Jill Downen, Associate Professor and Chair of Sculpture at the Kansas City Art Institute, said that they sought advice about how to approach the Art Omi Residency - a prestigious program in Upstate New York that brings together an international cadre of artists and exposes them to critics, collectors, and one another.

"Each residency is different and offers time and space to customize the project in its context. Sometimes I'll experiment instead of trying to complete work. Other times I'll do the reverse," Downen said at a recent lecture, giving personal background to KCAI students about residency opportunities.

"In one situation, I worked with very few local resources," they said, referencing a time when their shipped box of tools was rerouted to Chicago ahead of a residency that - unfortunately - was not in that city.

"Good lesson to learn. Now I use a more reliable shipping method," Downen said.

That's just one of the insightful nuggets of perspective collected by students attending the talk coordinated through KCAI's Professional Practice Center. The goal for Downen: communicate and illuminate ways to approach residencies that will maximize artistic growth as well as creative practice.

The majority of attending students had never been selected for a residency and had questions about the process. Downen shared how each residency differs in its application process and programming and that selection juries often seek a mixture of viewpoints in the group they are bringing together. (“Try not to take rejections personally. Reapply if you really want to attend.”)

For example, at Art Omi (pronounced "Oh my") organizers seek both emerging and established artists. The age range during Downen's residency over the summer was 24-years-old to 63-years-old.

"How did I get selected? It was a surprise, honestly. I felt strongly that my application was tight. The eight image descriptions were concise, and I included other voices - quotes from publications about my work from critics and curators with each image," they said.

Downen also had the benefit of being a past recipient of Charlotte Street's Visual Artist Award, with Art Omi giving their application special consideration through an institutional partnership. Once selected, Charlotte Street paid for Downen's experience. An ArtsKC grant provided additional money to ship supplies and print promotional materials. ("Remember, that's important," Downen said.)

Preparation and packing in advance are all preamble to the actual residency experience.

Art Omi describes its sessions as opportunities for artists, critics, and curators from around the world (representing a wide diversity of artistic styles and practices) to gather in rural New York to experiment, collaborate, and share ideas.

Their description continues: Concentrated time for creative work is balanced with the stimulation of cultural exchange and critical appraisal.

In practice, what does that mean?

For Downen, it meant spending three meals a day with a 25 artist cohort ("An incredible opportunity to make new friends, share ideas and network," they said) while - at the same time - making art and preparing for a public viewing.

"Everything I typically do in my home studio is edited into a microcosm and transported to the residency. I take key elements of home base and replant myself in a new place for a certain amount of time," they said.

It's an interesting setting for Downen who - through art - often explores the symbiotic relationship between sculpture, the human body, and architecture. An unfamiliar location could arguably provoke expression as much as it could clash against instinct. Downen gives straightforward advice on this.

"I followed my ABCs. Always be creating and always be connecting," they said.

Those connections overlap artistically and socially. For example, when Art Omi resident Dana Al Rashid shared her experience in belly dancing, it led to a spontaneous belly dancing workshop. Inspired, Downen answered the shimmy with a shimmer—holding an impromptu workshop on gold leaf.

Art Omi facilitated expansive crossover by hosting arts professionals to offer talks and studio visits through their renowned "Visitors Program." Visitors include art critics, curators, gallerists and prominent writers from New York City - creating even more conversation with artists at the residency.

And the dialogue has an impact.

"I was also offered a solo exhibition at Nunu Fine Art, New York in January," Downen said. "I'm meeting regularly with the gallery owner and director to prepare. There will be approximately 30 drawings and one sculptural installation in the gallery- my first solo exhibition in the city."

"Additionally, I’m honored that Francis Greenburger, the founder of Art Omi, purchased five of my artworks for his private collection."

Residencies often have an ebb and flow. Downen candidly shared with students how energizing it feels to go into a residency—including the preparation, travel, and experience—and how those feelings are followed by the eventual return to a more regular rhythm at home.

That return, however, was somewhat eased by Downen's kitty Calypso - offering cuddles after four weeks of separation.

“Returning home after a residency, I always feel that it was well worth the effort and energy,” Downen said.