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CityArtist Grant is sponsored by City of Seattle Office of Arts & Culture. Supports individual artists/curators in developing and presenting new visual arts projects within Seattle.
Official opportunity description and requirements excerpt:
CityArtist Grant - Arts | seattle.gov Current Calls and Funding ARTS at King Street Station Community Arts Partner Roster Arts & Cultural Districts Build Art Space Equitably (BASE) Cultural Space Resources and Reports Centering Art & Racial Equity Grant Langston Hughes Performing Arts Institute Facility Grant Langston Hughes Performing Arts Institute Creative Strategies Initiative ARTS at King Street Station Gallery City Hall Lobby & Anne Focke Galleries Seattle Municipal Tower Gallery 2026 CityArtist Guidelines Aluvium and Lode by Katie Miller, photograph by Jueqian Fang The CityArtist grant supports Seattle-based individual artists/curators in the research, development, and presentation of creative work. By sustaining individuals who are at the core of the cultural sector, we ensure that creative careers and work can develop and adapt over time, which is critical to artists’ professional growth and business insight. Providing financial support for creative entrepreneurs contributes to the broader economy and quality of life in neighborhoods across the city. The 2026 application is open to artists/curators working in Literary, Media/Film (including Screenwriting), and Visual Arts. Awarded artists will need to offer a public presentation within Seattle city limits. We encourage a broad range of artistic and cultural expression that reflects the Seattle’s diversity. This program is open to specific discipline clusters in alternating years: Even Years (2026, 2028): Literary, Media/Film (including Screenwriting), and Visual Art Odd Years (2025, 2027): Dance, Music, and Theater (including Playwriting) For reference, here are the guidelines from the most recent application . They are also available in these languages: Manage your award through the City's grant platform, Fluxx. Contact your project manager if you have any questions. CityArtist Projects Invoice Form Grantee Photo Submission Form Submit your W-9 securely online You are the best person to reach your networks and all the people who are most interested in your work. We've seen the best results when artists promote themselves and their events on their own channels, e.g. your own social accounts, email lists, networking, and word of mouth. Like us on Facebook and follow us on Instagram . Also, be sure you’re signed up for our email newsletter . Post about your event and tag us. We'll get notified and can boost as our capacity allows. The sooner you tell your project manager about your event, the more likely we’ll be able to fit it into our editorial calendar. If you have promo materials, please remember to send anything you've produced (flyers, posters, promo graphics, etc.) to your project manager. These items should all include the Office of Arts
Extracted from the official opportunity page/RFP to help you evaluate fit faster.
CityArtist Grant - Arts | seattle.
gov Current Calls and Funding ARTS at King Street Station Community Arts Partner Roster Arts & Cultural Districts Build Art Space Equitably (BASE) Cultural Space Resources and Reports Centering Art & Racial Equity Grant Langston Hughes Performing Arts Institute Facility Grant Langston Hughes Performing Arts Institute Creative Strategies Initiative ARTS at King Street Station Gallery City Hall Lobby & Anne Focke Galleries Seattle Municipal Tower Gallery 2026 CityArtist Guidelines Aluvium and Lode by Katie Miller, photograph by Jueqian Fang The CityArtist grant supports Seattle-based individual artists/curators in the research, development, and presentation of creative work.
By sustaining individuals who are at the core of the cultural sector, we ensure that creative careers and work can develop and adapt over time, which is critical to artists’ professional growth and business insight. Providing financial support for creative entrepreneurs contributes to the broader economy and quality of life in neighborhoods across the city.
The 2026 application is open to artists/curators working in Literary, Media/Film (including Screenwriting), and Visual Arts. Awarded artists will need to offer a public presentation within Seattle city limits. We encourage a broad range of artistic and cultural expression that reflects the Seattle’s diversity.
This program is open to specific discipline clusters in alternating years: Even Years (2026, 2028): Literary, Media/Film (including Screenwriting), and Visual Art Odd Years (2025, 2027): Dance, Music, and Theater (including Playwriting) For reference, here are the guidelines from the most recent application . They are also available in these languages: Manage your award through the City's grant platform, Fluxx.
Contact your project manager if you have any questions. CityArtist Projects Invoice Form Grantee Photo Submission Form Submit your W-9 securely online You are the best person to reach your networks and all the people who are most interested in your work. We've seen the best results when artists promote themselves and their events on their own channels, e.
g. your own social accounts, email lists, networking, and word of mouth. Like us on Facebook and follow us on Instagram .
