Creative Detours: An Irish Residency, Unexpected Art Retreat, a Warm Escape to Mexico, and the Surprising Influence of Broken Legs (Thankfully, Not My Own)
Two years ago, I had the honor of being accepted into the Olive Stack Gallery Residency, an opportunity that stands out as a highlight in my career-so far. (As of the time of writing, the residency is still accepting applications for 2025, offering a chance for more artists to experience what I did-but hurry!) There is also a testimonial page for a sense of other artist experiences as well-including my impressions while I was still there. Bridget Benton and I shared our time in Ireland together, including several weeks traveling before and after our month in Listowel at Olive Stack Gallery.
After being selected for the residency, I found myself in a lengthy period of anticipation, nearly two years, filled with extensive planning but mostly waiting. Part of my preparation for this season of travel involved applying for every available grant and fellowship for the timeframe, holding multiple sales events, and packing my teaching schedule to prepare for the trip. THANKFULLY, I received a Regional Arts and Culture Council grant! I keep joking that my second job is as a grant writer.
Surprisingly, the International Encaustic Retreat, an event not initially marked on my calendar when I applied, was scheduled in Ireland, just a few hours away from my residency location, and only six weeks before my residency was due to start. This timing clashed with the Open Studio Tour, an event I usually participate in and had intended to apply for this time around as well. Due to a mix-up on my part—accidentally closing my computer before my application had fully uploaded—I missed the submission deadline and was left off the roster.
However, what initially seemed like a setback turned out to be serendipitous. The absence of the studio tour obligation, combined with some exceptionally good airline deals and a friend to share travel expenses, made it feasible for me to attend the retreat. In an unexpected twist, one of the retreat presenters broke their leg en route, and I was asked to step in and conduct a demonstration, given my experience and the fact that I had many of my materials with me, which I had planned to ship to the residency later. This unfortunate incident not only provided me with an unexpected teaching opportunity but also paved the way for several more. The entire experience proved to be incredibly worthwhile, illustrating how unforeseen events can lead to new paths and opportunities.
My time at the residency allowed me to immerse myself in the local culture and community, building relationships that I believe will last a lifetime. The rugged beauty of Ireland's west coast, explored during the stark beauty of winter, provided a backdrop for learning about the rich culture and history that pulses through the country. The experiences were nothing short of magical, filled with breathtaking sights and moments of wonder and incredible people. I have literally dreamt of Ireland almost every night since my return.
Every residency is a little different, and it is important to stretch yourself and be prepared to be flexible. They can offer unexpected challenges to help shift your art-making process and expand your approach and expose you to so many different elements while being out of your pattern. Away from the comfort and predictability of my own studio, I found myself confronted with challenges that, at first glance, seemed to disrupt my creative flow. Yet, it was precisely these obstacles that became catalysts for growth. The unpredictable weather, the new social dynamics, and even the struggle to find the right materials forced me to innovate and adapt, pushing my art in directions I had never before considered. Getting sick sucked, but it made every moment I was healthy rich with productivity! I ended up creating the majority of my work in the last week as I had stewed in my ideas while recovering from the ‘plague’ and painted like a madwoman once I was upright again.
Collaborating with fellow artists, I discovered innovative ways to blend various materials, enriching my material approach to art. I am excited to see how these new approaches will influence my future workshops and studio practices. I am excited to continue experimenting with encaustic on large torn paper, warming up with a collage and mark-making practices, and incorporating peat ash (I even shipped some home—don’t laugh).
Inspired by my time there, I am continuing to create a new series of pieces, infused with the new materials and techniques I've adopted. These will be central to my upcoming exhibitions and art talks over the next six months.
So how did I end up in Mexico??
Upon my return, I was greeted by an epic ice storm in Portland, landing just 24 hours before the city shut down for over a week. During this time, a friend called with an offer for a free trip to Mexico to assist her as she, too, had broken her leg—a strangely fortunate recurrence of broken legs opening doors for me. The timing was perfect, coinciding with the big melt and my schedule not resuming in full until the day I was due to fly home. Considering that I was still freezing and damp to the bone, I happily accepted the offer to warm up in Mexico-I hadn’t even put up the suitcases yet, although it was a totally different wardrobe. This adventure was just one of several trips that have made the last four months remarkably eventful and memorable from standing in the middle of ancient ruins to swimming into a sunset-literally.
Now, the studio beckons! I eagerly anticipate meeting some of you at future workshops or art gatherings. Should you have inquiries about navigating the residency application process, feel free to reach out. I'm more than willing to share my experiences and assist in any way I can.
-Kelly
Some of my favorite photos from my travels.
A sample of paintings created during the month long residency in Listowel, Ireland. They are all created with encaustic paint, sumi ink, and peat ash. Some include map imagery and all are on heavy papers with torn edges. Each one is named after a godesss from Irish mythology.
