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Announcing Fitler Club’s Artists in Residence Program ‘Collection 3.0’

We are more convinced now than ever that art plays an integral role in connecting people, understanding others, fostering social commentary, and inspiring change. Fitler Club’s Artists in Residence Program was created to showcase Philadelphia artists in a non-traditional gallery space where artists can share their perspectives, their creativity, and their ideas. ‘Collection 3.0’ is composed of pieces from local artists who have loaned their work for a period of eighteen to twenty-four months. All of the Artists in Residence are either from Philadelphia, currently live locally, or have strong ties to the city, and all of the pieces are for sale of which the artist receives 100%. Many Residents have been teachers at Philadelphia’s finest art schools including The Pennsylvania Academy of the Fine Arts, The Tyler School of Art and Architecture at Temple University, and The University of the Arts.

Saleem Ahmed
Old School Cool, 2015
Archival pigment print
$500
Water Ice, 2015
Archival pigment print
$500

Saleem Ahmed is a photographer and professor based in Philadelphia. His creative practice incorporates elements of documentary storytelling, family history, writing, and bookmaking.

Saleem Ahmed
Birds, 2014
Archival pigment print
$500
Sneakers, 2022
Archival pigment print
$500

Saleem Ahmed is a photographer and professor based in Philadelphia. His creative
practice incorporates elements of documentary storytelling, family history, writing,
and bookmaking.

Elizabeth Bergeland
Don’t Forget: You’re a Blue String, 2020
Oil on canvas
$17,500
Atlas, 2020
Oil on canvas
$17,500

Elizabeth Bergeland (b.1983) is an American painter and illustrator living and working in
Philadelphia, PA. Bergeland received her BFA in painting alongside Anthropology from the
University of Colorado in 2006.

Agathe Bouton
Color Reflection X, 2017
Monoprints mounted onto 4″ x 4″ wood panels and varnish
$9,800

Agathe Bouton is a French artist living and working in Philadelphia whose boundary-pushing
printmaking and paper works exhibit influence from living and working in international cities across the
globe. Bouton earned her BFA in Painting and Printmaking and her MFA in Arts and Textile Design
from the prestigious ESSAA Duperré in Paris, France.

Through a modern approach to printmaking, she makes monotypes, prints, installations, artist books,
paper clothing, and paintings that play with improvisation and superimposition in their creation. Her
work draws on engraving and etching techniques, and uses color that appears in different halftones,
shades, and densities. Color and textiles have always had important roles in her work because they
create impressions of light, people, and pigment.

Agathe Bouton
Color Reflection XXII, 2018
Monoprints mounted onto 12″ x 12″ x 1.5″ wood panels and varnish
$6,900

Agathe Bouton is a French artist living and working in Philadelphia whose boundary-pushing
printmaking and paper works exhibit influence from living and working in international cities across the
globe. Bouton earned her BFA in Painting and Printmaking and her MFA in Arts and Textile Design
from the prestigious ESSAA Duperré in Paris, France.

Through a modern approach to printmaking, she makes monotypes, prints, installations, artist books,
paper clothing, and paintings that play with improvisation and superimposition in their creation. Her
work draws on engraving and etching techniques, and uses color that appears in different halftones,
shades, and densities. Color and textiles have always had important roles in her work because they
create impressions of light, people, and pigment.

Agathe Bouton
Second Peau #35, 2023,
Threads, monoprints, and needles
$1,100
Second Peau #15, 2019
Threads, tea bag, and gold leaf
$1,100
Second Peau #17, 2019
Threads, monoprints, and needles
SOLD

Agathe Bouton is a French artist living and working in Philadelphia whose boundary-pushing
printmaking and paper works exhibit influence from living and working in international cities across the
globe. Bouton earned her BFA in Painting and Printmaking and her MFA in Arts and Textile Design
from the prestigious ESSAA Duperré in Paris, France.

Through a modern approach to printmaking, she makes monotypes, prints, installations, artist books,
paper clothing, and paintings that play with improvisation and superimposition in their creation. Her
work draws on engraving and etching techniques, and uses color that appears in different halftones,
shades, and densities. Color and textiles have always had important roles in her work because they
create impressions of light, people, and pigment.

Robert Carter
Neema (Grace), 1st edition (of 5), 2018
Photography, vintage frame
$2,500

Neema (pronunciation: nay-mah) is translated from Swahili as Grace. This image was created as a meditation on the qualities of character that have been traditionally seen as masculine. The softness of the image, the quiet moment of reflection of the subject, offer a counternarrative to the predominant perception of dominance or assertiveness. In much of the artists’ portraiture, this quietly subversive undercurrent can be felt; they use beauty, expression, and nuance to expand and encourage conversations around gender expression, representation, and cultural
identity.

