photo Simon Beckmann

Joya: AiR / Iván-Manuel Tapia Bruno / CHL

“De las 1.357 semanas que he tenido el privilegio de experimentar, las cuatro que viví en Joya: AiR destacan, sin duda, entre las más significativas.

28 días llenos de sorpresas: desde lluvias inesperadas y arcoíris furtivos, hasta proyección inmersiva espontánea los jueves por la noche.

En esta etapa de apertura estética y exploración transdisciplinar en la que me encuentro, Anillo fue, literalmente, una joya al dedo. El constante flujo de artistas provenientes de múltiples disciplinas y geografías funciona como una invitación permanente a involucrarse en cualquier forma de expresión que emerja.

Llegué junto a mi pareja Catalina con la intención de componer una obra única, y terminé trabajando en cinco pequeñas instalaciones sonoro-visuales, inspiradas en algunos de los mágicos rincones de la casa que acoge el proyecto Joya, que luego de 672 horas de residencia, no terminé de enumerar.

Este giro en el plan inicial fue motivado en gran parte por el cruce continuo con otros artistas, facilitado por nuestros 2 generosos anfitriones Simon y Donna, así como por la exposición constante a variedad de proyectos creativos, desde óleo sobre tela hasta ambiciosos proyectos de reforestación y redistribución hídrica.

Sin duda, esta residencia ha dejado una huella profunda en mi trabajo —una que difícilmente podré (o querré) borrar”.

Iván-Manuel Tapia Bruno

Iván-Manuel Tapia Bruno (25) es compositor, flautista y docente chileno especializado en la creación musical experimental y multimedia. Máster en Artes c/m Composición de la U. de Chile, y Licenciado en Música de la Pontificia Universidad Católica de Valparaíso, donde también se desempeñó como profesor asistente en los departamentos de composición y lectura musical. Su formación incluye interpretación en Flauta Traversa, una pasantía en composición para cine en la Zürcher Hochschule der Künste (ZHDK) en Suiza y un curso de dirección orquestal en Chile.
Ha participado como compositor e intérprete en festivales internacionales como el Festival Internacional Darwin Vargas, Atemporanea en Argentina, PRISMS Festival en Estados Unidos y el Festival Internacional de Música Contemporánea de Santiago de Chile, presentando composiciones que integran elementos visuales y electrónicos en tiempo real.
Su obra ha sido reconocida en concursos como la Convocatoria Sinfónica FIMC XXIV (Sinfónica Nacional de Chile), el Concurso de Composición PRIMS 2023, el Concurso de Composición "Nuevos Aires Chilenos" y el Concurso Iberoamericano de Composición para Iberorquestas Juveniles.

photo Simon Beckmann

Joya: AiR / Cecile Carre / FRA

"It begins with a long road through the Spanish landscape. Little by little, the road narrows and turns into a dirt path, the houses disappear, and the excitement grows along with the impatience of being on the right track. 

Around a bend in the hill, the cortijo EMERGES from between the trees.

It’s exactly the same road I started down 30 years ago.  First a highway, countless sketches during my interior architecture studies, then watercolors and observational drawings during my long travels.

One day, much later—and not so long ago—came gouache, with its intense colors on small formats, and
the excitement grows along with the impatience of being on the right track.

Joya: AiR is the spark, the medium through which the energy EMERGES, making it possible to dare to work on large formats, on canvas, with big brushes and sweeping gestures. 

The spaces of Joya: AIR allow imagination to run free, and the perfect calm, without any obligation or pressure, was essential.
Back home, a new door has opened. New friendships have been made, memories nourish me. And above all, new projects are on the horizon.
Incredible—thank you Donna and Simon, and thank you Sesame and Solomon (bon voyage !) for this different kind of time”.

Cecile Carré

Cécile is French but lives in Barcelona. She’s an interior designer with a degree from the Ecole Boulle in Paris. She has her own office (www.mis-mas.com) where she does residential and contract work. She also creates everyday objects in collaboration with local artisans using sustainable methods. https://mis-mas.com/es/proyectos/productos

Her latest projects speak of living more discreetly, more sincerely, within an essential core that opens up according to the needs of its occupants, utilising local resources in construction and environmental impact. https://mis-mas.com/es/proyecto/el-tros

She also creates travel journals and has published a book about a one-year trip between Istanbul and Beijing (Carnet de Voyage de Noces, Le seuil 2003).

She teaches construction at the ES Design school in Barcelona.

photo Simon Beckmann

Joya: AiR / Samira Pavesi / BRA

“ My residency period was wonderful, mainly because my work is heavily influenced by urban life and I really wanted to try working in a peaceful and somewhat isolated landscape. I have come to the conclusion, with greater certainty, that my current research still offers many possibilities and investigations, regardless of where I produce them, and this was clear from the works I developed during this time. A mix of the forms I already investigate, with the fantastic local landscape, its overlaps and colours. The opportunity to develop a collaborative work with another resident artist was also something very special during this period. Understanding other possibilities and visualizing other movements based on my work. Finally, I think that the production I started at Joya: AiR will still have other developments when I return home. The coexistence and exchange with the other resident artists was wonderful.

