| Recidency center | |
|---|---|
| Recidency type | |
| Art form | |
| Time of residency | July 2025 |
| Country |
|
| Contact info | saravilardo@gmail.com |
| Definition of artistic practice? | During a recent artistic residency designed specifically for artistic parents and children, my artistic practice has been rooted in collaboration, play, and intergenerational exchange. It was shaped by a deep belief in the power of creativity as a connective force—one that transcends age, status, and conventional roles. Within that framework, I explored the act of making alongside my child, treating our relationship not just as parent and child, but as co-creators in a shared creative space. At the heart of this practice is a conscious undoing of the hierarchical structures that often define both parenting and art-making. I approached the process not as a pedagogue, but as a facilitator—listening, adapting, and responding in real time to the rhythms of my child’s imagination. Our work together was spontaneous and intuitive, shaped as much by experimentation, mess, and discovery as by intention or concept. The act of making became an interaction—between adult and child, between structure and chaos, between vision and improvisation. Throughout the residency, we experimented with a wide range of media—from drawing, painting, and clay sculpturing to storytelling, outdoor performance, movement parcours and play. Rather than aiming for a finished product, the focus remained on process, on the joy of making together, and on the relational aspect of creation. This practice was as much about parenting as it was about art. It challenged dominant narratives around productivity and professionalism by foregrounding care, slowness, and domesticity as valuable and generative aspects of artistic work. By centering the experience of working with my child, I aimed to highlight the richness of perspectives that emerge when we invite children into the studio/ the act of creation —not as passive participants, but as active agents in the creative process. In many ways, the residency became a living laboratory for new modes of collaboration, new ways of being together, and new definitions of what it means to be an artist-parent. It was an experiment in trust—trusting the process, trusting each other, and trusting that creativity can flourish in the midst of everyday life, with all its interruptions, unpredictability, and wonder. Ultimately, my artistic practice is an evolving conversation—between generations, between disciplines, and between the personal and the collective. It is a practice of presence, of attention, and of care. By making with my child, I was not only creating art, but also nurturing a shared language of expression—one that affirms the value of every voice, no matter how small. |
| Title of the investigation at the residency | Thelma & the elf´s house |
| Description of investigations and findings | At the beginning of the residency, I tried to work collaboratively with another parent-child duo, Nemo and Sofia. However, our children had different interests and creative rhythms, so we naturally took separate paths. My investigation focused on how to co-create with my child through a non-hierarchical, intuitive process. Letting go of structure and embracing my child’s flow-driven approach was challenging as a creator, but ultimately transformative. We explored drawing, clay, movement, storytelling, and outdoor performance. I discovered that trusting spontaneity and prioritizing presence over outcomes allowed a deeper, shared authorship to emerge—one that blurred the lines between parenting and art-making. |
| What are you most curious about or invested in in your own practice? | I’m most curious about how creativity nurtures connection across generations, especially between parent and child. I’m invested in exploring collaborative, process-driven practices valuing presence, play, and intuition. I wonder: Are children able to engage in repetition, a key part of creativity? How do shyness, personal needs, or reluctance to perform affect them? How much and when should parents intervene in this process? |
| What questions did you bring to investigate and what questions are you leaving with? | I came with questions about how to co-create with my child as equals—balancing guidance with freedom, structure with spontaneity. I leave wondering what kind of framework truly supports a shared creative process: one that relieves parents from daily duties like cooking and organizing. What role should we play—when to step in, when to step back, and how to support without directing? |
| Transformative, creative moments at the residency | Being outdoors, Thelma was very fascinated by the pinetrees forest: one afternoon she began to prepare some food from sticks, leaves and berries, completely absorbed and she wanted to bring it to the elves in that forest. I had planned a different activity, but watching her create with such focus shifted my perspective. I sat beside her, joined in, and let go of the plan. That moment reminded me that true creativity often emerges when we follow rather than lead. |
| Keywords for the work done at the residency | Co-creation, Elves, Embodied Landscapes, Family/kids |
| Research locations | BIRCA grounds, Black Space (BIRCA), White Space (BIRCA), Wood at BIRCA |
| Further documentation | |
| Photos documenting the research |
|
| Videos of work in progess or reflections | |
| Webside links |
Sara and Thelma Vilardo