Robert Carter
Soteria III, 2nd edition (of 5), 2022
Photography
$3,750

Soteria, translated from Greek as Salvation, is the title and subject of one of the artefacts in the series Atemporal Artefacts – an on-going body of work that began as an exploration of global mythologies, and a meditation on time. Soteria’s blue skin is a nod to Shiva, the supreme Hindu deity. In many cultures, blue is said to represent the infinite. This ‘living sculpture’ is a visual representation of the artists’ meditation on what salvation or deliverance could look like, if given form. A feminine figure, Black and blue.

An excerpt from the artists’ poem of the same title:
“…Salvatation may not be seen, though many may claim to know her gaze. Kaleidoscopic colors, too brilliant to behold, rendered black to spare the sun. Bear witness to nirvana, beyond the veil of sight…”

Robert Carter
Elder, 2017
Photography, vintage frame
$1,750
Nneruli, 1st edition (of 5), 2022
Photography, vintage frame
$2,000

‘Elder’ is inspired by the artists’ own close ties to the elder women in their life. The series is an homage to their vibrant, warm, and knowing presence.

“I see elders as guardians of the past. They help to give us context for where we are going by reminding us of where we’ve been. They govern as authority figures, and can also be guides for us…[they are] guardians of history, a source of wisdom and warmth, and custodians of time.”

Nneruli is one of the main figures in a pantheon of deities that exist within an original fantasy series the artist is developing. They are a being of creation and beauty, associated with orchids and soil. The character Nneruli is inspired by the Greek goddess Persephone as well as the rich community of women of the Muslim faith.

Steph Foster
Chain, 2018
Video
1 Ethereum

Steph Foster is an interdisciplinary artist specializing in photography, with interests in video, installations, music, digital fabrication, sculpture, and performance. His recent work combines sounds and music with visual media to tell stories of mass incarceration and reconciliation within urban communities.

Steph Foster
Bottle Blessing, 2019
Archival inkjet print
$1,800

Steph Foster is an interdisciplinary artist specializing in photography, with interests in video, installations, music, digital fabrication, sculpture, and performance. His recent work combines sounds and music with visual media to tell stories of mass incarceration and reconciliation within urban communities.

Nicolo Gentile
Drop My Body, 2021
Paraffin wax, cotton wicks, leather dye
$2,400

Is it possible to both glorify and destroy an image? A symbol? To be simultaneously attracted to and repulsed by something?

In Drop My Body, a dejected leather jacket lays on the ground. Upon closer inspection, one can see burning wicks have begun to bore through the jacket leaving holes and pooled wax across its surface. The work, composed entirely of wax, is both at once a ritualized commemoration of
loss, of radicality, of belonging, and a destruction of a symbol with a conflicting history.

Nicolo Gentile
Fallen Arches, 2019
Welded mild steel, grip tap, plywood, automotive enamel, c-clamp
$6,200

Appropriating recognizable material of kink, industry and sport, Fallen Arches examines abstraction through accumulation and alludes to erotic bodies in contact. Composed of nine jump boxes held together by an industrial c-clamp, the work explores tension as a sculptural element related to architecture, the built body and athletics.

Mz Icar
Deep Roots, 2023
Pigment print on etching paper
$1,700 unframed, $2,000 framed
Seeds Braided In, 2023
Synthetic hair, pom poms, and doorknocker earring and tufted rug installation
$2,500
Violet, 2023
Pigment print on etching paper
$1,500 unframed, $1,800 framed

Mz Icar
Spot On, 2023
Pigment print on etching paper
$1,500 unframed, $1,800 framed
Eye Contact, 2023
Pigment print on etching paper
$1,500 unframed, $1,800 framed
Making Waves, 2023
Pigment print on etching paper
$1,500 unframed, $1,800 framed

Mz Icar
Violet, 2023
Pigment print on etching paper
$1,500 unframed, $1,800 framed

Mz Icar
Standards TV, 2020
Poms and ink on canvas, yarn, vinyl
$2,000
Handled with Care, 2020
Poms and ink on canvas, yarn, vinyl, and fleece with hand-sewn finishes
$1,500

Doah Lee
Likeable, 2016
Mixed media on fabric (acrylic, crayon, spray paint, silkscreen and inkjet print on dyed canvas fabric)
$13,400

Likeable reflects the artist’s journey in the United States as an immigrant Asian woman. This work was inspired by questioning how the mantra of “being likable, polite, and kind” became her survival mechanism in a strange new world, as well as her frustration with the cultural and social pressures of being a stereotypical Asian woman in America and the gender generalizations of both the passive and aggressive perceptions of women.