I hope to see you again”!

Samira Pavesi

Samira Pavesi is a Brazilian visual artist based in Vitória, Espírito Santo, whose practice focuses on complex representations of bars, containment screens and other visual elements that provoke reflections on freedom. Her research explores the ambiguity between imprisonment and protection, accumulations and voids, and manifests itself through a variety of media, including painting, sculpture, writing, installation and assemblage. The self-taught artist has enriched her artistic career through diverse experiences, including technical improvements at the Escola de Artes Visuais do Parque Lage, in Rio de Janeiro, and recent artistic residencies at NOWHERE in Lisbon and PADA Studios in Barreiro, Portugal. Through her works, Samira investigates the intersection between the material and the subjective, addressing how the visual and emotional barriers that shape our experiences can suggest both limitations and forms of protection. Her artistic practice is marked by continuous experimentation with diverse materials, some coming from discarded sites. Samira held the solo exhibition “Duplo Sentido” at the Cultural Space of the Federal Court of ES (2023) and participated in collective exhibitions such as the 46th Waldemar Belisário Art Salon in Ilhabela - SP (2024), the 21st Territory of Art of Araraquara at the Municipal Theater of Araraquara-SP (2024), “Tertúlia Telúrica”, at the Christal Galeria in Recife (2023/2024), “Insurgent Affections: Bodies in Connection”, at the Centro Cultural Correios in Rio de Janeiro (2023/2024), the “Red Salon of Degenerate Arts”, at Atelier Sanitário, RJ (2022) and “Immersion in the Feminine Gender”, at the Art Museum of the Federal University of Ceará (2021).
Your works are in the public collections of the Federal Court of Espírito Santo, the Culture Foundation of Ilha Bela - SP (acquisition prize) and the Casa da Cultura de Campo Mourão - PR (acquisition prize).

photo Simon Beckmann

Joya: AiR / Emma Reynolds / GBR

“I came hoping to connect to the landscape in new ways. I was looking to spend time drawing and pushing that side of my practise, but came with an open mind ready to flow with what I felt like when I was here.

I could not have imagined how much Joya: AiR itself and the generosity and creativity of Donna and Simon would inspire me. They have established an extraordinary environment that feels safe and warm where visitors have space to flourish.  

During the days there was a sense of purpose with an energetic buzz.  Everyone would be working hard, and in the evenings we came together for presentations, dinner, dancing, laughing and playing of musical instruments (which in our case were made on site).  
I could not have imagined how much it would help me to think in a different way about how I work and remind me why I love being a creative.

I’ll cherish the memories for a long time to come”.

Emma Reynolds

Emma has a fine art degree from Bristol Polytechnic and a Masters of Arts from Middlesex University, London. She worked as a digital artist commercially in television in London where she ran teams that won 2 BAFTAS, 1 EMMY and a Pencil from D&AD. After having children she became a printmaker with a home studio. She has exhibited regularly in London, New York and in Alaska and has her work in a number of galleries.

https://murus.art/product/a-light-embrace/

photo Simon Beckmann

Joya: AiR / Tina Umer / SVN

“I wasn’t sure what to expect from Joya, as I hadn’t heard any first-hand accounts of it, but I’m thrilled to say that it surpassed all my expectations.

I went to the AiR to work intensively on a photographic project examining intensive agribusinesses. The impressive and inspiring regeneration of the space that Donna and Simon have created, with deep respect for the environment and cultural traditions, proved to be the perfect backdrop for getting my thoughts around the project flow.

The rich flora and fauna, like getting woken up by birds and observing a myriad of plants on walks, enriched each day and showed that a mindful and respectful way of living and treating our home and all its non-human entities is not only possible, but necessary.

The warm and social atmosphere created by the other residents led to great discussions, pleasant evenings, and generous practice-sharing. And of course, Donna’s impeccable cooking deserves a special mention. I returned home refreshed, regenerated, and inspired, with hopes of returning sometime in the future”.

Tina Umer

Originally from Slovenia, based in Sweden. Through a photographic lens, I explore my immediate environments, both online and offline, whether through algorithmic advertisements, human-altered landscapes, or city spaces shaped by struggles, control, classification, and profit maximization. I’m also interested in the objects we produce and consume and how they shape both us and our present and future, such as cheap e-commerce goods, second-hand items, or agribusiness products. My mediums are photography, textile art, and publications".

tinaumer.com

photo Simon Beckmann

Joya: AiR / Dario Jongerius / NED

“There are few words that still need to be said about the artists residency at Joya: AiR. I can actually only think of one — silence. The absence of noise.