Based on current listing details, eligibility includes: Seattle-based individual artists/curators working in Visual Arts. Applicants should confirm final requirements in the official notice before submission.
Current published award information indicates $3,000 to $10,000 Always verify allowable costs, matching requirements, and funding caps directly in the sponsor documentation.
The current target date is June 30, 2026. Build your timeline backwards from this date to cover registrations, approvals, attachments, and final submission checks.
Art Meets Activism (AMA) Grant is sponsored by Kentucky Foundation for Women. Supports feminist artists and organizations leading community members in participatory art-making to advance positive social change in Kentucky. Application snapshot: target deadline February 23, 2026; published funding information $1,000 - $7,500; eligibility guidance Individual women or gender non-conforming artists and feminist organizations residing in Kentucky. Use the official notice and source links for final requirements, attachment checklists, allowable costs, and submission instructions before applying.
USArtists International is sponsored by Mid Atlantic Arts. Supports U. S. performing artists and ensembles in dance, music, and theater invited to perform at significant international festivals and performing arts markets abroad. Official opportunity description and requirements excerpt: USArtists International - Mid Atlantic Arts Opportunities Outside of Mid Atlantic Arts CALT Appalachian Foodways Practitioner Fellowships CALT Black Appalachian Storytellers Fellowship CALT Community Anchors Initiative CALT Emerging Traditional Artists Program Cultural Sustainability: Community Roots Delaware Division of the Arts Individual Artist Fellowships Folk and Traditional Arts Folk and Traditional Arts Community Projects Grants Mid Atlantic Presenter Initiatives New Jersey State Council on the Arts Individual Artist Fellowships Performing Arts Global Exchange Walking Together: Investing in Folklife in Communities of Color Strategic Plan / Imagine Next Opportunities Outside of Mid Atlantic Arts CALT Appalachian Foodways Practitioner Fellowships CALT Black Appalachian Storytellers Fellowship CALT Community Anchors Initiative CALT Emerging Traditional Artists Program Cultural Sustainability: Community Roots Delaware Division of the Arts Individual Artist Fellowships Folk and Traditional Arts Folk and Traditional Arts Community Projects Grants Mid Atlantic Presenter Initiatives New Jersey State Council on the Arts Individual Artist Fellowships Performing Arts Global Exchange Walking Together: Investing in Folklife in Communities of Color Strategic Plan / Imagine Next Deadline: Wednesday, February 25, 2026 Image: Zoe & Cloyd performing in Holy Trinity Church in Westport, Ireland. Credit: Michael Reynolds. International Touring Impact Stories Grant Matching Requirement USArtists International® supports in-person performances by artists from any state or territory in the U.S. at engagements at international festivals, global presenting arts markets, and other eligible engagements outside of the United States. The program funds individuals and ensembles across all performing arts practices and disciplines. Mid Atlantic Arts is committed to the development and expansion of both the careers and artistic goals of U.S. performers by providing connections to audiences, presenters, curators, and their peers through the USAI program. By elevating the voices that reflect a vibrant array of creative expression, we are able to celebrate and share the diversity and imagination of the United States. Grant support range: Grants of up to $11,000 toward eligible expenses. Grants require a one-to-one cost share (or match). Applications to USAI must meet eligibility criteria in each of the following three areas to be eligible for the program: International Tour Eligibility Please see the Guidelines below for the full list of eligibility requirements. Deadline: Wednesday, February 25, 2026 by 11:59 PM Eastern For projects taking place between June 1, 2026 and June 30, 2027. Letters of invitation are due by Wednesday, March 4, 2026. Guidelines and Application Program Guidelines have been refreshed. There is one deadline for USAI this program year. Be sure to review artist eligibility as Fiscal Sponsorship is no longer allowed. To learn more, read the Application snapshot: target deadline February 25, 2026; published funding information Up to $11,000; eligibility guidance U. S. -based individual performing artists and ensembles; applicants must have a letter of invitation from an eligible international festival. Use the official notice and source links for final requirements, attachment checklists, allowable costs, and submission instructions before applying.
Application snapshot: target deadline June 30, 2026; published funding information $3,000 to $10,000; eligibility guidance Seattle-based individual artists/curators working in Visual Arts.
Use the official notice and source links for final requirements, attachment checklists, allowable costs, and submission instructions before applying.
