Piles of discarded items in the Public Disposal and Recycling Area will be familiar to Amy Wilson Faville who for the last year has been photographing public dumping sites in her Oakland neighborhood as sources for her paintings. In her work chaotic piles become tableaus that suggest complicated personal narratives, while also serving as metaphors for economic and societal collapse. Previous collage work has been based on photos Wilson Faville has taken of shopping carts used by the homeless. The patterning of the paper and fabrics that Wilson Faville brings together in abstract arrangements in these works are suggestive of quilts or curtains and allude to issues of home and security. During her residency Wilson Faville will photograph piles of refuse and continue with her 2-D collage work, making images of discarded material from discarded material.

Video and installation artist Michael Damm will use the Recology Environmental Learning Center as both studio and gallery during his residency. Expanding on a body of site specific installations that present video works as unexpected, large-scale projections in urban traffic corridors, Damm will use the building’s windows to project images viewable to those passing on the street or riding Caltrain. For another work, Damm, who is interested in reframing experiences of the ordinary to induce new perceptions or alter habitual ways of seeing, will use a macro lens to film objects found in the Public Disposal and Recycling Area. His images will explore the idea of refuse as a landscape, and survey the waste stream as an index of material culture.

Julia Goodman uses paper and fabric pulp to create sculptural forms that conceptually relate back to their source materials and the items used in their making. Previous work includes a series of public wheatpastings using handmade paper, and the recreation of her parents’ love letters using their old bed sheets for pulp. Process and the history of papermaking are an integral part of Goodman's work, and she has incorporated these elements into performative events that include either making paper or papyrus. Goodman will construct molds and drying systems from found materials during her residency, and will look for a variety of paper and fabrics from which to make her pulp. She will incorporate hand-carved marks and preexisting textures into her pieces, and plans to exhibit the objects used to make her paper as sculptural armatures or foundations for the finished works.

Jeff Hantman combines painting and printmaking in three-dimensional pieces on wood that bow or curve out from the wall. Hantman’s background as a woodworker informs his process which requires bending and shaping found materials, especially plywood, to create the rounded forms he uses as his canvases. Signs of wear, stains, paint, and other remnants of the wood’s previous use are incorporated into the works that are influenced by deteriorating structures such as old barns or water towers, as well as personal memories of places and events. Hantman, who normally scavenges for the wood he uses, looks forward to the abundance of items available at the dump and hopes to create larger-scale pieces and incorporate new materials, such as discarded household belongings, that are arched or can hold a curve.