Doah Lee
Almost There, 2015
Mixed media on canvas (pencil, acrylic, crayon, spray paint, silkscreen and inkjet print on canvas)
$5,000

Almost There is the first work made by the artist after learning about Michael Brown’s 2014 murder in Ferguson, Missouri, which sparked protests, anger, and devastation. There is a black silhouette of a leg connected to a police shadow holding a gun, and this gun is pointing at the heart on the other side. The hole in the middle of the canvas is the artist’s perspective, but flipped upside down to show her connection to an inverted world and her frustration at being amember of this world. The title Almost There reflects the artist’s hope that, although the world is currently upside down, perhaps humanity is nearing a better tomorrow.

Emilio Maldonado
Like Father, Like Son, 2013
Mixed media
Not for sale

I carry my family narratives, my ancestral practices and the issues that can be perceived through the eye of the human condition.

Family history, relationships, how fragile they can be, to have unfinishedbusiness, to miss and to yearn. These are embodied through the re-discovery of their craft, as both my father and his father were cobblers by trade in a time long forgotten. Despite of this, I discovered this information at the time of my father’s death and now I enact this link while morphed, pondered about, and adapted inan effort to reach and understand my complicated family ties, reenacting once more the effects of our not so pleasant dynamics.

A small pile of shoes, made of clay and an empty gilded frame; made with the idea of enacting the craft by taking reclaimed ones to tear apart and use as a pattern, ignoring the original material, choosing my own as an element to recognize that my path in life has been different. The empty frame, derelict, becomes the missing portrait of a “him” that exists no more and faces the viewer, allowing to projection of their own lost ones.

Philip Mott
Polyptree, 2019
Oil on canvas
$3,500

Philip Mott received a BFA from Tyler School of Art and MFA from Yale University School of Art. His paintings have been exhibited in Philadelphia and New York in commercial and nonprofit galleries. He received an Individual Creative Artist Fellowship from the Pennsylvania Arts Council. His work has been reviewed in The Philadelphia Inquirer, The New Art Examiner and Philadelphia City Paper.

Philip Mott
Cosmocrator, 2023
Oil on canvas
SOLD
Aletheia, 2020
Oil on canvas
SOLD

Philip Mott received a BFA from Tyler School of Art and MFA from Yale University School of Art. His paintings have been exhibited in Philadelphia and New York in commercial and nonprofit galleries. He received an Individual Creative Artist Fellowship from the Pennsylvania Arts Council. His work has been reviewed in The Philadelphia Inquirer, The New Art Examiner and Philadelphia City Paper.

R’lin
Moment of Silence, 2021
Pencil and charcoal
$3,500
Paranoia, 2020
Pencil and charcoal
$2,600
Memories of You, 2021
Pencil and charcoal
$2,500
Happily Unhappy, 2022
Pencil and charcoal
$3,000

This work is a part of a series of two, both titled Moment of Silence. It represents the oppression of
black communities in America, that delineates struggles of black men and women being unvoiced no
matter how apparent their efforts are.

Khalif Rivers
Middle of the Summer, 2022
Framed photographic print
$2,200

Inspired by Meek Mill’s ‘Middle of Da Summer’ track.

Khalif Rivers
Vine Street Canal, 2021
Framed photographic print
$1,500

For most of the northeastern United States, September 2021 opened with the remnants of Hurricane Ida wreaking havoc upon the region. In Philadelphia, Ida’s intense and unrelenting rain turned the Vine Street Expressway — a heavily traveled artery cutting through the heart of the city — into a makeshift canal. Water poured in from the overwhelmed Schuylkill River, filling a half-mile stretch of the expressway underpass high enough to graze its 14-foot bridge clearances. After Ida migrated north, scores of spectators flocked to the flooded roadway the next day to bear witness to the aftermath. Adults and children alike stared into the murky depths of the Vine Street Canal with a combination of curiosity, disbelief, and sheer awe. Phones and drones recorded from every conceivable angle; photographers snapped away. Others arrived in pursuit of a more intimateexperience. Perhaps against better judgment, a man jumped into the water, while another dipped
his feet in while lounging in a pool float.

The inundated 22nd Street exit ramp temporarily found use as a dock for kayakers. In this photo, one of those kayakers peacefully meanders along the waterlogged expressway. The golden hour sun illuminates the scenery behind him; a moment of serenity amongst chaos.”

Khalif Rivers
Sunset at John’s, 2022
Photographic print
$1,300

Legendary saxophonist John Coltrane resided in this home, located at 1511 North 33rd Street, from 1952 to 1958.

