Artist Residency, Artist Community

Located on 150 acres of redwood forest, Project 387 provided a multidisciplinary residency program offering a community-based living and working experience for artists in all career stages. The residency was a unique opportunity to delve into the creative process in a focused, exploratory, and rigorous manner while removed from the clamor of urban distractions.

After four amazing seasons, Project 387 made the tough choice to cease operations. We will never forget the amazing experiences we had with a truly wonderful community of artists. It was our honor to provide time and space for artists to explore their creative process. This website serves as an archive to that time.

Meet Kelly Lloyd!

In our most recent digital interview, Kelly Lloyd tells us more about what she's been working on and what she hopes to gain from the residency. 

Tell us briefly about the focus of your work. What are some of the themes you are exploring these days? 

I make site-specific installations and am particularly interested in installations that blend into their environment because of their placement. I’m interested in spaces and their rules and how I can question rules by creating something that follows them in form, but complicates their assumed form/content relationships. Also right now I’m thinking a lot about what it means to have an art practice that helps me to facilitate the life that I want to lead, rather than change my life in order to fit the art practice that I want to have. Oscar Wilde said, (I love quotes, and I especially love quotes from people who are often quoted like Oscar Wilde…) “I put all my genius into my life; I put only my talent into my work."

What are you looking at, reading, or listening to right now that is influencing your work or process?

I recently realized that I’m an experiential learner, which is one of the reasons I decided to move out of Chicago and to Baltimore. I’m currently working at a service learning summer camp in Baltimore called the Civic Leadership Institute. Now and in the upcoming weeks I’ll be looking at people I’ve never met and places I’ve never seen before. I’m reading the students’ materials, which most recently included an article by Adam Davis, “What We Don’t Talk About When We Don’t Talk About Service,” which calls the “goodness of service into question, and with that… ask[s] why we so rarely ask questions about service.” I’m listening to familiar music being played in rental car waiting room, at the local K-Mart and at the bar down the street, which assures me that I’m making the right decisions.  

What does a typical day in the studio/office look like for you?

About a year ago I realized that I didn’t need a studio on a daily/weekly basis. Instead I moved a desk into my bedroom and materials for installations into drawers or into bags and boxes at the foot of my bed. I do most of my thinking on public transportation, most of planning on my computer and most of my assembling in the gallery space itself. A typical day looks like me trying to live a life full of new experiences, friends and good food and local beer interspersed with 30 minute to 2 hour long chunks in between where I send emails, make plans, purchase things off my roommate’s amazon prime account, skim through recent screenshots and notes to myself, check flight prices and collect things in bags and boxes that I then put at the foot of my bed. 

What's the best advice someone has given you about your work? The worst? 

The best advice someone gave me about my work was actually given by 3 people. A couple of years ago, in Grad School, I had studio visits with Jerry Saltz, James Elkins and Forrest Nash over the course of 2 days. Jerry Saltz talked about my work in very emotional terms, with the stakes being high with statements like, maybe I don’t know how to make “Art,” maybe I’m not an “Artist.” James Elkins spoke about the options I had ahead of me to make my art better as a series of thought experiments. Forrest Nash asked a lot of questions, and then some more questions, and made it seem like I could solve problems if I got to the heart of the matter with some clarity found through questioning. In that particularly feverish studio visit spell I realized that the way I see my work and how to improve it is just a perspective that can be shifted to suit my current emotional needs and intellectual capacity. The worst advice someone told me was that I was a poet, not a comedian. I thought, fuck that, I’d rather be a mediocre poet and a mediocre comedian, but in that mediocrity get at a more diverse expression of life. 

Are you involved in any upcoming shows/events/happenings?

In August I am involved in a couple of group shows, “Front and Center,” at the Hyde Park Art Center and “Habeas Corpus” at the Indianapolis Museum of Contemporary Art. In January 2017 I’ll have a solo show at Shane Campbell’s Lincoln Park Gallery and in April 2017 I will have a solo show at Corner Gallery, also in Chicago. 

What are you most looking forward to at Project 387?

This is the first time when I’ve gotten the time and space to be able to focus on my work without any swiftly encroaching deadlines or recent baggage to shake off. Plus I’ve never been this far north in California before and I’m deeply excited.