Announcing: 2026 Fall Artists-in-Residence
estudiosix pleased to announce its first six-month residency cohort, bringing together 14 artists whose practices span painting, sound, sculpture, drawing, clay, installation, textiles, and performance.
Selected through an open call, the artists represent a range of distinct approaches, material uses, and perspectives. Artists were selected based on the strength of their work and their commitment to sustained artistic practice, with the jury seeking a cohort that would promote meaningful exchange.
The 2026–27 Residents
Meet the artists shaping e6’s first residency cycle. Explore their individual practices, backgrounds, and current work below.
Juan Cisneros’ work explores personal and societal memory through the lens of mediated culture. Through sound installations, animation, scores for performance, and digital image making, his practice foregrounds the emotional relationship we maintain with technology and the reciprocal effects on cultural exchange. He is particularly interested in how we perceive time and history through the flattened landscape of the internet, where the art of the past exists in a constant, parallel dialogue with the present.
Juan Cisneros
Eli Decker is a painter whose work embodies the ethos of technoromanticism—a fusion of traditional artistic materiality with the spectral allure of the digital age. With a BA in Studio Art and Computer Science, Decker explores the intersection of analog craft and digital aesthetics, creating dreamlike atmospheres where the digital sublime meets the raw intimacy of organic forms.
Eli Decker
Jeffrey From works in ballpoint pen on vellum, creating detailed studies of material—linen, netting, marble, and organic forms such as fruit, flowers, and fish—with an attention and care that approaches meditation. These subjects are not simply exercises in observation, but opportunities to slow perception, revealing the quiet complexity and inherent symbolism found in ordinary forms. Through repetition and prolonged looking, the familiar becomes contemplative, inviting a deeper encounter between image, material, and time.
Jeffrey From
Michael Anthony García’s practices manifest through writing / performance, sculpture / installation, photography / video, as well as the blurred spaces between these disciplines. He uses these overlapping approaches to investigate his personal history and, through that process, engage with the experiences, memories, and stories of others. His work considers the human condition through questions of identity, belonging, vulnerability, desire, mortality, and the ways we navigate the world through our bodies.
Michael Anthony García
Terra Goolsby is a Latinx multimedia artist that produces sculpture and works on paper to connect old narratives and make new cultural assessments. Her work establishes an active exchange of metaphorical ideas and methods, navigating the common threads between current existence and ancestral tradition. She uses sculpture to braid personal memory and interpretation of these mythologies together. This process grants her a tactile understanding of her own cultural heritage and current experience.
Terra Goolsby
Rowan Howe’s painting practice functions as a persistent note to self—an ongoing attempt to capture joy, discomfort, and vulnerability. Her work operates in the gray areas of human relationships and sexuality. She is interested in the internal dialogues we hold around intimacy, desire, and the past, accepting that our perception of any given moment is constantly in flux. Rather than relying on singular, clean narratives, her practice embraces a strategy of painterly layering, fragmented imagery, and collage to investigate how disparate memories, places, and actions build up.
Rowan Howe
Elizabeth Hudson’s curiosity as a painter comes from a blend of carefully collected reference images from the most mundane parts of her life, and her fervent interest in Black folklore. Driven by the ideas of dreams and archetypes all at play within one visual universe, she explores the ways that narrative shapes reality. She builds upon the previous generation of Black painters’ narrative and concern with Black interiority by using imaginative storytelling. Her practice is inspired by mazes, labyrinths, and their various manifestations.
Elizabeth Hudson
Payton McGowen makes soft-textured colored pencil drawings of figures frolicking, lounging and preparing for spring. Her characters exist in a world without clothing—a free and natural world where societal norms don’t exist, nor do the ever-spinning wheels of Capitalism. McGowen’s artworks represent daydreams filled with relaxation, in which she plays the lead role. It’s a slow and simplistic world without errands, lists, and schedules, where one can sleep with flowers and live in a personal utopia.
Payton McGowen
Britt Moseley approaches the studio as a laboratory where making becomes a form of research. Using sculptural, electronic, and collaborative processes, he develops systems in which sound, image, and material influence one another. These works explore how attention is constructed through interactions between ecologies, built environments, and collaborative processes.
Britt Moseley
Alexandre Pépin is a French-Canadian visual artist born in Tio’tia:ke (Montréal). His paintings navigate themes of queer pleasure, longing, intimacy, and transience through recurring subjects: lovers in bed, birds, flowers, fruits, butterflies, and elementary geometric forms. These simple subjects come from an intimate drawing practice and become complicated as he negotiates the initial gesture through layers of material information, muting, weathering or rescuing the directness of what came first into an interplay of representation and poetic materiality.
Alexandre Pépin
The spaces depicted in Matt Rebholz’s landscape paintings are informed by film stills. Through the process of curating and translating these stills, his work serves as a meditation on the language of cinema, a deconstruction of the history of landscape painting, and an investigation into internal and emotional dreamscapes. Drawn primarily from genre films, these environments have been denuded of all evidence of life, leaving rocky and alien landscapes rendered in an electrified, psychedelic palette.
Matt Rebholz
Carlos Rosales-Silva learned how to see relationships of color, shape, and space along the border of the United States and Mexico where he grew up. He believes the architecture, landscapes, and vernacular cultures of the borderland are not only beautiful, but unique because they reveal the complex visual histories of colonization that are severely under-recognized in Western Art History. Having grown up as a child of immigrants alongside the Tigua indigenous people’s reservation, he is overly familiar with the brutal logic of borders and categorization. Rosales-Silva is comfortable crossing definable lines.
Carlos Rosales-Silva
As an artist and filmmaker, Ana Trevino’s practice is centered on cultural narratives. She uses a feminist lens to think about the concept of borders, whether visible, invisible or blurred. Her connection to the US/Mexico border deeply influences her work and the stories she engages with. She always intends to redefine narratives, whether it be sharing an alternative perspective of the immigrant experience or a woman’s relationship to her body. Through video installation and performance, she aims to explore and recontextualize these stories.
Ana Trevino
Alex Trippe is interested in the impact external forces–gravitational, geological, and anthropogenic–have on the material life of objects. She studies debris washed ashore by tides, glacial erratics deposited on the landscape. She turns towards objects as remnants of earthly experience to parse out what it means to be touched, emotionally and physically, by the world and by one another. Her studio process is grounded in attempts to make the tools she has available–her hands, and their ability to render form–to make sensation tangible.
