Congratulations to Coreen Callister, 2019 Summer Stipend Recipient

Coreen Callister and her “RepairCycle” team are providing garment mending services at community events in Seattle, WA to help dissuade people from disposing of clothes that, with a simple repair, could continue to be worn.

From Coreen’s proposal: “Our relationship with clothing is out of balance. The average life cycle for an article of clothing (in the U.S.) is less than one year. With no straightforward way to recycle textiles, this disposable mindset is creating massive solid waste.”

And here are some of our panelists’ positive comments:

“The RepairCycle project takes on a global, pervasive, and ingrained problem — consumerism/throw-away society — in a charmingly local, tangible, and achievable fashion.”

“I think that the funding they are requesting is commensurate with their goals, and I like that they have a concrete partner and audience already designated. My only suggestion is that they promote tailors and garment repairers who already exist in Seattle. Many immigrant communities already practice this.”

“This project tackles the huge problem of the excessive amount of damaged clothing being thrown away by teaching people how to repair their garments. The RepairCycle addresses the issue through the promotion of creative mending while reframing of the issue of clothing repair. This could be aestheticized like Kintsugi, the Japanese art of repairing broken porcelain with gold dusted lacquer.”

“In times of a throw-away culture, it is refreshing to see a project focused on repair, particularly for items of self identity, like clothing.”

“Too often we take resources for granted. RepairCycle challenges our assumptions and forces us to look at our relationship with clothing, changing it from disposable to long-term.”

RepairCycle will be participating in the King County Sustainability Fair (CHOMP) on August 17, and the Seattle Design Festival on August 24 and 25.

08-07-2019 | Stipend

2019 Summer Stipend Finalists Announced

Below are the application submissions from our finalists, currently being reviewed by our Summer Stipend Panelists.

Karen Dybis

Project SAVE: The Delray Preservation Plan


I am creating an archive, photography exhibit and oral histories of Detroit’s historic Delray neighborhood in hopes of creating a prototype for neighborhood research by “citizen archivists.” My goal is to find ways for local storytellers, neighbors and interested researchers to document, preserve and honor the stories and legacies of the people, places and things that existed in threatened neighborhoods or any neighborhood. I am particularly interested in Delray because it is shrinking and most likely disappearing in light of the addition of the Gordie Howe International Bridge, which is taking 160 acres out of the neighborhood for its development.

Project needs

I need funding to help me create a student photography exhibit and artist readings. My goal is to introduce kids and young adults in Delray to oral history taking, photography and art so they can tell their own stories about the neighborhood. I want to give them the tools — cameras, videocameras, art supplies — to help them express themselves and show people what Delray looks like to them. This way, we can preserve a part of its story in a real and honest way. I need $1,000 to make these purchases, to bring in artists and photographers and to buy supplies to create a program at the Delray Community House for kids and young adults to participate in and recreate on their own.

Project description

I am working on setting up a long-term archive, oral history and photography project around Detroit’s historic Delray neighborhood that could be recreated and used in any neighborhood. This includes collecting historical documents, sourcing historical photographs and films, creating new photography and stories of Delray as well as helping the local community find resources within the arts industry to further develop its storytellers of all ages.

More from

Kat Roma Greer

Disrupting Climate Disruption: A Global Day of Creative Action


On the day of the 2019 U.N Climate Action Summit, I will be conducting a Global Day of Creative Action. An accessible movement where creatives mobilise within their individual communities, develop, present and document a public, creative response to climate disruption. The works will span across all practices, with a particular focus on the involvement of creatives from member countries of the Climate Vulnerable Forum. These works, their development and public response will be documented and featured online live, be part of a virtual online exhibition, and form the basis of a micro documentary. This project will culminate with a virtual conference involving participating artists and organisations, and a report based on a longitudinal study.

Climate disruption is everyone’s concern: but particularly those on the front line of the effects.

During my recent residency in the Arctic to further research climate disruption, it became apparent that the majority of participants were from developed countries who were educated, have access to resources, information, and possess skills and power to create change. We will not experience the full effects of climate disruption – at least, not immediately. It will be the under-privileged in developing countries who will be disproportionally affected, and bear the burden of the initial stages. And yet, in all of my explorations and creative disruptions across low-socio economic areas, I could see a common thread: people did not know, or understand what was happening  to their environment. Furthermore, if they did have any information, it was so data-soaked, abstract and intangible, that they dismissed it. Some of these communities are going to be the first and worst affected by climate disruption, and yet have the least amount of access to information, power to make change – or even have a voice in the global discussion. Climate justice is sorely lacking. 

What I have also witness, documented and had studied is the powerful affect of the arts within these communities as a tool for education, communication, positive change, placemaking and empowerment. If provided an opportunity to engage on a subject with self-autonomy, freedom of interpretation, self-determination, and the work inspires; then this combination psychologically triggers a willingness to consider things in a new light, to embrace unconventional solutions – to really feel as though change is possible (Per Espen Stokes).

Yet, all of these cultural activities are occurring and accessible by communities who already have reasonable access to information, resources, forms of enquiry and education on this subject. I want to take this model and transfer it into the communities who urgently need it. 

Project needs

The project will take place through 3 different streams:

1. 5 x Micro Galleries International Artist Collective  artists creating work in Nepal, Indonesia, USA, Australia and Kenya.

2. 10 x invited community groups to take part in our open source work by artist, Adam Kuby “Sea Level 2080”. This work is sent to participating groups in a box with instructions and all materials provided (200 participants)

3. Open callout for any public who would like to contribute works on this day using our platform (estimating 100 works world-wide with 200 participants involved in their creation)

The works will be live streamed over 24 hours on 23 September via Twitch, and then documented in an online exhibition via Owlstand. 

We are all donated our time and materials for  streams 1 and 3, however we need $1,00 to assist us with stream 2 and make this project truly powerful and accessible. The money would be used for two things:

1. To purchase all materials and create all instruction manuals and videos for the “Sea Level 2080” project, and have them sent to the partner organisations in the targeted vulnerable communities.

2. To assist these communities in gaining access to cameras or smart devices to record the process, set up, and public engagement, and getting this documentation to us. 

More from Disrupting Climate Disruption.

Carand Burnet

Songs of The Kioea


Since February of 2019, I have composed a series of instrumental compositions inspired by the life of an extinct Hawaiian bird called the Kioea (Chaetoptila angustipluma). Kioea translates in the Hawaiian language to mean “stand tall” or “to be lifted up.” Its story was a much a mystery during its life as it was after its vanishing. The Kioea, approximately the size of a crow, had moss green and chartreuse yellow feathers. The species had two interesting adaptations — a fringed-tongue paired with a curved beak for nectar-feeding and wispy feathers as fine as hair. The Kioea was last seen around 1859 gracefully fluttering through the plants that reclaimed the Kīlauea volcanic eruption.