This made it the perfect environment to focus on new work for my ambient project called ’Silent, Everything’. The time & space allowed me to expand my process, explore new sonic directions and lay the foundation of my practice for the period to come. I have been very productive, and even found the time and energy to expand my visual art practice.

A big big thank you to the wonderful fellow artists and Simon & Donna for providing such a caring and supportive environment. I leave the residency inspired and excited to create, create, and create”.

Dario Jongerius

Dario started a band called 'ii', with whom he makes and performs soul and electronic music. They’ve toured through the Netherlands, played sold-out shows in Amsterdams’ most renowned venues (Paradiso & Melkweg) and amassed several million streams on Spotify with their first three projects. Dario’s artistic interests go beyond the popular song structures and into the realm of ambient music and he is about to release his first ambient album with a solo-project called 'silent, Everything'. This project will be released at the beginning of 2025.

Dario’s scientific professional education took place at the University of Oxford, Trinity College. His artistic education is limited to the preparatory year at the Gerrit Rietveld Academy in Amsterdam.

Link to spotify page ii: https://open.spotify.com/artist/6qQBfYaI0EVaThO0OH8LPk?si=qta-Th-vQUWWR9_7F5MVCA
Link to unreleased album ‘silent, Everything’: https://on.soundcloud.com/DWn3iPiZD1PkGsgK9

photo Simon Beckmann

Joya: AiR / Amanda Brown / USA_CAN

”I started this residency thinking about having time to create several sculptures.  Once I got to Joya: AiR, off-grid and surrounded by nature, this ephemeral and tranquil place lead me to explore my relationship with creating and listening instead of just creating objects. At first overwhelmed by the amount of quiet and solitude, I found a meditation on creating and a complete creative and spiritual reset.  This alone time was balanced by the connection to a small group of creative people with whom I shared meals, hikes, presentations, and studio visits.   

Every morning, I began my studio practice just outside my studio arranging and rearranging rocks and small branches to make sculptures.  With no city noises, and only the sounds of insects, birds and the wind, my practice was pared down.  I experimented with hand-stitching starched lace pieces to form an arch sculpture formed by the undulating shapes that followed the contour of the lace pieces. The knots and seams were bared and turned to the outside.  Working in the warm sun with views of olive trees, wildflowers, and mountains, I was trying to reflect lightness amidst the heaviness of contemporary society. 

Donna and Simon are kind and welcoming hosts.  They have created a beautiful space in harmony with nature to give artists space.  Thoughtful touches like evening wood stoves make a chilly evening feel cosy and at every moment you feel looked- after especially when enjoying delicious home-cooked meals at the end of the day”.

Amanda Brown

Amanda Brown is a sculptor and video artist who grew up on the southern coast of Rhode Island and currently lives in Montreal with her family.   In her Installations she combines sculptural materials such as wood, clay or fabric with found objects such as household furniture to create intimate experiences within public spaces.  Amanda has an MFA in 3D from Massachusetts College of Art and Design. She has shown her work in galleries and museums in the US, Canada, Denmark, and China.  Her other residencies have included a NCECA fellowship in Ghana, Guldagergaard in Denmark, and Studio Beluga in Montreal. 

photo Simon Beckmann

Joya: AiR / Kasia Gatkowska / POL

“I came to Joya: AiR to reignite my creative flow, recharge my energy, and reconnect with nature—and it was exactly what I managed to achieve during my two-week stay.

The serene environment provided the perfect backdrop for stepping away from daily routines, allowing my mind to unwind and reset. I spent hours walking through the breathtaking mountains and valleys surrounding the residence. The clear air, the blue sky, the incredible light, and the beauty of the landscape! These walks became a vital part of my creative process, providing moments of reflection. Every step unveiled new perspectives, sparking my creativity and guiding me to explore fresh ideas and new directions in my work.

Thank you, Donna and Simon @joya_air, for your warm hospitality and for creating such an inspiring and supportive environment. Being part of the vibrant community you've brought together has been an unforgettable experience”!

@therahillenaar @lorrmar @imo.sinclair @mona_casey @juliette_ezaoui @kathrynfullertonceramics

Kasia Gatkowska

Photographer based in Amsterdam, working with various designers, architects, and interior design brands. Her work has been published in Architectural Digest, Vogue Living, Condé Nast Traveller, Elle Decoration and Harper's Bazaar.

www.kasiagatkowska.com

@kasiagatkowskaphotography

photo Simon Beckmann

Joya: AiR / Thera Hillenaar / NED

The World in the Stillness

Nothing is moving. Not like before.

Back in the city, movement is survival—the rush of cars, the swarm of people, the hum of voices layered over each other like an unending song. But in Sierra Maria, the world has folded itself into quiet.

At first, the silence feels empty, the stillness unnatural—like something is missing. But slowly, I begin to see it: the life hidden in the silence, the world in the stillness.

Above me, the sky is endless blue, so open it almost swallows me whole. Clouds drift by, slow and steady, unbothered by time. They move the way I wish I could—without hurry, without expectation. The earth itself seems to breathe in slow, steady rhythms.