Also, be sure you’re signed up for our email newsletter . Post about your event and tag us. We'll get notified and can boost as our capacity allows.
The sooner you tell your project manager about your event, the more likely we’ll be able to fit it into our editorial calendar. If you have promo materials, please remember to send anything you've produced (flyers, posters, promo graphics, etc.) to your project manager.
These items should all include the Office of Arts & Culture name and/or logo . We recommend posting on social and circulating these items at least two weeks prior to your event to increase awareness and attendance. Press Releases and Press Kits Press releases inform the media about you and your event and can inspire them to publish a calendar listing or even cover the event.
Many smaller publications will print releases verbatim if they are written well enough. Press kits provide useful background information for the media when they write previews or reviews of your event. They can take awhile to assemble, so maybe only create them for larger events that media are confirmed to attend.
Search the internet for a description and walkthough of how to write a press release and create a press kit. See who's received CityArtist funding on our blog. Please Note: The 2021 CityArtist cycle was paused due to COVID-19.
I was raised in a world of Indigenous media making and storytelling. My practice was shaped through experiential learning but with an ethic of giving back to the community. I don't limit myself to one medium because our stories develop along with our art forms.
A big component to my work in the last few pieces is glitch art technology and warped VHS distortions as a distinct style choice. I love breaking down VHS images. It feels metaphorical.
It's also a great challenge for my mind to build visual pieces out of broken segments that might push emotional reactions. I want to push myself to capture the underground vibe of my generation in an authentic yet visually distorted manner that confuses and informs all at once. Christina Antonakos-Wallace I had experienced the growing xenophobia in Europe firsthand and was witnessing the anti-immigrant movement grow in the U.
S. I knew that we needed empowering stories of migration and diaspora that broke the myths of cultural and racial purity. Using my creative practice to foster belonging has offered clarity.
Right now, it means continuing to tell the stories of immigrants and children of immigrants who challenge exclusionary systems. I use a combination of erasure poems of source texts-pages from the Senate document detailing the Creole case-and poems in the invented form to look at black interior life under what Fred Moten would call the "constraint" of black non-being, both throughout chattel slavery and in modern civil society.
In the future, I see myself with a larger/broader readership and a level of rigorous participation in national/international conversations that deal with poetics and/or Blackness. This is my entire life. I aspire to continue researching and learning about the artistic traditions of my origins and exploring how to fuse them into a contemporary expression of international life.
I envision a series that celebrates the symbiosis between natural forms and patterns, individual human health and well-being, and humanity as a community. I believe in the multi-functional potential of art: each piece would also serve as a purposeful component within the home. I feel proud to be a Black woman, despite society's challenges to the Divine Feminine.
I constantly make new discoveries on my journey to Liberation. It's all too easy to shackle ourselves and limit creative growth. These discoveries help me break my chains, with the ultimate goal of helping others to do the same.
My work sample shows a compilation of recent public paint pours and illustrates my greatest interest, the corollaries between particles in motion and our own agency as we participate in social systems, always looking to where emergence occurs. My hopes are that together we can go further to see the essence of what is human, collaborative, and generative.
It is important to see action and agency as necessary for growth, how clearly our efforts and even our accidents lead to new life. Through this work, many important things in my life have come together - my love of glass, my Japanese heritage and nuclear legacy, my perspective looking through the lens of America, and my fear, hope, and responsibility for the future as an artist.
My ultimate goal as a person as well as an artist is to create art to share the inspiration that lights up one's soul. The story in my DNA is not unique. It echoes the African American experience.
Reflections are found in the diasporic, Indigenous, and Asian experiences. We, all of us, are affected by our stories. Memoirs of the Hopeful is a declaration that "I was.
I am. I will." It employs storytelling as a tool for discussing, reckoning with, and healing ancestral traumas.
My work seeks to depict their descendants, empowered by our stories, as fully embodied beings. It is a celebration of being melanin rich. As a self-taught artist and creative storyteller, I am constantly reinventing myself, experimenting with new materials and techniques, and learning whatever medium it takes to tell the story that is emerging.
Across every medium, I find beauty in the rusty, weathered, and worn. As a lover of process, I believe our works deserve to be seen, witnessed, and considered in their current state of being... and becoming.