After learning about this bird that symbolized courage and the importance of Eco-conservation, I drew from my 20+ years of experience as a guitarist to write a series of songs that re-imagined the Kioea’s life. This spring, I partnered with a double bassist and percussionist who have helped create over a dozen musical compositions to date.  Currently, the project is booked for live performances at four venues in New England. This will be the first time I will have the opportunity to play live before an audience with a backing band. As a female lead guitarist, I hope to inspire women while educating listeners about the Kioea and the current need for sustainable environmental practices.

Project needs

While I currently have several venues booked to perform this series of songs, I would love to professionally record an album so this music and its message will reach a larger audience. Previously, I have used my own equipment to record drafts, but the audio quality is significantly diminished. I would like to record live to best use the funding for the studio. In the past my band members have worked with the Electric Cave studio in Portsmouth, NH, to produce quality recordings. So far, I have spent $200 for the professional recording of three songs during late July at The Electric Cave. However, this is the entirety of the project’s budget; I would like the rest of the series recorded as well because each song is stylistically diverse as it reflects Hawaii’s ever-changing landscape.

Project description

The $1,000 stipend would cover the recording costs of at least 10 songs and album production. It would also allow me to sell the album digitally to help raise money for Eco-charities. The stipend would make a lasting impact beyond the initial recording. The music can be disseminated online and connect with a wider audience. In turn, this would bring awareness about contemporary environmentalism.

This album marks the beginning of a long-term project: I am currently booking live performances for next year, and I am excited to compose more music inspired by the Kioea. My band members and I stay motivated with this project in part because of our local environment. The New Hampshire/Maine coastline where we live has recently reached a critical point (the Gulf of Maine is now one of the fastest warming areas of oceans in the world). Music is an excellent way to communicate with listeners messages that will make them emotionally invested in seeking personal change and Eco-activism in their lives.

More from

Alejandro Franco

Withering Away


The project consists of  an exhibition with stained glass windows made out of single-use plastic. We are making use of the translucency and variety of colors of this material to present the audience with meticulously crafted pieces that turn a material so transient and detrimental into something of great beauty, worth preserving.

By spending all this time and effort to recover an undervalued material through labour, we hope to make an allegory of the efforts we need to make to preserve a healthy ecosystem, one where we can feel hopeful and proud, an essential desire so often taken for granted.

Within these windows we will illustrate the future of our planet as if we were looking at it through the filter of our careless habits, a place where humans went extinct and nature is gracefully reclaiming architectural structures. Our goal is to draw attention to the unmindful use of plastic as packaging material and to foster a sense of consciousness.

Project needs

This is a collaboration project between Kelly Jimenez and Alejandro Franco. Since our chosen material is single-used plastic, we collect it from the packaging of the food and products we are consuming, this allows us to keep a low cost on materials.

However, this project is labor based and time consuming, the plastic we are using  is non recyclable so it often gets mixed up with kitchen waste and all kinds of crap that go in the trash and makes it hard to recover. We need to spend time recovering all the potential plastics that we find on dumpsters around the neighborhood. 

We are both committed to this project, we both have part time jobs that allow us to make this exhibition our priority, every piece is meticulously crafted and it will take us at least 8 months to complete it. we also use some materials that cost us some money, plus covering any installation costs. Our budget for this project is $10,342, we already got $4500 after fees from a successful kickstarter campaign, in order to keep making this exhibition possible we need to continue collecting the remaining funds needed to complete our project.

Project description

The show is an art exhibition composed of 10 pieces of 100 x 50 inches, highly crafted stained glass-like illustrations made out of cutouts of plastic. These illustrations are images of different scenarios where nature is overtaking remainings of human existence, vines are wrapping around everything and one can experience the exuberance of nature conquering over concrete. They will be mounted on a structure and wrap around a led light box that allows the light to shine through the piece without heating up the plastic. In the center of the big room, we will have a large sculpture, an 8 feet B/W rainbow that emerges from two colorful garbage clusters.

More from

Mahua Biswas

Scarred But Winners


I am conducting an in-depth study of acid attack phenomenon in both developed and developing world. Because, that heinous crime is spreading like a wildfire from Middle Eastern, South Asian and South – East Asian nations to almost all over world.

The purpose of that study is firstly searching the reason which provoking this particular trend as most attractive to perpetrators worldwide and secondly providing all the necessary information which can help acid attack survivors to fight their battle against all kind of odds. All these information I want to publish along with many survivors’ testimonials in a free E-book format which would be available worldwide and anybody who wants to lend their support would be able to contact these survivors.

Project needs

I have already received a micro grant from Harnisch Foundation, USA worth US$1000 on April, 2019 which has covered all the initial expenses of that project and presently I need around US$1000 to provide a small cash remuneration/gifts to the survivors to compensate their time for that project.

I am planning to pay US$10 to per participant acid attack survivor in cash or kind and I want to interview around 100 Indian survivors for this project. Therefore the approximate requirement of fund would be: US$10/ Survivor x 100 Survivors = US$1000

My project is stuck presently since any NGO does not want to provide me information of their clients because I don’t have sufficient fund to compensate their clients’ time.

More from

Coreen Callister



The RepairCycle is a mobile bike trailer and garment mending service. We offer visible clothing repair and teach mini workshops in the greater Seattle area. Our goal is to catalyze a culture of clothing repair (versus disposal) by offering a collaborative, community-driven service and experience. 

Our relationship with clothing is out of balance. The average life cycle for an article of clothing (in the U.S.) is less than one year. With no straightforward way to recycle textiles, this disposable mindset is creating massive solid waste (about 1 garbage truck every second, or 92 million tons dumped into landfills annually). Striking a balance means disrupting this wasteful cycle with thoughtfully designed experiences that inspire and empower us to keep and enjoy clothing longer. Which ultimately means, building a culture of garment care and repair. The RepairCycle is more than a functional service, it’s a delightful way to “re-experience” your clothing.

Project needs

We’re excited to share that the RepairCycle has been accepted to the Seattle Design Festival and CHOMP (King County Sustainability Fair).

Our team will offer light repair services and host creative mending workshops at these community events in August. And eventually, we hope to tour across all three University of Washington campuses in 2019-2020.  