Nothing is moving. And yet, everything is.

In February 2025, I lived and worked at Joya: AiR, immersed in this rhythm of stillness. Free from the daily distractions of the city, I found a different kind of movement—the quiet, steady pulse of creativity. Working with my hands, sculpting textiles, and resonating with nature, embracing the unhurried flow of time allowed me to create with a new sense of presence. I am so grateful for this experience.

A heartfelt thank you to @StichtingNiemeijerfonds and @StichtingGerbrandyCultuurfonds for the financial support, and to Donna and Simon Beckmann for creating this off-grid residency. Thank you to everyone who shared this journey with me: @kasiagatkowska @lorrmar @imo.sinclair @silent_everything @joya @lcyptrs @Mona_casey.

The results of this working period will be on show @ ThisArtFair, from June 5–8, at @Open_open_space, Amsterdam, NL.

I hope to see you there!

@Thera_hillenaar

Thera Hillenaar

photo Simon Beckmann

Joya: AiR / Imogen Sinclair / UK

I"I came to Joya: AiR to reconnect to myself and my practice after some time feeling lost. Joya gave me the space to do this and so much more. What Donna and Simon have created here is nothing short of magic. My time here allowed me to slow down and shake off the speed we get so caught up with in day to day life.

The creative energy at Joya is palpable. In every corner there are hidden treasures and histories from resident artists throughout the years. You’d be hard pushed not to feel inspired in this creative oasis. This is a place that makes you feel alive and connected to something much greater than yourself.

Spending a month off grid, creating work and sharing with such wonderful, inspiring individuals has been deeply nourishing and insightful. This experience has not only reshaped my artistic practice but also who I am and how I will live my life going forward.

The most beautiful part of Joya is the people you get to share it with. So thank you to my fellow residents, and to Donna and Simon for imagining something so special and bringing it to life”.

Imogen Sinclair

Imogen Sinclair studied BA (hons) illustration at the University of Brighton. Since graduating she has been working as an illustrator working with clients including Rolling Stone magazine UK, Wetransfer and slow down studio.

https://www.instagram.com/imo.sinclair/

photo Simon Beckmann

Joya: AiR / Sophie Hutchinson + Billy Kemp / IRE

“In January, we spent a week at Joya: AiR, exploring the mountains, dried-out riverbeds, and textured clays of the landscape. Walking through these terrains became an integral part of our practice, as we ventured out several times each day—toward the shifting lights of morning, afternoon, and evening—filming and recording the sounds along the way. The result was a short film that employs a motion extraction technique to highlight the movement of the landscape as it is intruded upon, while also isolating the distinct, harsh sounds of the surrounding environment.

The opportunity to share our work at the end of the week was especially helpful for us as collaborators. The feedback from the other artists was also very valuable, offering new perspectives on our work. Simon and Donna created a welcoming and warm environment, where the overall atmosphere was one of ease and support. The home cooked meals and beautiful accommodation were also a real treat, contributing to a comfortable and enjoyable time”.

Sophie Hutchinson + Billy Kemp

bio:

Sophie Hutchinson and Billy Kemp are a collaborative duo from the West of Ireland. Drawing on their backgrounds in contemporary dance, sonic, visual and digital art. Their practice explores the dynamic interplay of these disciplines, delving into themes of nature, connection, elemental forces, and the sensory experience of place. Through their audio-visual creations, they invite audiences to engage with the landscapes and ideas that inspire their work.

https://www.dancerocklands.com

Joya: AiR / Kathryn Fullerton / CAN

Supported by the quiet beauty of the Parque Natural Sierra María for three weeks, I followed creative impulses and yielded to vast expanses of time. Big blue skies, bright moonlit nights, and the warm sun contrasted with crisp morning January air felt so enlivening. I began each morning by lighting the wood stove in my studio and then gathered enough clay from the land to work with for the day. Clay, from right under our feet, was delightfully plastic and smooth. By mid day it was often warm enough to work outside in the sun.

At the end of each day we gathered around the woodstove in the house to warm our bones and await the dinner bell, which would let us know delicious and nutritious food was about to be served. Oftentimes we would be treated to a presentation from one of the resident artists before our meal when we would share laughter and stories of our day. Donna and Simon created a supportive and welcoming environment from which to enjoy and be inspired.

BIO

Kathryn Fullerton explores and responds to emergent questions arising from lived experience. She draws on Embodied Imagination™️ and Creative Dreamwork practices to facilitate the conscious connection between the artist and the rich resources of the unconscious. Clay, with its earthy, tactile nature, invites her to follow quiet impulses through deep embodied listening. Works that emerge from this process are not fixed or predetermined; rather, they are shaped by intuition, reflection, and an ongoing dialogue between hands and earth. While rooted in the spirit of our times, Kathryn’s work feels as ancient as the clay itself and offers insights into how to live in a world that is in a steady and constant state of change.

photo Simon Beckmann

Joya: AiR / Sandra Eichinger / AUS

“I am walking, taking a stroll, meandering, making meaning, in a state of deep care, connected feeling.