All my work is inspired by the tornado sirens that blanketed my childhood town in Oklahoma every week with a surreal wailing that seemed to blur in and out of reality. My intent is always to provide a similar communal experience of listening, to get people to take off their headphones and open their ears. My more compelling work often involved collaborative contributions of composers or crowdsourcing the public for content.
That's because I could focus on perfecting the technical aspects, trying to make the soundscapes more compelling without having to ALSO come up with every bit of content for a massive multi-channel sound collage and mix. With intense colors and dynamic images, I aim to celebrate the migratory journeys made by children, whose entry into other countries makes it possible to establish a never-ending exchange between societies and cultures.
My work is inspired by my exploration of themes of cultural identity. Given the current anti-immigrant climate and the rise of white nationalism, it is vital that I continue to raise my voice on behalf of immigrants and people of color. I grew up never seeing my experience reflected on television or in films, in books or magazines.
For people with disabilities (or to use the more punk rock nomenclature, "crips"), as with many marginalized groups, that's now changing. Underrepresented and oppressed communities are popping up on our screens more and more, and not as tropes of themselves, but fully realized, complicated, and radically human people. We are at a point as a culture where these new points of view are more and more sought after.
Elevating these stories alongside those we've traditionally celebrated allows for our view of the world we live in to expand, and our collective empathy to grow.
I plan to immerse myself in this literary lineage, research how scientists and engineers envision the world at mid-century, and hit up theater artists and critics for their views on how the American theater will adapt in the face of climate change, political turmoil, and technological advancements. My excitement for this book keeps me up at night, distracts me from other stories I'm revising.
Its ambition requires me to become a writer who can complete it. It will require research into subjects I'm unfamiliar with, a deep dive into my own emotional terrain, and the artistic rigor with which to synthesize its many parts. It's a challenge I am eager to meet.
My current project is an integrated art/text piece transforming a steel toolbox into a text-based work of visual art. In this piece, Word Medicine , I am transforming sections of my own poems into "medical objects," including words written on pills made of buttons and entire poems rolled into ACE bandages.
My earlier work focused more on pain, but as I evolve, I would like to explore how people manage to work through the pain and sometimes heal. My artistic purpose is to empower indigenous communities through literary nonfiction.
As someone who is gay and a member of the Gila River Indian Community, where tribal sovereignty forbids same-sex marriage and legal protections for those who are Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ), and Two-Spirit (2S), I confront tribal injustices head-on. I believe that conflict is merely an opportunity to advocate and empower others like myself. I want readers to know that language is political.
I am one in a long line of Japanese women who dared to defy tradition and forge their own path. I will continue my quest to unearth feminine power through clay and impart my knowledge to those who want to learn. Like my Mother and my Grandmother, I follow my heart and never look back.
I explore myths, folklore, and iconic artworks from Japanese and European culture, observing the consequences of being perceived as feminine in today's world. As a writer, I consider part of my creative practice the act of curating literary gatherings that bring together the community for intimate conversations on socially relevant themes while facilitating dialogues on literary craft and process.
In the last two years, my literary curation work has focused on going beyond curating diverse readers together and structuring programs that allow for audience engagement with authors and onstage conversations with writers that can more deeply interrogate creative intention and craft.
My application seeks to fund a live poetry event series centered on socially engaged themes (immigrant voices, the role of poetry in healing, and sanctuary) that I will host in collaboration with KUOW. I want to tell diverse stories with an underlying theme. Most of my ideas are shaped by multi-racial, female, and indigenous communities' experiences.
I believe keeping an uplifting tone in my work encourages people from all walks of life to watch and understand. A love story is universal. People can see themselves in each of these stories because they're the essence of humanity.
After 20+ years of making comics, while simultaneously exploring the cultural aspects of disability and chronic illness I became interested in the intersection: multi-sensory art. I thought how do people who are blind, Deaf, or neurodivergent access art? I wanted my comic books to reach a wider audience, not just people who read comics, but who watch videos, listen to sounds, like to touch things, and move their bodies.
Sondra Segundo (Cunningham) I see myself sharing my Haida books and songs with more international audiences while continuing my lifework with the youth in my local Indigenous and Seattle communities. I feel it is of great importance for all children to experience many cultures... but to experience it from the people who actually come from that culture.
This will plant seeds of equality and acceptance for the next generations. Through my teachings, I want to help rewrite our negative history. Read my words with your heart and let my art take you on a journey into another realm.
