dynamic artist, passionately interested in all areas of creativity, as well as humanitarian concerns regarding social fabrics (focussed on healing the youth), space and place, activism and environmentalism.  I directed, managed and curated the Food For Life Fundraiser exhibition at 91 Loop that ran throughout August 2016. I am also a self-studied astrologer and will be completing a kundalini yoga teaching training course in March.

Interested from a young age in mystical, ancient knowledge - stories of the Goddesses and magic, I have always found myself thoroughly exploring ancient civilizations, spiritual consciousness and symbolism. In particular, the narratives of the Goddesses and ancient people have played a large role in how my personal and artistic aesthetic has developed. I am currently exploring notions of space and place and how we all experience place, even in community, as our own virtual reality, constructing meaning through our personal archives of memory, symbolism and experience.

My marginal experiences of ethnicity, space, culture and spiritual consciousness allowed me, from a young age, to develop an attitude of resistance to dominant and popular narratives, which I could not fully identify with. My inborn interest in social dynamics led me to dissatisfaction with the larger dominant systems, and I found myself intuitively interested in exploring ancient societies, mystical bodies of knowledge, fantasy, science-fiction, occult, afro-futurism and utopianism.

As a result of feeling marginalized and having to find my independence at a very young age, it is through thorough and intense spiritual self-awareness, interrogation and transformation, that I developed an interest in universal symbols which link me on a deeper conscious level to the collective consciousness. I believe the roots of our collective consciousness hold the key to transforming society effectively, as it leads us to the most powerful and profound parts of our knowledge as a species from the beginning of our existence, knowledge which is ingrained in our genetic heritage, and in the deepest consciousness which all of humankind shares as One. This is the key to effectively evolving humanity.

I have found my healing reflected in my connection with nature, am an avid hiker, and aim to create ways for society to heal in harmony with our natural environment. I channeled my subjective experiences of space, place, time and memory into a mapping of collective and personal symbols that form a kind of hieroglyphic landscape, in previous works. This is the beginning of a development towards creating a personal utopia.

I believe this utopian approach is timelessly relevant, as it reflects the reality of people experiencing the same spaces, places and people completely differently to one another – as a result of their own projections of association, memory and experience onto the physical landscape, and I hope to integrate the light of hope/anticipatory consciousness into my work. I aim to describe space as more than just the physical, through combining various imagery and symbolism to allude to points of universal and individual consciousness in a manner that is personal and thus more honest, while simultaneously being less compliant to the dominant narratives.

I aim to proceed using my own body in these creations, as I believe the first locus of healing, truth, knowledge and lived experience is Self awareness. I am not bound in my material exploration, ready to combine methods of photography, sculpture, drawing and print media into whatever best communicates my message. Most recently, I have begun exploring photography and would like to combine this with the inclusion of my nude body and possibly other temporary sculptural interventions in natural and occupied spaces. I would also like to work into these images digitally and chemically to represent the layers of experience which tend to be more psychological and spiritual.


I hope to stimulate the viewer’s consideration of their own participation in the creation of the work through becoming aware of their own projected associations with what they see, while honestly describing myself through my own multi-dimensional and cross-cultural experience of my own reality - through immersing myself in channelling a number of profound collective and personal experiences. My experience in working with the other artists, meeting the local children and women and connecting with the local earth is all important in my own development there, and some of us who have worked together in South Africa are applying for this so we can hopefully take what we have shared in healing the world to the next level! I also do daily journaling, poetry writing and short stories. 



I would like to use the time at Casa na Ilha to explore, develop, and refine my skills using nature and the ocean as my subject matter.    I’m seeking to express my love of the ocean and the natural surroundings in my art.

I am a watercolor artist who embraces color and light in my work.  My evolving body of work explores a variety of subject matter.  My inspiration comes from nature, travels, and every day moments.  Although I experiment with multimedia for fun, my passion is watercolor. Recently retired from a rewarding Federal career focused on environmental and ocean policy, I have a myriad of notebooks filled with artistic doodles, and have explored various artistic media, including textiles, ceramics, needle craft, and oil painting before finding and falling in love with watercolor.    I am on the Board of Directors and member of the Springfield Art Guild.  I am the co-chair of the Green Springs Gallery Art show.  I have participated in local shows and have done commissioned work.   My primary teacher is Marni Maree,  and I have studies with Brigit O’Connor,  Leslie Saeta, Robert Joyner, Paul Jackson, and Iain Stewart.







Midlife Mermaids



In my Midlife Mermaids series, I examine issues of female identity, gender, body image, body politic, sexuality, and aging.  The faces and upper bodies of each mermaid consist of self-portraits expressing a variety of emotional and psychological states, including confrontation and contemplation.  Within the shapes of the lower torsos and tails, I paint images of the mysteries, wonders, and wreckage of the sea: coral reefs, sea plants, and flowers, and the ruins of sunken ships.  Opposites of vulnerability/power, beauty/ugliness, growth/decomposition, life/death, and fact/fiction are contained and expressed in these works.  The process of making these pieces is labor-intensive.  I call them “stuffed paintings”, which describes them as three-dimensional sculptural paintings.  I hand sew and stuff the canvas forms with fiber, and paint the narrative images on the facades, using oil paint and glitter.  In these works form and content merge in unusual and unique ways to address contemporary issues.