Since its inception, Fly on a Wall’s vision has been rooted in the desire to support innovative creators and their ideas. This vision led to the development of the Fly on a Wall Artist Residency, a one-month residency culminating in a performance/showing in the black box at The Windmill Arts Center.
Fly on a Wall is seeking applications from Atlanta artists working in any performance medium who do not have regular access to creative time and space. All bodies are encouraged to apply regardless of age, sex, gender identity or expression, sexual orientation, race, color, ability, citizen status, national origin, or religion.
The residency includes:
Access to the Windmill White Box, July 5 - July 31 9:00am-2:00pm, Tuesday through Friday.
Two all-day access to the Windmill Black Box, August 6 & 7. This can be a tech day and a performance day, or a filming, or a work-in-progress, etc.
Access to all technical and artistic capabilities of the Windmill Arts Center and Fly on a Wall, except for expendables (e.g. Tape, Special Flooring, etc.).
Two required community engagement opportunities to be led by the Artist-In-Residence.
If the Artist-In-Residence chooses to have a ticketed performance, all proceeds will go to the Artist.
All applications will be reviewed by a diverse group of panelists, and the top three candidates will be interviewed by the Fly on a Wall Team.
Once selected, the Artist-In-Residence will meet with the Fly on a Wall Team to develop the goals and terms of the residency.
2021 Artist Residency Application is now closed
Opens: Friday, March 12th 10am
Closes: Friday, April 23 by midnight
2021 Artist in Residence:
AUSTYN RICH was raised in Smyrna, GA. His performance works include, BL**DY SPAGHETTI, TECHNICAL FOUL and many others premiered in Los Angeles, CA at REDCAT, USC Glorya Kaufman School of Dance, Human Resources LA and site-specific locations around the city. He has also performed in choreographed works of d. Sabela grimes, Lula Washington, Ligia Lewis, William Forsythe and Bill T. Jones and filmed works of Solange Knowles and Julien Christian Lutz.
When we asked AUSTYN RICH about his artist statement, he replied, "As an artist and a human, I have a complicated relationship with care. What I care about is tested by the limits of free will. Since nature is so full of impermanence, the world changes every day without my active involvement. This could be dispiriting but it is also comforting, because it makes living an exercise in trust. I just exist and allow nature to take care. You never know what “take care” means when someone says it to you, but you can trust you are taken care of somehow. That is what care often looks like to me—the trust and the possibility of surrendering to whatever the outcome may be.
On the other hand, I see care as a space of responsibility. I do care for future generations that may have trouble seeing the world the way I do or may struggle to communicate and relate with others. I actively use my art practice, which I see as an act of care, as the starting place for the next generation. This is where I reclaim my free will and its power to resist entropy.
What moves me as an artist is the bravery to talk to every person in the world. My medium is dance, which defies language and ideology barriers. It also often defies my own verbal understanding, channeling the confusion, randomness, disassociation, and inspiration of my daily existence. These tentative and often contradictory aspects take shape in motion and through movement. Dance can be a form of feedback, but it can also be a form of neglect and refusal. It is sometimes a “physical rant” against an abyss of disembodied chatter. My current professional journey is a manifestation of trust, practice, curiosity, commitment and risk-taking. I have come to the realization that talent is just a fraction of the alchemy of dance. Only after I write my ideas down multiple times, repeat them out loud, and physicalize them with confidence does my artistic vision begin to emerge. I treat my practice like the mad scientist spending hours in the lab staring at the beaker from every angle in the room. I listen to my intuition because it is my honest and innermost voice. This is why I am most comfortable with improvisation. It is the best representation of my artistic and human self."
Photos by Harrison Glazier
2020 Artist in Residence:
Photos by James Jin // @jamesjinimages
Gabrielle worked at The Windmill Arts Center during her Summer Residency 2020 creating a full-length dance work, "Entertain The Sky" Due to Covid-19, the decision was made to turn her live performance into a dance film. This film is free to watch March 12 - March 14, 2021 only.
This film was made possible by Fly on a Wall and The Windmill Arts Center with support from Fulton County Arts Council.
Gabrielle Duncan is currently a senior at Kennesaw State University (KSU) who has earned her Bachelor of Arts Degree in Dance and is currently pursuing her Business Management Degree. She has been a Kennesaw State University Dance Company member for five semesters. In 2018, she performed Lisa Lock's "Suspended Vision" at the Kennedy Center for the American College Dance Association's national conference. One of her choreographic works "We to I" has been showcased at the KSU Spring Dance Concert and The Fulton County Arts Festival in 2019. She has attended the Dance Sessions summer intensive in 2016 and Staib Dance summer intensive in 2017. Gabrielle Duncan has been teaching dance for five years to beginner and advanced leveled dancers at Dance Arts Centre and N-Step Dance Academy. She teaches jazz, musical theatre, hip-hop, lyrical, ballet and contemporary dance.
When we asked Gabby about her artist statement, she responded, “To take pride in the art that I create and to treat everything and everyone involved with great care and love.”
Photos + Video by Christina Massad
Video by Christina Massad from "Are We There Yet?" by Mediums Collective (2019)
Porter Grubbs and The Mediums Collective held a creative residency at The Windmill Arts Center for the month of June 2019. During this time, he held open classes, rehearsals and presented, "Are We There Yet?" in the black box.
When we asked Porter about his residency, he said, "I'm eternally grateful to Fly and The Windmill for opening their space to me and my collective at the time, Mediums. That month of focused creative effort was invaluable for our process and it helped us to grow closer in our practice. I learned a lot about my responsibilities as a choreographer and director while taking space to experiment, make mistakes, and expand my creative vocabulary. Performance is a practice in and of itself, and the opportunity we were given to produce a show at the culmination of our residency was essential to our development as artists and as voices in the community."
Photo by Daley Kappenman of DayLilies Photography