The G'ma Project , which honors our elders, cultures, and ancestors in the modern world, gathered 10 artists from various backgrounds all over WA (Olympia to Bellingham) to share stories about our Grandmas, our G'ma, and through our artistic forms (music, dance, story, food, etc.) we shared why our elders, cultures, and ancestors matter as modern, young adults.
This project built meaningful relationships, put me in a much healthier, empowered frame of mind about social justice, community organizing, and public art and their role in our both unique and collective cultures. My most recent project, Gender Gems , is inspired by a desire to create vibrant and readily accessible documentation of living transgender and gender-diverse elders.
I am also inspired to create Gender Gems because rarely are transgender and gender diverse people celebrated when they are living; more often than not they are commemorated once they have passed away due to high rates of suicide and hate crimes. For 20 plus years I have been exploring and seeking connections between ritual, healing, and art.
I think I have been very privileged to have been able to spend many years in close connection with my Indigenous elders while at the same time exploring ritualized art-making. This much is certain, there is not a clear blueprint or trail for me to follow, so through experimentation, risk, and vision, I will craft future work that offers individual, communal, and cultural healing to art.
Now as my elders retire or pass on, I find myself in the place of elder, and I understand that further growth will come in working with and learning with younger artists. In the future, I will be creating projects which allow me to connect with young creators, exchanging viewpoints, wisdom, and experiences. I have no desire to be a "teacher" I want to be a co-conspirator with younger folks.
For the past 15 years, I have been working on an evolving body of work that explores the connections between, land and lineage, culture and community, politics and identity. I experiment with dissolving the boundaries between creative disciplines. I want to continue along this path, creating more expansive films, conceptual art, and projects rooted in community and an investigation of our collective history as a society.
Maria Zurbano (Maritess Zurbano) As the only Filipino-American magician in history, I chose to combine my skills as a playwright, performer, and political activist. I draw a wider audience than usual into my themes of race, gender, and power by using magic, drama, and humor. I work in a tradition, of people of color who convey their political views via entertainment.
When audiences witness my Filipino-American excellence in the arts, they now have precedent and I'm hoping with every success I have, it makes it easier for me and other artists/audiences to visualize Filipino-Americans as significant cultural contributors. "What has been most exciting for me as an artist is deepening my commitment to social justice through the work I make.
Given this time, and this political climate, I am most inspired by everyday people who continue to show up and to share their stories despite the threat of injustice and violence." "Conducting and performing classical music excites me. My Latino heritage and the diversity of Seattle's heritage have inspired my work.
I use my creative and collaborative skills to further social justice and accomplish my personal goals." "I am inspired by the full range of humanity and all of its emotions and challenges... The ability to inspire generations all around the world is truly rewarding and humbling.
As a minority and disabled person who's overcome many obstacles, I'm inspired to do everything in my power to instill these principles in others, helping them actualize their talents and skills." "My work over the years has consisted of both the content of my art as well as the commitment to economic justice that fuels the capacity of my community to continue creating art."
"I am interested in unsettling perceptions of what is stable: time, scale, gravity, the form the body takes and what its true identity is." "I am passionate about the craft of playwriting because I believe in the power of theater - the poetry of individual behavior in the here-and-now. A play asks an audience to walk in the shoes of others - an experience that is a step toward addressing the questions that obsess me.
While much of my work is original, I often take inspiration from interviews or by confronting classic texts." "I always draw on my cultural heritage to influence and inspire my dance creations. This performance allows me the time and depth to reflect on the past decade in my life, to revisit the most diverse aspects of my country of origin, experiences as an immigrant in the US, and to share that richness with audiences here."
"I have been recovering my artist roles and responsibilities as a Dakota woman and good human being by now working as a director and storyteller. I have been adapting traditional stories to the stage with help from many teachers and elders along the way, and have begun adapting my own contemporary story to a mythic format in the hopes of producing and directing a play about the Dakota uprisings of the past, present, and future."
"As a musician, my work has been deeply rooted in a need to express myself through my instrument-the drums. I found that outlet with improvisation. In music, this involves making split-second decisions about composition, timbre, and texture, all while collaborating through careful listening.
More importantly, improvising allows me to be expressive, honest and vulnerable." "My work as an artist is 100% focused on using theatre as a conduit for social change, starting in low-income communities. I use storytelling and community-engaged theatre models, such as Theatre of the Oppressed, to create theatrical works with, by, and for diverse populations so that their stories can be heard in their own words."
