Bed Stuy Art Residency: A Place to Create and Belong

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Nov 16, 2024
By Summer Park 박지민

Bedford-Stuyvesant, an area known for its historic 19th-century brownstones

Director Marshall Kupka-Moore and artist-in-residence at the residency entrance

A short subway ride from downtown Brooklyn, Bedford-Stuyvesant reveals its storied charm through blocks lined with 19th-century brownstones. Since the Great Depression, when much of New York’s Black community moved here from Harlem, Bed-Stuy has held its ground as a cultural cornerstone. Today, it’s a neighborhood full of life, home to families from all backgrounds. While the neighborhood has welcomed new cafes and shops in recent years, it continues to preserve its unique residential character.

Tucked inside one of these charming brownstones, the Bed Stuy Art Residency was founded in 2017 by Marshall Kupka-Moore, Kathy Kupka, and Erwin Bakx. It offers artists from around the globe a chance to live and work there at no cost—a month to create, pause, and settle into an entirely new space.

An integral part of the contemporary art world, artist residencies offer artists a chance to step away from their routines and immerse themselves in new surroundings for inspiration and reflection. Their origins can be loosely traced to the Medici family, whose patronage provided artists and thinkers with retreats in their villas—a chance to create freely, away from the constraints of daily life. Today, nonprofit organizations and institutions carry on this tradition, offering residencies that range from weeks to years, supporting artists and fostering cultural exchange and fresh ideas within local communities.

On a crisp autumn afternoon, I sat down with Marshall, director of the Bed Stuy Art Residency, to learn about its origins and the philosophy shaping its programs.

Bed Stuy Art Residency

The Bed Stuy Art Residency was founded in 2017, inspired by Kathy Kupka's growing passion for art. A real estate professional at the time, Kathy began connecting with local artists around 2010, as her interest in the art world grew.

“One thing I’ve realized from being around artists is that they don’t create because it’s a job; they create because they have to, as if there’s this innate desire to create,” Marshall shared.

Marshall and his family understood that for artists, creating was more than a profession—it was a way of life. As lifelong New Yorkers, they were well aware of the city’s high costs and limited studio space, which often made it inaccessible to those without financial flexibility. When Kathy noticed how visiting artists struggled to find housing while preparing for exhibitions, she suggested turning their vacant house into a residency—a space where artists could focus fully on their work. Since then, the Bed Stuy Art Residency has become more than just a place to stay; it’s become a space where artists can connect with the local community and find their footing in New York’s art scene.

Kathy Kupka and Erwin Bakx’s home near the residency. Kathy, a dedicated collector, is always on the lookout for emerging artists.

A big-hearted vision

The program’s deep understanding of artists’ struggles and its thoughtful organization around their needs left me wondering if they had any prior experience working in the arts. “My mother was someone who loved visiting exhibitions and collecting as a hobby,” Marshall explained. “She’s always valued helping others, so when she saw what artists were up against, she couldn’t pass it up.”

Kathy has always taken risks to make a difference. She began her career as a social worker in New York City in the 1980s—a tumultuous era of drugs and crime—working in child welfare to support abused children. Later, she worked as a special education teacher in the city’s public schools, dedicating years to helping students overcome challenges.

“My mom’s proactive nature can be a bit much sometimes,” Marshall admitted with a laugh. Kathy’s habit of opening her doors goes well beyond the residency. “Her house is like an open house, a revolving door of cousins, artists, curators—even total strangers who need a place to crash for a while.”

For a moment, I considered telling him that in Korea, we call this kind of heart a big-hearted “ojirap”—a term used to describe someone who goes above and beyond in kindness. But I paused, unable to find an English equivalent that wouldn’t risk making it sound meddlesome or excessive. At its core, this “big-hearted ojirap” reflects a deeply philanthropic spirit—a sincere drive to recognize others’ struggles and a desire to make the world a little better.

Artist-in-Residence Dion Rosina (left) and Director Marshall Kupka-Moore (right)

October’s artist-in-residence, Dion Rosina, draws inspiration from images found in newspapers, magazine clippings, and the web. To accommodate his process, Marshall purchased a new printer specifically for Dion’s work.

A place rooted in connection

It’s often joked that when a workplace claims to be a “family-like environment,” it’s usually a euphemism for endless hours, high expectations, and unrelenting demands for loyalty—so I couldn’t help but smile when Marshall so innocently described the residency as a “family.”