Within the vast landscape of Joya: AiR, everything seems light and everything seems possible. Around us nothing but nature, we all suddenly have so much time, so much space and so little distractions: creativity is inescapable and curious minds are all around. I started world building outside, maybe to escape, maybe to locate: my hands are forming ephemeral landscapes of clay (the skin of the earth). I go on to work inside, in my wonderful cave-like, womb-like studio - some more wor(l)d building. My hands, dry from the clay, the Spanish wind, cut out words, carefully framing them into poetry, text based collages and writing, writing - the words are flowing so easily onto paper and screens. 

In the evening there is time for laughter, time to share secrets, Donna's deliciously cooked meals, the bell announcing them, all of us hungrily waiting around the fireplace, faces red from the warm winter sun and harsh wind, faces green from a face mask. Hands are building again, knitting, a scarf, turqoise like the water missing in this dry area. My Joya scarf. I teach Rachel how to knit, she shows me how to develop photos using rosemary. I write about Maria's work, her radiating from within, Juliette says thank you for writing about art, I think: thank you for creating your playful theatres, they inspire, they care. I am listening to Niki's poems, those beautifully selected words stay with me for a long time, I re-read them again the next day. We are all looking forward to our first dinner with Kathryn, she is sifting clay, the finest skin. Sam and Tommy are the first ones I meet, their aura of calm and friendliness feels like an embrace, their passion for music vibrates. Donna and Simon's warm welcome and stories shared over dinner are special and show how much they care about creating this space. I run my hands through Frida's fur, she is not a dog but a giant. I visit Fufu, cut around a photo of her for a goat collage - skin, earth, kin, I cut my way around a manifesto of care.

Joya: AiR, a place enabling conversations and connections - it means jewel... What a fitting description”.

Sandra Eichinger

“I am a curatorial assistant and spokesperson for sustainability at the contemporary art museum Lentos in Linz, Austria and take on freelance projects in art writing and art historic research. In recent jobs I have been working at the Kunsthistorisches Museum Vienna and as a freelance art historian and art writer at the sculpture symposion Lindabrunn, Austria. I have also been teaching at the University of Vienna, tutoring courses in "Introductions to Academic writing" and "Art Reception in the museal context". In 2022 I received a scholarship for the Summeracademy Salzburg, participating in the course "The Art of Writing about Art". I am currently finishing my MA degree in Art history at the University of Vienna and did my BA degree in textile art and design at the Kunstuniversität Linz with an exchange semester in Fashion Design at NABA Milano, Italy and took part in a summer course at the London College of Fashion, thus having a strong connection to textiles, fiber aesthetics and the field where arts and crafts interlace. Additionally, creative writing is a strong part of my daily life and I am creating poem based collages”.

photo Simon Beckmann

Joya: AiR / Juliette Ezaoui / FRA

“I decided to go to Joya: AiR when the days in London started to feel gloomy, and the thought of winter coming made me take the decision. The cold, dark months ahead pushed me to seek a change, and Joya: AiR felt like the perfect escape.

I stayed for three weeks at the residency, and the blue skies and yellow sun in January felt like a treat—an unexpected break in the middle of my London life, a burst of oxygen on these cold winter days.

I felt incredibly welcomed in Donna and Simon’s home. It felt as if we were part of their life, part of their family, all isolated together at the top of the same mountain.

It was a great time to focus and start working toward a new body of work. The silence and the calm landscape made this residency feel like a long meditative journey. It helped clear the noise in my head, to "catch the big fish," as our dear friend Lynch would say.

In this simple, peaceful routine, a few moments punctuated our days. The communal dinners with the other residents were something to look forward to. Donna is an amazing chef, and you could feel her love and motherly care in every meal, every night. Simon would start his ritual of lighting the stoves throughout the house, filling the space with warmth and creating a comforting soundtrack to the evening.

Thank you, Donna and Simon, for your time and attention. And thank you, Imogen, Rachel, Kathrine, Maria, Nikki, Sandra, Thera, Katia, and Laure, for all the laughter, great conversations, long walks, and love”.

Juliette Ezaoui

Juliette Ezaoui’s practice explores the interconnectedness of living, non-living, human, and non-human systems, particularly through soil. Drawing on her horticulture studies at OrganicLea, she investigates how soil reveals the foundations of life above it. Ezaoui is concerned with the idea that humans are not isolated but intricately linked to the organisms and materials around them. She believes this understanding can challenge Western models of consumerism, politics, and economics, offering a potential path to address the climate crisis.

Ezaoui (b. 1992) has an MA in Interior Architecture from Olivier de Serre, Paris (2014), attended the Turps Art School studio programme in London (2019–2021), and completed a degree in Organic Horticulture from OrganicLea (2022), London. She is a permanent studio holder at Studio Voltaire, London and co-founded The Gleaners Collective.