Nazeer Sabree
The Place of Storms, 2023
Oil paint, mixed media, found objects on canvas
Courtesy of Paradigm Gallery. Purchase inquiries can be made with Sara at
sara@paradigm-gallery.com.

“The Places of Storms” depicts the period of transformation for young black males leaving challenging circumstances. In this work, you can see the patchwork of repurposed denim in the torso and the white t-shirt that represents the uniformed armor we wear in these surroundings. Using perspective, you can imagine that the white shirt is entering, and the armor is being taken off.

Inside ‘The False Face,’ you see young black men going through transitional times and transformative situations – becoming fathers, dying, being in courtrooms, and changing from boys to men. This piece represents the introspective process it takes to begin a resurrection and life again after death.

Larry Spaid
Spogalia II, 2008
Acrylic on canvas
$3,000
Odaat #2, 2016
Acrylic on 300 lbs rag paper
$2,000
Odaat #7, 2016
Acrylic on 300 lbs rag paper
$2,000

These paintings were completed in my Philadelphia studio and are derived from a drawing/painting
journal completed in 2001 while traveling in Vietnam and Cambodia.

Specifically, they are a result of a river boat trip on the Tonle Sap river and lake between Phnom Penh and Siem Reap, Cambodia.

They respond to the individualized fishing stake traps along the water and banks.

Larry Spaid
Spoglia 15, 2008
Acrylic on canvas
$3,000

These paintings were completed in my Philadelphia studio and are derived from a drawing/painting
journal completed in 2001 while traveling in Vietnam and Cambodia.

Specifically, they are a result of a river boat trip on the Tonle Sap river and lake between Phnom Penh and Siem Reap, Cambodia.

They respond to the individualized fishing stake traps along the water and banks.

Larry Spaid
MED 69, 2008
Acrylic on canvas
$4,500

These paintings were completed in my Philadelphia studio and are derived from a drawing/painting
journal completed in 2001 while traveling in Vietnam and Cambodia.

Specifically, they are a result of a river boat trip on the Tonle Sap river and lake between Phnom Penh and Siem Reap, Cambodia.

They respond to the individualized fishing stake traps along the water and banks.

Larry Spaid
MED 67, 2020
Acrylic on canvas
$4,500

These paintings were completed in my Philadelphia studio and are derived from a drawing/painting
journal completed in 2001 while traveling in Vietnam and Cambodia.

Specifically, they are a result of a river boat trip on the Tonle Sap river and lake between Phnom Penh and Siem Reap, Cambodia.

They respond to the individualized fishing stake traps along the water and banks.

Krista Svalbonas
What Remains Series, 2022-2023
Laser cut pigment print
$4,600 each

My work is concerned with ideas of home and dislocation, as well as with the impact of architecture on human psychology. As an ethnically Latvian/Lithuanian artist my cultural background has informed this interest in architecture. During the Soviet era, the capitals of both Latvia and Lithuania saw cultural buildings repurposed into warehouses and churches demolished. The old town centers were neglected and fell into decay. New construction was cheaply made, with no insulation and inadequate plumbing and heating. My connection to this history has made me acutely aware of the impact of politics on architecture and, in turn, on a people’s daily lived experience. I started to consider the effect of architecture on the tens of thousands of refugees, my parents included, who escaped a life under communism but went years without a permanent home. In recent years I have visited Latvia and Lithuania to further understand this turbulent time in my family’s history and to photograph the architecture there. Many of the structures built during the Soviet occupation of the Baltic region still stand today. During this period the Baltic people continued to practice art forms such as weaving to ensure that their traditions would survive, despite the Soviet regime’s program of cultural suppression.

My recent work combines photographs of Soviet architecture in the Baltic region with traditional
Baltic textile designs. I use a laser cutter to cut the textile patterns directly onto my black and white photographs of the cold and imposing buildings. This series explores the power of folk art and crafts as a form of defiance against the Soviet occupiers. It does this by focusing on how traditional textile designs provide a counterpoint to Soviet-era architecture and the memory of its totalitarian agenda. The juxtaposition of concrete structures with folk art designs also references the strength and determination of the women who created the weavings. Overall, this work examines the ways in which people are shaped by their environment, and how they can rebel against it to preserve their identity and culture.

Idalia Vasquez-Achruy, The Print Center’s The Blake Bradford Memorial Artist in Residence
Intersection #2, 2021
Pigment print on vinyl
$3,500
Horse, 2021
Pigment print
$600, edition of 20
Drawing, 2021
Pigment print
$600, edition of 20
Opening, 2021
Pigment print
$800, edition of 2