We’ve built our bike trailer and we own one hand-crank sewing machine. However, as newly graduated students we need funding to make key investments that will kickstart and sustain our RepairCycle passion project. In the spirit of up-cycling, most of our materials are lower cost, because we plan to purchase second-hand versus new. Our partnership with King County also gives us access to some material donations such as scrap fabric and buttons. However, to reach the finish line and be successful at our launch events in August, we must invest in some key items, outlined below: 

– ($400) Serger machine (used, available via craigslist or Ebay)
– ($100) 1 year of website domain name & hosting 
– ($300) Repair Kits: Event take-away for workshop participants learning mending techniques.  Thread, small patches, buttons, single sewing needles, small booklet/card (with repair instructions). 
– ($200) Honorariums for 4 local sewers & technicians to teach 1 hr workshops (at $50 each)

Project description

The RepairCycle is a mobile, on-the-spot garment mending service and experience that brings the Seattle community together around the universal aspect of clothing — offering a functional service while creating connection and dialogue through a shared activity. By empowering creative and easy-to-learn mending skills, we are working to transform our local community’s relationship with clothing. Ultimately, we believe that garment repair is not just a viable option, but should a delightfully designed experience. 

The Macktez summer stipend would directly support essential material purchases such as a second-hand surger for technical clothing repairs, promotional and workshop materials, etc (as outlined in previous sections) for our two upcoming August community events. Thank you for your consideration!

07-24-2019 | Stipend

Summer Stipend 2019 Application is Now Closed

Thank you to everyone who applied.

Finalists for the 2018 Stipend will be posted right here on July 24, 2019.

07-21-2019 | Stipend

A Conversation is not a Meeting

Applications for the Macktez Summer Stipend — our annual development grant of $1,000 — are now being accepted. For more than a dozen years Macktez has been encouraging the creative people we work with to pursue and complete the personal projects that may languish without a helpful push.

Applications are due July 20.

If you’re working with someone else on your summer project, or even if you are just asking a friend to review your application (as we suggest in our step-by-step application plan), then you’ll be having meetings.

We’ve all been in bad meetings, which can frustrate creative momentum and strain professional relationships. But if you follow a few simple rules, you can have meetings that are productive and worthwhile:

– A meeting needs an agenda, or at least an explicit purpose, that everyone knows ahead of time. What are you there to decide, what do you need to accomplish together?
– Turn conversation into action items as soon as possible. Take responsibility. Prioritize action over discussion.
– Meetings yield actionable tasks. Those tasks should be assigned so that everyone knows who’s doing what. Pick deadlines for each one.
– Set a date right away for the next meeting you need to have.
– Someone needs to take notes and share those notes afterward.
– Aim to wrap up 5 minutes early. And if you’re done early, end the meeting early.

A meeting always moves a project forward. If a meeting ends but no actionable tasks were assigned, then it wasn’t a meeting. It was a conversation. Now, good conversations should be a part of work — tossing ideas around, debriefing, decompressing, goofing around — but don’t mistake a good conversation for a good meeting.

Summer Stipend 2019

So if you are working on a personal project, and you think $1,000 would help you cross the finish line, we want to hear about it.

We evaluate applications on three simple criteria: originality, relevance, and conviction. One Stipend recipient will be selected from our all-star panel.

Again, the deadline is July 20.

Applications for 2019 are now closed.

06-14-2019 | Stipend

2019 Stipend Panelists Announced

We are delighted to have the following colleagues, clients, and friends participating in the selection of our 2019 Summer Stipend recipient:

Francine Snyder, Director of Archives at the Robert Rauschenberg Foundation, specializes in artists’ and museum archives. Prior to the Foundation, she spent nearly a decade as Director of the Library and Archives at the Guggenheim Museum and, before that, she was Project Archivist at Gap, Inc. and Slide Librarian at San Francisco Museum of Modern Art. Snyder received her MILS from San Jose State University, her BFA from Purchase College, State University of New York, and is a 2014 Archives Leadership Institute alumni.

Bob Barber is a former partner in Russell Design Associates, an internationally recognized multi-disciplinary firm specializing in identification planning, brand marketing communications, environmental graphic design, and online media. Prior to that he was the Managing Director at Hill & Associates, Inc., and a Managing Director at Hill and Knowltown. He holds a degree in Graphic Design from the University of Cincinnati. He is currently semi-retired, working for select clients and creating a portfolio of photo repetition images.

Jonathan Cedar is CEO and co-founder of BioLite, a social enterprise that develops and manufactures clean, affordable energy systems for off-grid communities around the world. In 2011, Business Week named Jonathan one America’s Top Social Entrepreneurs, and together with BioLite has won the 2012 Tech Awards, 2014 and 2012 Fast Company Innovation By Design Awards, and 2011 St. Andrews Prize for the Environment. Before starting BioLite, Jonathan was a Senior Design Engineer at Smart Design, a New York based product development consultancy, where he led teams that created consumer durable products ranging from housewares to biomedical devices. Jonathan holds a BA in engineering and environmental science from Dartmouth College.

Barbara Glauber runs the design studio Heavy Meta, which focuses on the design of publications, exhibition, and information graphics for cultural institutions. Barbara has an MFA from CalArts and received her BFA at Purchase College, SUNY. She curated the exhibition “Lift and Separate: Graphic Design and the Quote Unquote Vernacular” at the Lubalin Center at Cooper Union, is a co-curator of Type at Cooper’s Typographics Festival, and has designed over 80 books. She teaches design at Yale and Cooper Union.

Charlie Gray is the founder and President of Gray Scalable, whose team of recruiting and HR professionals helps companies grow and evolve their people practices to match the standards of the world’s leading tech companies. Charlie led the people operations of technology and media companies for 15+ years before founding Gray Scalable in 2012. He was instrumental in managing the growth of the Google advertising sales team and helped to develop the company’s People Operations framework. He provided HR and operations leadership at other start-ups including RecycleBank and Patch, and has now consulted at dozens of industry-leading companies. He holds two degrees from the State University of New York at Buffalo, in Music Performance and English Literature. He lives in Verona, NJ with his wife and their 2 kids, 2 dogs and 2 cats.

Manuel Sanchez Miranda is a graphic designer. His studio, MMP, works on design projects for non-profits, cultural organizations, schools, government agencies, and corporations.  Currently, he’s a commissioner on the Public Design Commission of New York City and a design critic at the Yale School of Art. Previously, Mr. Miranda served as vice president of the New York chapter of AIGA New York, where he created programming for the Museum of Arts and Design and developed place-based design projects funded by Art Place America and the Small Business Services of New York Neighborhood Challenge Grant.  Prior to establishing his own design practice, he was a designer at Brand Integration Group at Ogilvy and a design director at 2×4. Mr. Miranda received a B.A. from the Evergreen State College in Olympia, Washington, and an M.F.A. in graphic design from Yale University.