Could a workplace truly feel like family—or offer the warmth of one? At the Bed Stuy Residency, it seemed possible. Artists are thoughtfully cared for, provided stipends, and welcomed into a space designed to feel like home. Free from the constraints of external stakeholders or production demands, unlike larger museum-run residencies, the focus here is purely on fostering creativity and rest.

“The biggest goal of our residency is to create an environment where artists can focus on their work while feeling safe and supported. The fact that we are able to connect personally with them and stay attentive to their needs is a huge advantage,” Marshall explains.

Having lived in Bedford-Stuyvesant for over 20 years, Marshall saw the neighborhood as the perfect setting for the residency. “It’s quiet and beautiful, but more importantly, it’s where my family feels most comfortable. I want the artists who come here to feel that same sense of comfort.”

Still living nearby, Marshall stays closely involved, introducing artists to local galleries and creatives each month to help them network and settle into New York life. “The purpose of our residency isn’t about producing or selling a large body of work,” he says with a smile. “We do it because it’s something we enjoy—it’s fun for us.”

The residency’s family-like spirit extends to the artists’ families as well. Marshall thoughtfully reserves the summer program for writers with families, giving them the opportunity to bring their partners and children during vacations—a small yet meaningful gesture that ensures everyone feels included.

On one wall of the studio, near the bottom of the height chart marking past artists-in-residence, a name stands out: “Ziggy”—the dog of a former resident.

The Bed Stuy Art Residency, which hosts a dozen artists each year, moves to the steady rhythm of arrivals and departures at the start and end of every month. Marshall embraced this logistically demanding model of resetting the space and welcoming new faces with a clear goal: to offer as many artists as possible the opportunity to live and work in New York City. “Every time someone new comes, it’s like our circle, our family, our community expands.”

The selection process for artists-in-residence happens organically. Recommendations often come from curators, gallerists, or artist friends, but Marshall also reaches out directly when a piece of work resonates with him—whether it’s at an art fair, an exhibition, or even on Instagram. For November’s artist-in-residence, Alexa Hatanaka, it was a group show in Chelsea last year that caught Marshall’s eye. He approached her in person and, after months of conversation, extended an invitation to the residency.

The residency, led by directors without formal art training, selects artists based on one simple, unwavering criterion: “work that speaks to us.” An artist’s career achievements or market value hold little sway in the decision. Similarly, when Marshall first encountered the work of October’s artist-in-residence, Dion Rosina, he was struck by the poignancy of the anonymous figures juxtaposed on the canvas.

Interview With Artist-in-Residence: Dion Rosina

Dion Rosina in his studio space at the residency

At just 33 years old, Amsterdam-based artist Dion Rosina has already made a mark in the art world. In less than four years since completing his studies, Rosina has participated in group exhibitions at several galleries and, last year, created a commissioned mural for Kunsthal Rotterdam.

Rosina's work is driven by a fascination with unexplained phenomena, mythologies, strange stories, and supernatural mysteries. Drawing from extensive archives and online sources, he digitally assembles and reimagines images before translating them into oil on canvas to craft new narratives. Stripped from their original contexts, these images are layered, exaggerated, distorted, or transformed until their origins become unrecognizable.
.

Dion Rosina, Contemplating more views, 2023, acrylic and oil paint on linen, 50 x 80 cm
Courtesy of the artist

Summer (hereafter S): This was your first time in New York, and I’m curious to know how you spent your month at Bed-Stuy. What was the city like for you as an artist-in-residence?

Dion Rosina (hereafter DR): Amsterdam is not a small city by any means, but New York is on a completely different scale—it felt overwhelming at first. After a few days, though, I started to settle into its vibe and learn to move around. I spent a lot of time exploring Manhattan and Brooklyn, visiting exhibitions, and even bumping into some of my favorite artists and musicians on the street.

New York, especially here in Bedford-Stuyvesant, has such a rich mix of art and music that it’s been a constant source of inspiration. When I feel stuck, I just step outside, visit other exhibitions, or have a new experience, and I come back feeling refreshed. There’s always something happening, and that energy has been helpful for my work.

S: The Bedford-Stuyvesant area has such a unique character, but I imagine that being part of a family-run residency added something special to the experience.

DR: I know residencies run by large institutions often come with rules, restrictions, and expectations about the work you produce. Since this was my first residency, I don’t have much to compare it to, but the personal approach here made all the difference. It was such a comfortable environment, and it gave me the space to fully focus on my work without any pressure.

S: It must have been nice to have the freedom to focus on your work without the immediate pressure to produce something. What did your typical day look like here?