"For 15 years I have been dedicated to building a large catalog of sophisticated yet fun compositions. With jazz as a foundation, I create new works that exercise both the freedom and discipline of the genre while incorporating influences and inspirations from other styles of music as well." "As a playwright and puppeteer, I am excited by the complex simplicity of language and practical magic in the theater...
I seek to create work that heals, that is openhearted and relevant." "I am interested in virtuosity, in creating aesthetic hierarchies which destruct the ones previously established. The driving force is my belief in love, Black/Indigenous folk magic, and transcendent healing."
"I noticed that my works all centered around ideas of identity, spirituality, evolution, eroticism, and social representation. Basically all of the things I was dealing with internally as I transitioned. As a trans femme person, people only seem to gravitate towards the physical changes of hormone replacement therapy (HRT) but never want to ask how many affirmations I have to give myself to walk outside the door every day."
"The questions that arise for me are: How do we hold those we know and love in our bodies? How do we embody others? Can a soloist dance inter-connectedness?
How many people does it take to feel the enormity of our presence, and the scope of our lives?" "I developed a desire to dive into my own personal research and passions that a company setting could not provide me fully. These interests include both performance studies and dance as therapy through education."
"I am, first and foremost, inspired by the human capacity for play. Imagination, laughter, creation, and the spiritual act of collaboration drive my explorations as a theater artist, educator, and citizen." "My work's primary focus now is the voice as the portal both to the individual subconscious and to cultural moments.
I intend to create a multi-movement work for soprano and small ensemble with electronics that tells the story of my own family's journey through multiple generational traumas and how that relates to our current societal predicament." "As a composer, I am inspired by nature's wonders and by the foibles of humankind. My music is influenced by decades of exposure to international cultures and by my preternatural love of playfulness.
I often invite audiences to participate." "WPL?! is a living blueprint for other Street Styles organizers in how to organize in a way that celebrates womxn.
It's a step in reclaiming a Street Styles history that womxn are erased from and demand for academia to be more accountable in their research practices." "My work and career are dedicated to creating theatrical productions that explore content that is vital to the queer community while employing queer, POC, and women artists."
"I recently had the opportunity to compose solo guitar music as well as music and poetry duets in collaboration with Washington State Poet Laureate, Claudia Castro Luna, based on the theme "Ode to Hope." I am excited, inspired, and encouraged to build and expand upon this project by inviting various poets, storytellers, and writers to share their stories about struggle, personal or societal, and their means to survive."
"As a 48-year-old Filipina-American single-parent and seasoned performer, I have new insight into my life choices. Why would a fairly attractive young woman who is educated want to become a Las Vegas magician in an environment where chopping women in half was mandatory? Why would any woman of color want to gain power in our world of continuing misogyny and white supremacist attitudes?"
"The art/music that I make carries all that I have witnessed and absorbed for 50 years. Some have said to me in the past: "to make it here, you have to leave this place". I think I will stay to see what happens next."
"At age five, I witnessed a breathtaking Kuchipudi drama, igniting my devotion to train extensively in Kuchipudi under the foremost student of Dr. Vempati Chinna Satyam (founder of modern-day Kuchipudi). From traveling to India for additional training to my unwavering daily practice, I push for perfection in this uncommon style of Kuchipudi."
"As a young Latina, dancer, and filmmaker in the Seattle dance community, what influences me is being in a room with other dancers whose melanin ranges in all shades, who have overcome obstacles, and who continue to raise their voice for their communities." "I'm interested in the relationships between sound, meaning, intelligibility, translation and rhythm of speech.
And I've found that providing a context for sounds attends to the social aspect of sharing the work, how it is received and interpreted, and how it is made accessible." "'You can't be what you can't see.' I repeat these words daily to remind myself why I dance, and why it is important for me to keep dancing.
As a queer, femme, non-binary, mixed-race person of color, I rarely find art that is reflective of me or other dance artists who share my identities." "For the last 15 years, this belief has been my compass for navigating my life in my art and organizing work. I am the product of my legacy, family, community, and city.
The histories and untold stories that bind us to each other stand to be displaced in the current surges of economic disparity that are threatening to characterize Seattle's future." Curate and create an installation of traditional Pacific Islander functional and decorative woven works for public celebration of the Lunar Year.