John deWolf is the Director of Experiential Graphic Design—wayfinding, branded environments, and interpretive planning and design—at Fathom Studio, a boutique design firm in Nova Scotia. John has worked in various media including print, interactive, broadcast, exhibition, environmental graphic design, and interior design. He has an extensive background in analyzing and deconstructing complex structures and designing understandable and accessible communication systems, particularly for large public audiences. Previously he has been a senior interactive designer for Two Twelve Associates of New York, and has also worked with and managed large-scale signage teams for such clients as Walt Disney Imagineering, Parks Canada, the Chicago Park District, Queens West State Park, Seattle’s Sound Transit, Indiana Purdue University, Yale University, Trinity College, Yukon College and the University of Manitoba. He holds a degree in Communication Design from the Nova Scotia College of Art and Design, and a Master in Interior Design degree from the University of Manitoba.

Steven Harper is a Partner and Operating Director at MN Design Professional Corporation, a full-service architecture firm based in New York. He has overseen the execution of a range of sophisticated residential and commercial projects, including a 90,000 square foot production facility within a nationally-landmarked historic structure at the Brooklyn Navy Yard in New York City, and was on the lead design team of a five million square foot multi use complex for MGM Grand in Atlantic City, New Jersey. Along with his oversight and involvement in MN’s projects and general management, Steven directs the firm’s operations and planning. He earned his Bachelor of Architecture from Virginia Polytechnic and State University and is a LEED-certified, registered architect in the State of New York.

06-12-2019 | Stipend

Summer Stipend 2019 Application Worksheet

It’s helpful to prepare properly for an application like this, both to make sure you submit your best proposal on time, and also to give you the chance to think about your project in a clear, directed way.


Don’t procrastinate. Set yourself a clear schedule between now and the deadline on July 20 to make sure you submit the best application possible.

Monday 6/17/2019 (0.25 hour)
– Read through the whole application at so you know what’s expected.
– Print out this page. (Or save it somewhere you can find it easily on 6/26.)
– Review your calendar and make schedule a couple of hours on or before 6/26 for the first set of tasks.

Monday 6/24/2019 (2 hours)
– Choose a comfortable space where you won’t be interrupted and have a pen, this worksheet, and your calendar handy.
– Enforce quiet time. (Put your cell phone in airplane mode or turn it off, close your email, close Facebook, close Pinterest … close everything.)
– Gather whatever materials you have for your project work to date.
– Make sketches of what needs to be done to complete your project. (We have our own favorite paper products we use for this process, available at, but any will do.)
– Review the dates and tasks that follow and add an event to your calendar on or before each deadline.
– Choose a colleague you respect to ask for input and invite them to chat next week.

Monday 7/1/2019 (1 hour)
– Take a friend or colleague out for coffee to talk about your project. (Talking about your creative work out loud helps you to refine and improve how it sounds to other people.)
– Bring whatever materials you have for your project work to date and a pen and paper. (A yellow notebook, perhaps!)
– Pause to take notes while you talk.

Friday 7/5/2019 (1 hour)
– Outline the schedule and budget for your project.
– Outline your project description. (Review your notes.)
– List the possible images you could submit with your application. (Note which ones already exist digitally, and which ones you would need to take or create.)

Saturday 7/6/2019 (0.25 hour)
– Choose at least one friend or colleague to review, edit, and proofread your application on July 20 and reach out out to them to ask their help. (Make sure they know you’ll have a tight deadline right after that and need their comments back the next day.)

Monday 7/8/2019 (1 hour)
– Write a first draft of answers to all the questions on the application. (Write this up in a text editor or on paper. Don’t get too caught up in any one answer, and don’t try to edit yourself right away. Make sure you write something for each question.)

Thursday 7/11/2019 (1 hour)
– Revise your answers for a second draft. (This is where you can let yourself choose words more carefully and constructively.)

Saturday 7/13/2019 (1-2 hours)
– Take the picture or grab the image you will submit with your application.
– Upload it somewhere with a shareable link. (This can be your personal website, Flickr, Facebook, Google Photos. To make sure it’s accessible to us make sure to log out of whatever service you are using and paste the site address in a new browser window. If you can see the image that way, we can also.)

Monday 7/15/2019 (0.5 hour)
– Send your draft application to the person who agreed to be your editor. (Remind them that you’re on a tight deadline and need their comments back by the following day.)
– Make sure you include the link to your application image. (So your editor can confirm that your image is accessible.)

Wednesday 7/17/2019 (0.5 hour)
– Follow-up with your editor and review their feedback closely. (Don’t include edits unless you’re convinced they make your application better. This is your project, not your editor’s.)

Thursday 7/18/2019 (1 hour)
– Choose a quiet space where you won’t be interrupted and revise your application. (This is nearly your final edit so take your time.)
– Many people find it easier to do final edits on paper, so if you don’t have a printer, allow time to go somewhere with one and generate a hard copy to review.

Friday 7/19/2019 (1 hour)

– Set yourself up in a space with internet access where you won’t be rushed and won’t be interrupted.
– Make one final proofread of your application and answers. (Double-check all spelling.)
– Pull up and copy and paste your answers into the application fields.
– Double-check your email address. (If you get this wrong, we’ll never be able to tell you that you won!)
– Take a deep breath and review your application one last time.
– Click “Submit.”

Wednesday 7/24/2019 (0.25 hour)
– Check back at our website, like us on Facebook, follow our Twitter feed, or subscribe to our RSS feed to see if you’re one of the finalists.

Food for Thought

Creative work can be difficult to express in clear language, yet that’s exactly what this application asks you to do. Some of the more specific questions below may help you work out what about your project you would like to tell others to get them as excited about it as you are.

– What are you trying to accomplish?
– What problem are you looking to solve or question do you want to answer?
– Has anything like this ever been done before?
– If not, why are you the first to think of it?
– If yes, why are you compelled to do it yourself?

– How much have you spent so far on this project? (List the things you’ve paid for.)
– How much more will it cost to complete? (List what you need with cost estimates.)
– How would you fund this project without the Macktez Summer Stipend?

– How long have you been thinking about this project?
– How long have you been working on this project?
– When do you expect to be finished?

– Is the finished project meant just for yourself or to be shared publicly?
– (Does that matter to you?)
– Is there anyone in particular you are hoping will see the finished project? Any venue that would be particularly appropriate?

– Do you remember the first time the idea for this project occurred to you?
– Has anyone else’s work inspired this project? If yes, who?
– Who or what motivates you to keep working on this project?

– Do you work alone or collaboratively with others?
– Do you work at home or elsewhere?
– Do you work on this project every day, or in fits and starts?
– Do you work linearly or roundabout?

| Stipend

Macktez Summer Stipend Application Opens June 14

Our annual stipend provides $1000 for your summer project.

