2025 virtual Cohort
Spring 2025 | Summer 2025 | Fall 2025
Mondays via Zoom
With Canopy Mentor
Rose Nestler
Artist
Based in Brooklyn, NY
Cohort Artists
The artists featured below were accepted to the 2025 year of The Canopy Program. Together, with the guidance of their Faculty Mentor, Rose Nestler, the artists will develop their studio practice through critiques, Artist Talks + Q&As, seminars, and workshops. The Canopy Program is a year-long commitment, this Cohort will meet via Zoom for three consecutive semesters. Their experience will culminate with a pop-up Group Show in Chelsea (NYC).
Alise Anderson
Taussen Brewer
Janine Brown
E. Winslow Funaki
Olivia Guarnieri
Grace Hager
Melza Harvey
Anna Landa
JBH Scholarship Recipient
Anh Ly
Sophie Thompson
Cohort Exhibition
Each Canopy Cohort presents a culminating pop-up group exhibition.
Slow Blinking
Canopy Studio, 508 W. 26th St. #6E
December 11-13, 2025
OpeningThursday, December 11, 6-8 pm
ClosingSaturday July 20, Noon
Slow Blinking is a pop-up Group Exhibition celebrating the work of 10 artists who worked together for one year with their Canopy Mentor, Rose Nestler, as part of the 2025 Canopy Program.
Frequently engaging the meeting point of art and craft, Slow Blinking presents new works across sculpture, ceramics, textiles, video, and painting. Brown cooks and stitches symbolic bioplastic to reimagine Victorian quilting. Anderson queers a Mormon upbringing in an often-joyful, cross-disciplinary investigation of American family and rural life. Brewer creates unconventional vessels decorated with nature’s small wonders that embrace tradition toward renewed reverence. Hager translates the experience of looking directly into bright light through stylized renditions of the sun – a subject that resists direct observation. Further informed by daily observation, Guarnieri composes sculptures that defy easy categorization, drawing a light comedic attitude from provisional materials and everyday language.
Drawing upon their respective cultural identities, Funaki presents video works that emphasize the futility of physicality, with the tenor of a sigh, a stumble, or a slow blink. Employing the mechanics of sight, Landa embeds hidden imagery into a Persian textile using 1990s Magic Eye. While Ly draws upon her Vietnamese culture to recreate a family sedge mat in steel and reed that unexpectedly merges with the dinnerware set atop. As a queer mother/artist, Harvey depicts the femme body in states of precarity – as a vessel that retains the residue of expectation. Directly contending with impaired vision, Thompson crafts castables whose accumulation and tonal restraint address the sensorial boundaries of the body.
To blink – a small, yet essential act – is a gesture of vulnerability. When faced with the intense or obscure, blinking becomes an attempt to see what is difficult to discern. In an era of visual saturation, Slow Blinking prompts an act of resistance against the pace of easy consumption – compelling us not to look away and seek beyond the readily apparent.
Frequently engaging the meeting point of art and craft, Slow Blinking presents new works across sculpture, ceramics, textiles, video, and painting. Brown cooks and stitches symbolic bioplastic to reimagine Victorian quilting. Anderson queers a Mormon upbringing in an often-joyful, cross-disciplinary investigation of American family and rural life. Brewer creates unconventional vessels decorated with nature’s small wonders that embrace tradition toward renewed reverence. Hager translates the experience of looking directly into bright light through stylized renditions of the sun – a subject that resists direct observation. Further informed by daily observation, Guarnieri composes sculptures that defy easy categorization, drawing a light comedic attitude from provisional materials and everyday language.
Drawing upon their respective cultural identities, Funaki presents video works that emphasize the futility of physicality, with the tenor of a sigh, a stumble, or a slow blink. Employing the mechanics of sight, Landa embeds hidden imagery into a Persian textile using 1990s Magic Eye. While Ly draws upon her Vietnamese culture to recreate a family sedge mat in steel and reed that unexpectedly merges with the dinnerware set atop. As a queer mother/artist, Harvey depicts the femme body in states of precarity – as a vessel that retains the residue of expectation. Directly contending with impaired vision, Thompson crafts castables whose accumulation and tonal restraint address the sensorial boundaries of the body.
To blink – a small, yet essential act – is a gesture of vulnerability. When faced with the intense or obscure, blinking becomes an attempt to see what is difficult to discern. In an era of visual saturation, Slow Blinking prompts an act of resistance against the pace of easy consumption – compelling us not to look away and seek beyond the readily apparent.
Guest Speakers + Visiting Critics
Each semester, Rose Nestler's Cohort received Artist Talks, Lectures, Workshops
and Visiting Critiques from an esteemed roster of Guest Artists + Speakers.
Aryana Minai
Guest Artist
Catherine Telford Keogh
Guest Artist
Kris Rac
Art History Speaker
Eric Hibit
Color Theory Lecture
Rachel Youn
Artist Lecture + Visiting Critic
Photo credit: Collin Garrity
Leeza Meksin
Artist Lecture + Visiting Critic
Amanda Nedham
Guest Writing Editor
Kendall DeBoer
Visiting Critic
Colby College Museum of Art
Scott Ogden
Visiting Critic
Founder and Director, Shrine Gallery
Amir H. Fallah
Professional Practices Speaker
Adrienne Elise Tarver
Professional Practices Speaker
Canopy Mentor Rose Nestler
Rose Nestler (b. 1983, Spokane, WA) is a mixed media sculptor who lives and works in Brooklyn, NY. She holds an MFA from Brooklyn College and BA in Art History from Mount Holyoke College. Recent solo and two-person exhibitions include Public, London, UK (2024), Pangée, Montreal, QC (2023); Mrs., New York, NY (2022); and Carvalho Park, New York, NY (2022) Selected group exhibitions include Plains Art Museum, Fargo ND (2024); Chart, New York, NY (2024), (The University of Leeds’ Stanley & Audrey Burton Gallery, Leeds, UK (2023); Boston University, Boston, MA (2023); Rugby Art Gallery and Museum, Rugby, UK (2022); Perrotin, New York, NY (2022); Hesse Flatow, New York, NY (2021), and Frye Art Museum, Seattle, WA (2021); She was an artist in residence at the Joan Mitchell Center in New Orleans in 2022. Nestler has also conducted residencies at The Fores Project, London, UK, and The Lighthouse Works, Fishers Island, NY, among others. Her work is part of the permanent collection of the Frye Art Museum, Seattle, WA, USA and has been featured and reviewed on Art21, in The Brooklyn Rail, BOMB Magazine, Hyperallergic and New York Magazine. She is part time faculty at Parsons School of Design and College of Staten Island (CUNY).