She has shown works with Studio Voltaire (2024); published her work with Chelsea curatorial MA students and the Mosaic Rooms (2024); Blink Collective, London (2024; 2022); Blue shop cottage (2023), created a site-specific installation for OrganicLea Farm, London (2022); for Cyprus College of Art, Cyprus (2022); Eel Pie Island, London (2022); Thames Side Studio Gallery, London (2021); PADA Gallery, Lisbon (2019); Eveliebe Gallery with Soho Beach Hotel, Barcelona (2019); Gallery Tarivoci, Paris (2018).

photo Simon Beckmann

Joya: AiR / Maria Marvila / ESP

esp + eng

«Un ecosistema ha crecido debajo de mis párpados. El territorio interior respira, una orografía nacida de la luz. El monte de invierno vaporiza vibrante, los pájaros cantan para los olivos, a lo lejos, en un silencio azul, se abren los sueños en flor.»

Durante mi residencia en Joya: AiR, he creado un estado de calma y consciencia, para volverme sensible a la morfología del paisaje. Mediante la práctica diaria de paseos en silencio, de la pintura y la meditación, el florecimiento del paisaje interior ha sucedido de forma natural. He intentado pintar este lugar, que se nutre de los colores de la luz, de las formas de la tierra, y los aromas de las plantas silvestres que se encuentran en la Sierra María Los Vélez. Y llegado un punto, las obras han cobrado vida y han estado danzando con los almendros alrededor de la casa.

La estadía en Joya: AiR ha significado un momento especial, para cuidar la creación y el espíritu, en el que conectar con un entorno único. Estoy muy agradecida a Donna y a Simon por su hospitalidad y calidez, con su cuidado creativo de esta tierra, hacen que este lugar esté lleno de vida y de posibilidades.

(eng)

«An ecosystem has grown beneath my eyelids. The inner landscape breathes, an orography born of light. The winter mount vaporizes vibrantly, birds sing for the olive trees, in the distance, in a blue silence, dreams are opened in bloom.»

During my residency in Joya: AiR, I have created a state of calm and awareness, to become sensitive to the morphology of the landscape. Through the daily practice of silent walks, painting and meditation, the flowering of the inner landscape has happened naturally. I have tried to paint this place, which is nourished by the colours of the sunlight, the shapes of the earth, and the aromas of the wild plants found at the Sierra María Los Vélez. And at one point, the works came to life and were dancing with the almond trees around the house.

The stay in Joya: AiR has meant a special moment to care for creation and the spirit, in which to connect with a unique environment. I am very grateful to Donna and Simon for their hospitality and warmth. With their creative care of this land, they make this place one full of life and possibilities.

Website:

https://www.mariamarvila.com/

Bio:

Maria Marvila’s work is alive, and thus in constant mutation, fed by the traced drifts in the lived territory. Through her practice, she engages in a dialogue with the inhabited environment, weaving links with its living beings. From a conscious exploration of the land, she evokes her geomorphology, her motion and essence. Using languages such as watercolour, ephemeral organic sculptures and in situ action, while embracing the participation of other beings and meditating through the process, she creates works that aim to grow a sacred connectedness.

Master in Art Production and Research (2019) and Bachelor in Fine Arts (2015), Universitat de Barcelona and Accademia di Belle Arti di Venezia. Her work has been presented at Ermita de Sant Baldiri, Cadaqués, curated by Matèria edicions (2024); at 8 albe, Contemporary Art Overview, Sicily, curated by Carolina Ciuti (2023); at Fundació Palau, Caldes d’Estrac, curated by Esther Vilà (2022); at Centre ARBAR, La Vall de Santa Creu (2021); at FIAC Cinéphémère, Paris, selected by Carolina Ciuti (2019); at Fabra i Coats, Barcelona (2019); at Despina, Rio de Janeiro (2018); at MECÀNIC, Barcelona, curated by Magali Avezou (2018); and Córtex Frontal, Arraiolos (2016).

photo Simón Beckmann

Joya: AiR / Neus Crous Costa / ESP

“I came to Joya: AiR with a plan to make significant progress on a manuscript about intimate experiences, otherness, and relation to the world. This was part of my doctoral research on tourism as a transformative experience, which is growing into a managerial-political perspective focusing on well-being for all. Artistic practices such as visual arts, textile art, needlework, and woodcarving are ways of materialising thoughts, further developing ideas, and linking multidisciplinary research together.

The plan during my stay was to work on my studio and to take short strolls. Consequently, I mindfully did not pack any walking shoes. The terrain around the house is rather easy to walk on. Donna and Simon sustain a home that is perfectly embedded in its place and their management allows you to fall in love with the place; not in a platonic way, but in a truly embodied one. Somehow the place found its way to the structure of my

manuscript and natural materials were incorporated into my painting and sketching. Shortly after I regretted not having packed my walking shoes”.