Complete a manuscript of creative non-fiction on the relationships between climate change, environmental degradation, neuroscience, and mental health. A public reading with panels on selected essays will be offered. Finalize and screen a reproductive justice feature documentary about reproductive justice with post-screening panel talk.
Produce, direct, act and compose a short film about a day in the life of South Seattle, riders from the #7 bus route and the impact of gentrification. A community screening with performances and exhibit will close project. Complete a new, hour-long documentary in a series illuminating the complexities of three first generation Nepalese female teens from a poor family as they work to become literate.
The film closes with a public screening. Create 50 new, life-size portraits that will become one large patchwork piece. Each of the 50 people interviewed use head coverings as an expression of their identity sometimes adapting with each generation.
Edit archival footage of a 1990s public access program featuring episodes of NW Hip-Hop for a public screening. Hold two workshops in English and Spanish and complete an essay collection about navigating grief, loss, and the cancer-industrial complex. Research, interview, and complete a four-part film capturing four local musicians that cross genres, genders and neighborhoods.
The film will be screened with a concert. Produce 10 new poems for a book based on interviews with scientists, medical providers, young/adult patients and caretakers living with/working on a variety of autoimmune diseases. The book will include photos and visual art pieces culminating in two readings with talks.
Complete post-production phase and release of short film that satirizes political Discourse whle highlighting how we collectively ignore, silence and appropriate Perspectives. It closes with a screening and panel talk. Complete a feature documentary combining film and live stage performance based on 'Buckaroo,' a male revue that follows the visionaries behind the Moulin Rouge-inspired cabaret club.
Fabricate and install a large woven tapestry in white, layered thread on a black background created on a computerized loom that revisits a past performance about memory recall for a public exhibit. Curate and present a monthly virtual exhibit consisting of daylong pop-ups, showcasing work by 12 Seattle-based artists of the African Diaspora via smart device or wall-projections at non-traditional sites. A catalogue will be published.
Complete feature documentary about the life work of renowned glass artist Preston Singletary, who seeks to preserve and evolve the Salish culture. There will be a public screening and talk. Present two, interactive, bilingual staged readings of poems honoring women killed in a wave of femicide in the 1990's in the border town of Juarez, Mexico.
The poem highlights the ways in which the female body endures violence and injustices. Each reading will close with a bilingual discussion. Fabricate conceptual, large-scale architectural models exploring topics of Mortality and memory through the lens of architecture for a public exhibit.
Final edit and publication of a poetry collection inspired by musical genres. There will be four readings where intentional connection with diverse audiences can be made. Research and create a new series of large-scale paintings depicting the evolution of birds, featuring their plumage coloration, sensory ecology (how they interact with their environment), and habitat loss for a public exhibit.
The artist will create a multi-age curriculum for potential school visits. Produce a series of 12 new, encaustic mixed media storyboards that were inspired by a recurring dream featuring the ability to breathe underwater, and explores the interdependence of our shared existence and the natural world. There will be a public screening and talk.
Develop and complete an installation and performance in collaboration with John Criscitellos. The installation will feature a gallery swathed in fabric printed with physical landscape images that explore the de-sexualization of the feminine. A panel discussion closes opening.
Create six new, 3D wood sculptures that reflects lives of immigrant workers, their journeys, families, innate beauty, and struggles for a public exhibit for International Workers' Day. Artists talks will accompany the exhibition. Create and produce a 40-page cut-paper comic book about ocean life informed by an Arctic Circle Residency in Norway.
The manuscript will be accompanied by a series of workshops highlighting conservation art and environmental justice issues. Co-curate, assemble and present a story bank by/of mixed generation, multi-lingual Black creatives, which will be collected into soundscape elements for a live gallery experience.
Produce a 90-minute documentary film about late artist and champion of dance/AIDS, Ian Horvath including a restaging of two choreographic works. Assemble, curate, write and edit book manuscript of a retrospective of past/current multidisciplinary work for publication including audio/video stills and image plates that culminates in a community presentation.
Complete interviews and filming of a documentary about the musical history of Seattle band Earth and founder Dylan Carlson. As Kurt Cobain's best friend, Carlson pioneered the drone metal genre. There will be a public screening.
Leah L. Piepzna-Samarasinha Curate and produce a literary event with 12 queer artists with disabilities exploring the theme of disability resistance. Film and edit short documentary stories featuring storytellers of the African Diaspora across all artistic fields for community screenings.
Produce a coming-of-age feature documentary following the main character through adulthood as he deals with his
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