DR: I’d start my mornings with my usual rituals and get to work right away. Later, I’d explore the neighborhood or visit exhibitions for inspiration. In Amsterdam, I had to travel quite a bit from my home to my studio, but here, having my studio next to my living space has been very nice. I think it’s something I needed to fully focus on creating at this stage in my career.

A white wall above the fireplace in Rosina’s month-long residency is adorned with images of Mesopotamian artifacts, photographs and drawings of historical figures, and other visuals that fuel his creativity.

Living space at Bed Stuy Art Residency

Studio space at the Bed Stuy Residency

S: I know it was only for a month, but did your time here have any impact on your creative process? Were there any unexpected experiences or moments that stood out?

DR: My work is usually based on images I collect from the internet or mass media rather than my surroundings, so I wouldn’t say my time here directly influenced the content or style of my work. What stood out, though, was having the chance to bring all my paintings together in one space and really see how they connect. Usually, I’m too focused on deadlines and exhibitions to step back and reflect on these relationships. Working without that pressure was invaluable.

Dion Rosina, The rat race, 2023, acrylic and oil paint on linen, 40 x 30 cm
Courtesy of the artist

S: I'd like to talk a little bit more about your work. You mix imagery from various sources—myths, paranormal stories, and strange tales—to create entirely new narratives. How does this approach connect to how you see the world?

DR: I enjoy bringing different worlds together in a single piece, and the digital age makes it so fascinating to explore these unique combinations. My work pulls from a range of subjects I’m interested in, like history, art history, identity, and ancient cultures. However, instead of creating a single, cohesive image, I’m more interested in observing how these images harmonize or collide with one another. My sources are diverse—Instagram, archival museum images, historical references, and even magazine scans all feed into the process.

S: I love how you described images "colliding" with each other, almost as if they have their own agency. When taken out of their original context and placed into a new one, their provenance becomes ambiguous and layered. What are some examples of images you’ve worked with so far?

DR: One example is “The Squatting Man,” an icon found in prehistoric petroglyphs across different continents. What’s fascinating is that these depictions were all created around the same time, despite being so geographically distant. Their exact meaning remains unclear—perhaps they depict something seen in the sky at the time.

S: It’s fascinating that these symbols appeared on different continents at the same time. It looks like there’s also a whole Reddit thread full of speculations about what they could mean—it almost feels like a conspiracy theory.

DR: I love conspiracy theories. In my work, I often juxtapose these mysterious images with elements that reference historical figures or events to create new layers of meaning. That said, I’m more focused on creating visually interesting compositions rather than drawing direct connections between these images.

Dion Rosina, The Revisitation, 2023, acrylic on wall, 25 x 2.5 m. Installation view at Kunsthalle Rotterdam
Courtesy of the artist

S: It’s still hard to believe that you’ve only been working for less than four years but have already accomplished so much. Last year, you created a 25-meter mural for Kunsthal Rotterdam. What was that experience like?

DR: It wasn’t easy. You can’t tell from the pictures, but the floor was slightly tilted, so balancing was a challenge. At first, I was working non-stop, and one day I ended up with a headache.

S: It’s like Michelangelo dealing with back pain while painting the Sistine Chapel ceiling.

DR: (laughs) I guess you could say that. Another challenge was the space—there was only about two meters between the wall I was painting and the glass window. It was hard to step back and get a full view of the piece. But even with all that, I’m pretty happy with how it turned out in the end.

S: Are there any specific projects you’re focusing on during this residency? And what are your plans for the rest of the year and next year?

DR: Most of the work I made here was already planned, using images from my archive. I kept things relatively simple this time, focusing on how the pieces interact with one another. Some of this work will probably go to Art Antwerp in December, and I’m also preparing for my first solo show at GoMulan Gallery in Amsterdam next March.

On October 30, Rosina wrapped up his month-long residency with an open studio event, welcoming artists, curators, and local residents he had connected with during his stay.

At the end of his month-long residency, Dion left behind a small painting he had created. Alongside it, a note on his work table read: “The power of your art speaks in rooms where you are not present.”

About Instagram Writings

Dan Lie at Art Sonje Center Seoul Mie Olise Kjærgaard at Foundry Seoul Bed Stuy Art Residency Amant, Brooklyn Álvaro Urbano at SculptureCenter NY M. Fisher NY

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Dan Lie at Art Sonje Center Seoul
Mie Olise Kjærgaard at Foundry Seoul
Bed Stuy Art Residency
Amant, Brooklyn
Álvaro Urbano at SculptureCenter NY
M. Fisher NY