Apply

Application Requirements

Please submit all items as 1 Dropbox folder titled with your name only:

– 6 digital images of recent work (at least 640 pixels wide) with each image labelled with your last name and the title of the work.

– Plus One PDF or Word file that includes the following items:

  • Name and Contact information (email, phone number, address and website, if applicable)
  • Rank your preferred residency dates
  • Image list that indicates the title, date, medium and dimensions of the artwork.
  • 250 words (no more!) describing your project plans and artistic goals with this residency.
  • CV

2024 Application Deadline: October 15, 2023

Send all requirements as 1 folder via Dropbox to bmkresidency@gmail.com  
*Make sure all files are titled with your name.

2023 Selection Committee

Donald Kreye is a retired high school teacher of literature, history, and art history.  He is a former professional woodworker who has been a supporter of the creative arts and crafts for many years.

Zoe Kreye creates inter-disciplinary art projects that explore transformation, collective experience and negotiations of public spaces. Often looking outside the realm of art, her projects take the form of workshops, rituals, clubs, dialogues and journeys. Her focus encourages people towards self-reflection and a deeper engagement with themselves and society. Recent projects include Make Our Own Air (SPACE, London), Our Missing Body (Western Front, KAG), FutureLoss (grunt gallery), Unlearning Practices (Goethe Satellite Vancouver, <rotor>, Graz and Haus der Kultur der Welt, Berlin). She completed a Masters in Public Art at the Bauhaus University Weimar, and co-founded the Berlin artist collective Process Institute. She currently lives close to her family on the west coast and teaches Social Practice at Emily Carr University, Vancouver.

Renata Minoldo is an artist and educator based in London, UK. She explores the physical, spiritual and emotional body through making objects and facilitating intuitive-led experiences with people. Her practice flows from the tactile to the subtle energetic experience, aiming to bring emotional states into a physical dimension by creating objects and environments for self discovery, pleasure and healing. She employs different craft techniques borrowed from her maternal lineage and the women around her as well as natural materials and elements of the spaces she inhabits. Interested in alternative ways to approach art education, she was part of the School of the Damned 2018 cohort, a self organised, non-hierarchical post graduate programme for artists living in the UK. As an artist in residency, she was awarded a full scholarship to do a six-week residency in Banff Centre in Alberta and commissioned to be the Family Artist in Residency in Camden Arts Centre, London, UK, amongst others. She returned to the Canadian West Coast this last summer to do the Bonnie McComb Kreye residency before travelling to Tuscany where she was a Creative Contributor at Villa Lena Residency.

Allison Watters has been the Gallery Coordinator of The Fifty Fifty since the spring of 2021, and brings with her a rich background in the arts. She completed her BFA at Emily Carr in Visual Arts, Sculpture and Performance in 2014, and has been involved in many artist-run centres and nonprofit arts organizations in various capacities, including Artful Communities, James Black Gallery, Conduit Gallery and PNW Artist Collective and The Amazing Gallery at Emily Carr.

David Gifford is an idiomatic penumbra, operating as a magician who performs for daycares and senior homes. He is the co-founder of the Ministry of Casual Living, teaches Drawing and Colour Theory at the University of Victoria, and assembles Rube Goldberg machines in his backyard. He is one half of the noise duo Puppets Forsaken.  Puppets Forsaken is a sculpture/sound collaboration between Natali Leduc and David Gifford formed in 2019. Originally inspired by the intonarumori of Futurist Luigi Russolo, author of the manifesto “Art of Noises” 1913, they construct acoustic noise generators that take over rooms and involve audience members, performing for old growth trees that are no longer there, theory symposiums, live radio and noise shows. They also entered a telekinesis competition in which they lost. Currently, Puppets Forsaken are building an operatic condition and envelope space that is the instrument itself, performed by the participants in attendance, called the Noisebau, gratefully acknowledging support from the Canada Council for the Arts and BC Arts Councils. Through retro-causality they continue to be nostalgic for Futurism.