Neus Crous Costa

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Bio

I am a researcher in tourism as a personal transformation and public management for

the wellbeing of all. My career as a scholar and cultural manager goes hand in hand

with artistic practice.

A couple of years ago I began using carnet de voyages (travel diaries) to plan and

register my trips, which for now are only over land (or sea) due to ecological and social

concerns. This helps me staying on a slow pace. Stopping to sketch, instead of taking

photos. Write down bus and train schedules, instead of checking them repreatedly on

the internet.

I have modestly participated in collective exhibitions in Barcelona and Madrid (2022-

2024): Utopía / Distopía (organised by Extinction Rebellion Art Milan) and Mujeres

Artistas (La Botànica).

Instagram: @gemedet

Linkedin:https://www.linkedin.com/in/neus-crous-costa-954b4144/

photo Simón Beckmann

Joya: AiR / Laura Bachman / FRA

“Thank you Donna and Simon for offering with Joya: AiR, a little corner of paradise for inspiration and creativity. It was a precious time for me to reflect on my practice, let space for ideas to flow and feel nurtured by the environment. I felt fully connected to the landscape, its quietness, dramatic winds and powerful sun.

During my time in Joya, I worked on two projects, a dance film and a future performance set to premiere in November 2025.

The film is a continuation of my first piece « Ne me touchez pas », taking the opening solo of that work to turn it into a short dance film. The idea with this project is to use dance as a narrative tool to tell a story through bodies moving, exploring the genre of horror, without words. The body is a powerful storyteller that has yet to be explored fully through the lense of a camera.

The piece is a dance performance inspired by a book tetralogy by Jean-Philippe Toussaint. Through this work, I aim to explore the thems of love, grief and womanhood. During my time in Joya, I managed to figure out the structure in which the piece should be developed and the main threads that should be pulled from the books.

A very peaceful, beautiful, enriching and precious time!”

Laura Bachman

Laura Bachman is a French dancer and choreographer. She started dance through ballet in Paris Opera Ballet school before joining the company in 2011. In 2016 she moved to Belgium after working in Los Angeles and the Benjamin Millepied's company, LA Dance Project.

In Brussels she works as a full time member of Rosas, the company of Anne-Teresa de Keersmaeker. As a freelancer she has worked for many different artists, performing with Boris Charmatz or works by Pina Bausch with the Tanztheater Wuppertal, choreographing for movies by Wes Anderson or Manele Labidi, working with musicians such as Rone or Jain as both dancer and choreographer.

In 2021 she created a short dance film "Chimère" (SF Dance Film Festival, InShadow - Lisbon ScreenDance festival, London International Screen Dance Festival) and is currently touring in Europe with her piece "Ne me touchez pas". She is currently preparing two new projects : a dance piece based on a book tetralogy by Belgian author Jean-Philippe Toussaint (the cycle of Marie : Faire l'amour / Fuir / La vérité sur Marie / Nue) and a short dance film based on a solo from her piece "Ne me touchez pas".

photo Simon Beckmann

Joya: AiR / William Crosby / UK-CYP

I wrote my application to Joya AiR from a hospital waiting room, following a health scare in the summer. All my family, friends, colleagues, and doctors had been telling me to slow down and take it easier for a long time, and now, my body had finally forced me to. Getting the email from Donna and Simon accepting my application while on the bus home was the pick-me-up I needed; I had something to look forward to and work towards.

Being at Joya: AiR made me realise that a different way of working was possible. I quickly became attuned to the pace of off-grid, communal life, living alongside the rising and setting of the sun, free from artificial light and the rest of modernity’s distractions. The environment Donna and Simon have created is something special: free of demand or expectation, respectful and in harmony with its local ecology, and genuine in its seeking of kinship.

I arrived to write a book chapter; my first. It is a practice-based chapter, which grows from my PhD research around sonic pedagogy, mud and soil studies, and broader ideas around how we learn and share knowledge through sound in the age of climate crisis. Joya AiR was the perfect setting in which to begin researching and writing: any moments of writers’ block were soon rectified by making a coffee and taking a stroll around the building, giving FouFou (the goat) a little stroke, taking deep breaths of mountain air, and listening to the sound of my footsteps upon the various types of earth and vegetation around the site.

Joya AiR is like an oasis; I know it is not a reality I can directly recreate in my daily life back here in UK, but the experience and learnings will reshape my ways-of-being. Donna and Simon were wonderful hosts, and now, friends. I’ve been attempting to recreate their recipes nightly, and I returned home feeling the most refreshed, nourished, and inspired I have been in years.

William Crosby

William Crosby is a British/Greek-Cypriot artist, musician, pedagogue, and agitator based in Cambridge/London UK.