Every summer, Macktez invites clients, friends, and complete strangers to tell us how $1000 would help them carry their personal projects across the finish line. Our panelists evaluate applications on three basic criteria — originality, relevance, and conviction — and in August we announce one Stipend recipient.

On June 14 applications open — bookmark Entries will be due the next month, on July 20. Finalists will be announced a week later, and our recipient will be selected just a few weeks after that.

The Summer Stipend application itself is designed with our methodology in mind. It includes a worksheet to help you define a clear schedule, choose deliberate actions, and focus your attention.

If you’d like to get reminders and updates from us as we hit each of the Stipend milestones, follow us on Twitter, like us on Facebook, or follow our Tumblr.

You can also review our previous recipients and their projects below.

05-09-2019 | Stipend

Give yourself a gold star

Are you having a string of bad days to start the new year? Did you forget to buy an important item on your shopping list? Did a big bad wolf just blow your house down? Is the farmer trying to kill you?

If you don’t feel prepared for the challenges that today presents, don’t wallow in the mud. Take a step back and give yourself the chance to get organized, get back on track, and earn yourself a gold star. Here’s how.


Write down* on a slip of paper three things you are absolutely committed to getting accomplished today.

Not two. Not four. Three is key to balancing accomplishments and maintaining flexibility.

If you can do one or more of these things before anything else — especially before checking email — do so.

* Seriously, write them down; keeping them in your head doesn’t count.


When you finish each one give yourself a star.

When you’re all done, crumple up and throw the paper away.

If you don’t get all three things done by the end of the day, throw the paper away anyway. Tomorrow is another day.

Choose three things.

A little organization and planning go a long way.

At Macktez we rely on the Daily Review — an individual appraisal of calendars and inboxes to make sure we have given ourselves the right amount of time to get through all our expected tasks.

But that daily habit can feel overwhelming for people just starting on the path to organizational happiness, so if you’re having a tough time we recommend a set of training wheels: Choose three things. (Just three — no more, no less.) Write them down. Keep the list in front of you and cross them out as you complete each one.

When you’re all done, enjoy the satisfaction of crumpling up the list and tossing it in the garbage. And this is important: Even if you don’t finish all three, throw the list out anyway, because tomorrow you have a chance to set your priorities all over again.

The clarity of having three specific things to do, and getting them done as early in the day as possible before some email or message can derail you, is a simple way to give your day — and your year — direction and a sense of accomplishment.

Congratulations to Colin McMullan, our 2018 Summer Stipend recipient

This year’s recipient for our $1000 Summer Stipend was a community-based project tackling multiple contemporary issues in a unique installation: “Tree Spa for Urban Forest Healing.” Starting with a mobile sugar shack for tapping maple trees, Colin McMullin and his collaborators have built a vegetable steamer and spa that take advantage of the steam generated by refining maple syrup. Steamroom, evaporation room, and ventilation are all built on trailers to maximize portability and surprise. “Who knows where the TREE SPA will turn up next?”

For more information about Tree Spa, visit

— The Team at Macktez.

02-08-2019 | Happy New Year

Congratulations to Colin McMullan, 2018 Summer Stipend recipient

“Tree juice,” says Colin McMullan, is “a medium for regaining our spiritual unity with the natural world, and our sense of belonging here, by reclaiming our ancestral indigenous knowledge of this specific land.”

And that’s just a teaser for his project, “Tree Spa for Urban Forest Healing.” The rest of the project — tapping neighborhood maple trees, refining the sap, drinking the juice, cooking food in the steam generated as a byproduct of the maple syrup evaporation process, and discussing community issues while relaxing in a communal steamroom — captured the imagination of our panelists and won Colin the Macktez Summer Stipend.

Here are a few of the comments we received:

“A very interesting concept that tackles multiple topics via a unique, single installation.”

“I like that it’s a social activity and space (the spa) that engenders people to come together and to learn about one another. It’s a project made from a personal place but for other people.

“Combining a commitment to literal and social mobility, and emphasizing the enmeshed nature of social, physical, and ecological infrastructure, the Tree Spa for Urban Forest Healing outlines an ambitious but achievable prospect for new relationships between, trees, people, and objects. Bravo!”

“I really appreciate how totally therapeutic the process feels — to the participants and to the earth.”

For more about “Tree Spa” read Colin’s full proposal and check out Hartford Maple on Facebook.

08-08-2018 | Stipend

2018 Summer Stipend Finalists Announced

Below are the application submissions from our finalists, currently being reviewed by our Summer Stipend Panelists:


Aliya Bonar

Project: Fear Suits


We – myself and my collaborator Eliza Fernand – are creating costumes and installation that embodies and sparks fears: both fears about yourself and fears about others. The piece is a continuation of a body of artwork, “Anti-PowerSuits” which physically manifests negative thoughts into costume form, making it possible to play and address these thoughts outside of your head.

At this moment in time politically and personally I am dealing with constant negative thoughts, resignation, and fears – am I doing this right? Is this worth it? Am I contributing to the solution? Will our planet even survive another generation? These costumes have not only been fun to create but they also give me space to really dig into those fears and share them publicly without just complaining. It’s a productive conversation starter, and a way to connect with fellow artists and casual audience members about their own fears.

This iteration is especially exciting as it will be connected to a “Haunted House” event, directly meshing our public and private fears. What is ok to be afraid about with other people, versus what are fears I need to keep to myself? Additionally, while Eliza and I have worked together in the past as curator/artist, friends, and members of a larger group, this will be one of the first times we are making work together as collaborators.

The project will be installed and performed as part of the Wassaic Project’s Haunted Mill exhibition in October 2018 in Wassaic, NY. While inclusion in this program will allow our work to reach a larger audience, the honorarium provided by the hosting organization are insufficient to cover our travel, materials, and installation assistance. Which is how the Macktez Stipend would provide a huge support.

Project needs

To finish the project we need to design and produce 3-4 costumes as well as the corresponding installation. We will need funding to purchase supplies/materials; specialty fabrics, technical supplies for garment construction, structural components for the installation. We will spend funds on traveling to Wassaic and daily needs/meals during the production/installation time. We are planning on spending a week in Wassaic ahead of time to do finish the costumes and install the piece on site.

Costume Production: $530
– specialty fabrics: $300
– thread, sewing machine needles: $30
– additional (non-fabric) materials (likely sourced from thrift stores and local dollar stores): $200

Installation Construction: $85
– (10) 2×4 braces for creating fabric wall: $3.50 each, $35 total
– wood screws, hanging hooks, fishing line, staple gun staples: $50

Travel/Installation Period: $640
– food/meals: (2 people for 5 days; national per diem rate $64 per day; $640 total) estimated actual cost: $350
– Travel to Wassaic by car from NYC (Aliya): $40
– Travel to Wassaic by plane from MI (Eliza): $250 (already purchased)

Current Project Support:
– housing and studio space for Eliza and Aliya covered at Wassaic Project during installation period (1 week)
– Access/use of Wassaic Project Wood Shop and Print Shop
– Wassaic Project honorarium of $100
– in-kind material donations from Materials for the Arts (including some fabrics, notions, etc)
– Aliya’s NYC studio space (already rented)
– Eliza’s plane trip to NYC (already purchased)
Estimated Remaining Project Needs: $1155

Project description

The Macktez Stipend would be used to develop and produce original costumes embodying personal and public fears. The costumes are part of an interactive community-focused “Haunted Mill” exhibition hosted by the art residency program, the Wassaic Project in Wassaic NY.

Eliza and myself are taking on this project as a way to explore a new context for our work and collaborate in a new way together. While we are forging ahead to make this project with or without the Macktez Stiepend, your support would allow us to delve deeper into the concept, use materials that match the exact needs of each costume/character and produce a fully realized project.

Personally, this work feels very relevant and urgent to this moment. I’m constantly overwhelmed by and the huge political, environmental, global instability I hear about in the news every day; this in turn affects my personal life, bringing out fears that I can’t make a difference, fears that it’s all too much. This piece will create a new – playful and outrageous – space to engage with our intimate fears in a public, productive, and ultimately impactful way.

Victoria Manganiello

Project: Computer 1.0


“Computer 1.0” is an interactive installation artwork created in collaboration by artist Victoria Manganiello and designer Julian Goldman. We have created a textile through which colored liquid is pumped. The liquid is controlled by a computer code which in turn creates patterns along the surface of the textile transforming it into a moving screen. Inspired by the history of the computer and the similarities between the historical universality of textiles and the modern universality of technologies, this installation is meant to be an artwork, design object and also an educational experience for viewers.

Project needs

Our installation is nearly complete. We simply require two high-powered pumps to operate the system we have produced. The pair costs $878.52 before shipping fees and any incidental installation hardware costs. We are in dialogue with an important New York City arts space who is interested in displaying our piece. This space will also accommodate us to conduct supplemental educational and interactive experiences so that the general public could not simply engage but learn more about our concepts.

Project description

Master silk weaver, Joseph Marie Jacquard, developed the first conception of a computer in 1801. It was a mechanical loom that could run what we now understand as a ‘program’ to create detailed and elaborate textiles without painstaking manual labor. This was the first machine capable of automated task production, and the first known use of binary code. Though Jacquard’s loom performed a task we take for granted in it’s simplicity today, the technology eventually led to the groundbreaking work of inventors Charles Babbage, Ada Lovelace, and Alan Turing.

The Jacquard loom then is not just a relic, but also the first ancestor, the Adam and Eve, to our modern computers. Because this history is all but forgotten in our understanding of humanity’s digital maturation, Computer 1.0 seeks to pay homage to the forbearers of computer history. The representation of this digital ghost is produced with hand-woven cloth and a programmed kinetic surface that brings to mind data, code, and communication infrastructure.

Jacquard’s loom was an enormous driver to the Industrial Revolution, simultaneously fostered the environment for the Luddite revolt as the work of thousands of laborers became increasingly mechanized. Computer 1.0 seeks to function as a historical lens that shows how our relationship to computing technology has always been fraught with juxtaposed promises of utopian and dystopian futures, while the reality consistently finds itself somewhere in between.

This installation reminds it’s onlookers that society has been grappling with a digital existentialism and the question of ‘are we better off?’ since the birth of programming itself. In this way, Computer 1.0 is the physical display of the eternally uncertain potential of technology.

Teresa Meier

Project: What I Know, Remember, and Forgot from Camelia Street


I am working on creating several professional printed portfolios for the current project that I am working on (Please see artist statement for the project below). As a fine artist a printed portfolio is necessary for acquiring gallery representation and a critical component in attending portfolio reviews, which are vital for networking and promoting and sharing your work among industry professionals.

Artist Statement ~ “What I Know, Remember, and Forgot from Camelia Street”

I contemplate the shared truths of the human story–love, fear, home, family, birth, aging, dying–through the lens of the surreal. In a series of autobiographical self-portraits, I examine identity within the context of family history and birthplace. The work tackles the interwoven complexities of past and present and, specifically, how the past shapes and dictates our perception of our present self and relationships. I encourage introspection and inspire awe through journey-like narratives and fantastical landscapes embedded with unexpected juxtapositions of characters and settings.

The images are best printed and viewed 48”x72”

Project needs

I have all the necessary tools, knowledge, and skill to create a portfolio, but I could use help with the cost of materials.

Each portfolio costs approximately $200 in materials to make, so this grant would allow me to make five.

Project description

I’m developing multiple printed and boxed portfolios of the project, “What I Know, Remember, and Forgot from Camelia Street” for the purpose of sending to galleries, prospective clients, and portfolio reviews.

I’m currently planning on attending the Medium San Diego portfolio review in October and am seeking gallery representation beyond the Portland Art Museum Rental Sales Gallery.

More images:

Colin McMullan

Project: Tree Spa for Urban Forest Healing


My recent creative research involves sharing wild foods, indigeneity, interspecies communication, environmental justice, and decolonization. This stems from a deep connection with the eastern woodlands of North America, based on my conflicted Indigenous/settler heritage. The Indigenous part of my family was assimilated into whiteness due to policies of genocide against Indigenous Peoples, several generations ago. So we have gained our white privilege, but we need to pay attention also to what we have lost. With that background, I am in the midst of a long project involving the aestheticized collection of tree sap, and ways to encourage its wider use. This TREE JUICE, as we prefer to call it, we see as a medium for regaining our spiritual unity with the natural world, and our sense of belonging here, by reclaiming our ancestral indigenous knowledge of this specific land.

Starting in the winter of 2017/2018, our TREE SPA project operates out of the Keney Park Sustainability Project, a Black-led educational/healing urban farm, based in Keney Park. Keney is a neglected Olmsted-designed 700 acre park in the North End of Hartford, a neighborhood with a poverty rate near 50%. We are tapping maple trees in this park, at Hartford public schools, a nearby university, and private residences. This informal situation brings people together for conversation, food, and reconnection with the land. Here participants observe the maple syrup production process, while “taking the waters” of the trees, in a healing process similar to the history of mineral spas. Steam is a necessary byproduct of tree syrup evaporation that is imaginatively utilized in the spa with significant aesthetic impact.

This TREE SPA concept is a variation on the healing traditions of many world cultures, including the Scandinavian sauna, Islamic hammam, Russian banya, sweat lodges and maple sugaring camps of various Indigenous Peoples of Turtle Island (a.k.a. America), and the modern Japanese notion of Forest Bathing. In our case, the steam from reducing maple syrup is combined with other wildcrafted substances to create an essence of the forest, which is beneficial to our individual wellbeing, and that of our human and non-human communities. It is important that this experience honors the varied traditional cultural practices mentioned, and yet clearly functions as a contemporary, postcolonial manifestation of our fractured-yet-connected, terrified-yet-hopeful, global society. A transcultural space such as this could provide people of varied backgrounds a unifying experience appropriate to our identity-fluid contemporary moment. This is one excellent reason for the project to inhabit a contemporary art context, as this milieu is inherently transdisciplinary, experimental, unconventional, and risky.

Project needs

I am in the last construction phase of the project, building the steamroom structure, and the ventilation system connecting it to the evaporation room. I have a grant of $2000 from Artspace New Haven to produce the finished system by October to premiere it at an arts festival then. I need more money for materials and labor to finish it, which is why I’m coming to you. I would use the $1000 you are offering to buy roofing, vent pipes, and Stress Skin Panels, which will constitute the framing and insulation for the structure. Any extra money would go towards labor, either my own or that of a helper.

Project description

We started the Hartford Maple Syrup Club in 2017, an off-campus expansion of the maple syrup project that was previously operated by the Sculpture Club at Hartford Art School. HMSC has partnered with Herb Virgo of the Keney Park Sustainability Project, Lauren Little of Knox Parks, and Artspace New Haven‘s CWOS, to build the reach of social-engagement for this project.

In winter of 2017/2018 we built a mobile sugar shack, tapped trees in Keney park and at schools and residences in Hartford, and ran a series of tree-tapping workshops for area kids in collaboration with Knox Parks. We celebrated the maple syrup harvest with our third annual BYOBatter Pancake Festival, at the Keney Park Pond House, on March 10, 2018.

The continually expanding TREE SPA seeks additional uses for the steam generated as a byproduct of the maple syrup evaporation process. Participants will take the healing waters of the trees and discuss important matters affecting our communities, in the relaxing social space of a communal steamroom, while drinking tree juice and eating food steamed in the very same steam! We are now building the steamroom, and connecting it to the evaporation room with a system of ventilation pipes. Both of these structures are built onto trailers, for maximum portability and the element of surprise. Who knows where the TREE SPA will turn up next?!

Candace Thompson

Project: The Collaborative Urban Resilience Banquet (The C.U.R.B.)


The C.U.R.B. is a transmedia social practice project that examines issues of urbanism, food, climate, survival, remediation, interdependence and multi-species ethnography. I am documenting my multi-year process as I learn about/with/from Brooklyn’s various plant and animal species, many of whom have long, complicated relationships with humans. I will present my discoveries through digital storytelling and at a series of seasonal community meals foraged entirely from the Brooklyn streets.

Our city is not a ‘clean’ place, so I’m currently learning to harvest, process and store these foods in collaboration with a creative chef and a soil and plant toxicologist. Why are our neighborhoods polluted, what effect does that have, and what can we do about it? Could pickle brine remove lead from wild spinach? Could pigeon droppings remediate heavy metals from the soil? These culinary experiments will be paired with community ‘curbside’ tastings and web content that engages the digital and IRL community in discussions of decolonization, resilience, healing, legacy, accountability, class privilege and more. For instance, amaranth started its migration to Brooklyn when Cortes burned the Aztec’s grain fields, and pigeons have transformed from a colonial luxury food to the reviled “rats with wings” we all know today. So which is grosser: a large scale chicken farm or a Brooklyn pigeon coop? Which is healthier: big pharma’s sleeping pills or park-foraged mugwort ale? How local is too local? What do we do if our food supply fails? Where does “all natural” stop and start? And in a global society, is anyone ever truly ‘invasive’?

A millennial hybrid of Agnes Denes’ Wheatfield and Agnes Varda’s The Gleaners and I, “The C.U.R.B.” is a playful, approachable, (non?)humanist look at 21st century entanglement and interdependence. This project will connect community members to the siloed research of scientists, ethnobotanists, community land advocates, park rangers, agro-industry experts and fellow artists from the #weedyresistance to create a complex and multi-disciplinary quilt of humans and their evolving relationship to the ‘urban wilds’. My goal is not to encourage mass foraging, per se, but to ask us all to look at urban space as a place of complexity and value, placing ourselves in direct relationship to our surroundings. If humans want to survive the hot mess we’ve made, perhaps we should take some cues from the beings currently surviving and thriving in our wastelands.

Project needs

My project is a multi-year endeavor with several iterations:

Throughout the 2018 growing season I have been collecting samples of various edible plant (and some animal) species from across Brooklyn and processing them in various ways. For each species I collect two samples: one from a local green space such as a park, and one from a more industrial or ‘curbside’ spot, such as a tree bed or abandoned lot. Mugwort, mulberries, amaranth, Asian shore crabs, Japanese knotweed, wild spinach, peppergrass and more are then being processed in various ways such as fermentation, dehydration, freezing, preserving, and pickling.

Once the harvest season is done I will be submitting my samples to Cornell where soil scientist Murray McBride will allow to me to use their inductively coupled plasma optical emission spectrometer to test the samples for heavy metals such as lead, cadmium, and arsenic. Each sample I get tested at Cornell costs $30. As of this moment I am estimated to have about 50 samples to submit for testing for a total of $1500.00 worth of expenses.

I am hopeful that down the line I will be able to find ways to test samples for other contaminants such as glyphosates, polycyclic aromatic hydrocarbons (PAHs), polychlorinated biphenyl (PCBs) and more.

Project description

The $1,000 would go directly to the costs for my 2018 toxicity tests. I am in the process of building foundational relationships and applying for grants to fund everything hereafter!

More images:

Esteban Valdez

Project: ALONE


At the time of this projects conception, I was going through a very nihilistic period of my life. Things didn’t make sense to me and I questioned the very nature of Being and what it all really, truly authentically meant and, furthermore, why should I care about the very nature of existence. That period of my life was very real, very dark, and very scary to say the least. To question Being, being unable to see the value in it all really made me desperate to find answers that would sustain me from making decisions which would have ultimate consequences to which the word “regret” doesn’t do the scenario any real justice.

As simple as this film is, finding the energy and the mental will to continue moving forward really took a tremendous amount of effort and energy, not so much in terms of physically moving forward through production, but because as I continued to move forward, I continued to ask questions and discovering new ideas and thoughts about this world and Being and that the more I continued to work on this project, I could sense that I was getting closer and closer to an answer. If not the answer, then at least another level of enlightenment that would make sense to me. Through the course of this project, I shared what I was working on with others and their responses really challenged me to stake my claim logically and philosophically. Many people found the short film, while simple in it’s conception, to be rather dark which had a profound impact on their ideology of life and living as a whole. The very idea that maybe there really is nothing else outside of our known experience terrifies them, though through discussion and thinking; we’re all able to come to the idea that in the case that there is nothing after this life, the fact remains that we exist here and now and that we really must do all that we can to preserve ourselves, our world and if anything, really look at our priorities in terms of human progress. But why should we care about human progress if there’s no value or meaning to it all? What’s the point? There is a moment in the film where we’re put face to face with the abyss, in the absolute silence and darkness of the screen. We see nihilism, the darkness, for what it is. Empty, void of all life and meaning and containing no answers. Something that offers no values and doesn’t care either way.

When I came face to face with that, it really got me thinking that no matter what, whether meaning and existence are valuable is up to us. What are we willing to put our Being towards? Are we going to try to point at something that we can actually and realistically contribute too, or are we going to point it towards worlds unknown because we hate what we have before us? In the beginning of the film, we see the explosion of life, the beginning of it all and the formation of the known universe. As we travel through the valley of spacetime, we see our own emergence in time and all that we’ve accomplished from the dawn of civilization to now and come to terms that we’re nothing more than just a blip on the timeline itself. That we still haven’t figured it all out and that we’re still striving. That even though we’ve gone through the ages of empires, and we fall time and time again, we rise like a phoenix to continue on striving to get it right until the moment we’ve decided to leave it all to our own technological arrogance. When we cease to care for each other and our world and instead opt to leave it rather than try to continue to strive to make it better. As we travel through the vacuum of space, in the darkness, we’re putting our hopes in ourselves to some degree, but irresponsibly so, until we come to the conclusion that maybe what we think we want isn’t exactly what we needed but it could be too late. The journey’s over. And because we misplaced our focus to somewhere other than the here and now, in each other, the emptiness of the void showed us what lies beyond.

In a way, I find that ALONE is a very hopeful and grounded story which tells us to look within. To look at each other and to see that we are valuable and that our lives do carry with it meaning. Yes, existence is difficult. It’s not easy. But simply to pack up and leave it, to travel into the darkness which offers no sustainable answers, no honest solutions; how could we possibly think that an answer like this will help us withstand life when all it does is tell us to end it? And who are we to make that make such a judgement?

“One recognizes one’s course by discovering the paths that stray from it.” – Albert Camus

If there is anything that I hope the viewer will get from this is a renewed sense and appreciation of life. To see the emptiness and the vapidness of our own arrogance and maybe to reconsider their current views of Being in a more constructive and positive light.

Project needs

As of this writing, we will have completed post production on animation and will be entering the audio phase of our project. The audio phase consists of generating sound effects, music scoring, music licensing and mixing and mastering which will cost $1,500 USD. The Macktez Summer Stipend will help us offset the cost of audio production, giving us the opportunity to use the additional money for film festival marketing costs and fees.

Project description

World war, natural disasters, famine and disease has set Earth on a crash course with destruction when an Earth-Like planet named “Kepler 186F,” is discovered. With excitement and hope, the greatest minds of a generation come together to plot the course and create the plan to send a robot, Kepler, to deliver life continuing cargo through 560 light years of interstellar space to Earth’s distant cousin in order to rebuild a new home.

“ALONE” explores the concept of what it means to travel through the deepest, darkest, regions of space and the possible realities of what we might find when we get to our destination, hope or fear.

Set to the classical score of Joseph Haydn, “ALONE” tells a subliminal story through the lens of heavy detailed compositions and subtle pacing.

Chihsuan Yang

Project: ESCP


For me, the essence of bing a musician is to act as a bridge between cultural diversities. In doing so, my motivations not only involve a diligent personal drive, but my belief that music contains a power beyond my teachings in school. I began my musical training at age six learning classical violin, piano, and erhu: a Chinese, two-stringed instrument. As I continue to explore how music unites and uplifts others, I am overwhelmed with gratitude for how it has enriched my life. That is why I continue to show my appreciation by sharing my love and knowledge of music in any way possible.

My interest in all types of music revealed opportunities far beyond my imagination: from playing chamber music with a blues legend, to being a member of a world music ensemble with flamenco dancers. In my free time, I enjoy visiting local hospitals to play music for patients with terminal illnesses or cardiovascular diseases, much like the heart defect I was diagnosed with as a child.
I have collaborated with internationally renowned artists from Senegal, India, Syria, Spain, Brazil, Malaysia, Japan, and China. I also lead educational demonstrations in schools ranging from kindergarten classrooms to university lecture halls, focusing on the dynamics of music and showcasing the erhu as a cultural significance within my heritage.

While sharing my knowledge and spreading awareness of my work are important to me, there is a deeper, more profound objective. It lives within the exhilarating exchange of energy between listener and performer and is the driving force behind my creativity and musical appreciation: to witness segregations of language, race, or religion dissolve within a melodic movement; to see a rhythm move young and old alike; or to observe humanity blossom within a song—revealing these beautiful instances is a constant aim and matters most to me when creating my work.

Project needs

The cost of producing/pressing physical albums, photographer for album arts, videographers and basic recording essentials, studio time. mixing/sound engineering. We hope to accomplish all of that within $5000.

Project description

ESCP is a duo consisting of Chihsuan Yang and Bob Garrett. Together we weave a rich soundscape to engage our audience. Refusing to be confined by our instruments and professional stigma or constructs of composition. Our goal is to develop live performances that fuse various mediums of creativity, technology, musical instruments, dance, visual art, musical expansions and improvisations. While it is hard to describe the subtle nuances of the music, it explores the presence of music as soundtracks to our lives.

I have always been drawn to movie soundtracks. To me they can amplify the emotional impact of the overall experience. As a performer, I would like to use a variety of resources to convey, to express and to communicate that emotional content. Dance, visual arts, motion pictures and music throughout history have always been an integral part of communities to unite, to strengthen and to heal. I would like to continue creating those rhythms and melodies that move the young and old alike and to witness our shared humanity blossom within a melodic movement.

I am eager to find out how this project will provide a doorway of inspiration and how it will help mix up my own process of creation. We hope to make a studio album, music videos as well as to present the most innovative performances along with some of the best performing, visual artists, film makers and like minded souls. Through our collaborations, we hope to effectively spread our messages and influences through music, acting as stronger, wider bridge between cultural diversity.

07-25-2018 | Stipend