His practice finds its foundations in the environmental humanities, sound art, and radical pedagogies, working with field recordings, text scores, improvisation, writing, and communal sound-making to ask how sound can build knowledge with our more-than-human contexts, and how this knowledge can develop communal pedagogical tools fit for our age of climate crises. This work thinks about how sound enables embodied encounters with others, and how these stand as a radical act of co-working.

William is a member of MUD Collective, a sedimentology–art–sound research group collaborating across Iraq, India, France, and the UK, who explore thinking with, through, and about mud, in consideration of shifting ideas around human and more-than-human, organic and inorganic intra-actions, and towards a real geopolitics for today. He is also a member of artist-activist duo, (CWxWC), with Dr Cecilia Wee, whose work seeks to sound out an investigation into re-tuning the politics of listening within multiple cultural, social, economic, and environmental crises.

William is currently a PhD student within the Creative Research in Sound Arts Practice (CRiSAP) department, at London College of Communication: University of the Arts, London, under the supervision of Dr Mark Peter Wright and Prof Salomé Voegelin. He also lectures at Anglia Ruskin University, Cambridge, in sound/music studies, media & communications, film and fine art. William is a Wysing Studio Artist 2024-2029.

www.crosbywilliam.com

Joya: AiR / Toon Jans / Belgium

“Slowing down at Joya: AiR came as a welcome change after a busy and eventful year. A place like this kind of forces you to slow down. Gently you settle into the rythm and start to live by the rising and the setting of the sun. 

What convinced me to apply to the residency was the availability of a dark room and the ecological view of the place. Two things that generally don’t really add up since dark rooms tend to use a lot of chemicals. In my work ecology and conservation are recurring themes. In the past I had felt conflicted about my love for dark room photography because of its use of different chemicals. I had taken part in different workshops about ecological dark room techniques before, but never found the time to efficiently implement them into my own practice. Bringing all of my previous gathered materials on the subject I had plenty of time to experiment with film and paper development using ecological alternatives. Returning to my own studio I feel confident enough about my newly acquired skills to rid my studio of polluting chemicals. 

The second part of my stay I devoted to a book project that got shelved about a year ago. It feels like ages ago me and Michelle Daniëlse, graphic design, started working on this. Before heading to Joya: AiR the only time the book would ever come up again was when Michelle would text me: “Toon, are you working on the book again?” My answers hadn’t been positive in a long time…

Most of the book will be underwater photography and takes place on the bottom of the sea, which is funny since Joya: AiR is basically a desert. But when you walk around there long enough and squint your eyes once in a while it can start to look like the bottom of the ocean!

Happy holidays,

Toon Jans

www.toonjans.com

In 2001, Toon Aerts (°1977) graduated with honours from the Sint Lukas film school in Brussels on presentation of the shortfilm "Dialing the Devil". His shortfilm, a gritty 70’s style roadmovie, won numerous national and international awards like the Leuven Kort Festival (BE), Het Grote Ongeduld (BE), Courtisane (BE), 3rd Pixie Awards (USA) and the Golden Sheaf Awards (CAN).

Toon then signed up with production company CZAR to direct commercials. He had a blitz start and quickly directed for the most creative agencies in Belgium, including Duval Guillaume Brussels, Mortierbrigade, Famous, TBWA, Saatchi & Saatchi, etc..

His work didn’t go unnoticed in the Netherlands either, where he directed a campaign for the Amsterdam agency KesselsKramer for the Dutch mobile phone operator Ben. In 2002 Toon received The Young Directors Award for this commercial at the annual ADCN. He has since shot commercials for EA Games, Duyvis, Lipton Ice Tea, KPN, Ikea, Telfort, The International Film Festival of Rotterdam, Planet Internet and many others. The Asics commercial he shot won a bronze and a silver award on the Cannes edition of 2005.

But Toon always continued doing other projects as well. And music has always been his first love. Not only did Toon direct numerous music videos for Belgian bands like The Sore Losers, Millionaire, Mon-O-Phone, El Guapo Stuntteam and Fence. He also photographed a lot of these bands. For instance, he shot the cover of the Sore Losers album and did the promotional photography for Hickey Underworld, Fence, Mad About Mountains, Mon-O-Phone, Vandal X and the Vermin Twins.

The music video "Back From The Grave" won the prize for best music video at the 2009 edition of the Belgian Shortfilmfestival "Leuven Kort", was shown at the bi-monthly BUG Music Video Festival in London and was selected for the Mirrorball section of the Edinburgh International Film Festival. More recently, Toon directed his first international music video for the infamous Jon Spencer Blues Explosion, resulting in a classic mini-horror movie that’s not meant for the weak of heart…

Since 2012, Toon got a taste of being onstage himself, as he joined The Sha-La-Lee’s as a bassplayer. This band, containing members of The Sore Losers, El Guapo Stuntteam, Evil Superstars, Millionaire and Noordkaap, plays a contagious mix of 60’s garage and classic rock. The Sha-La-Lee’s already supported international top-acts like The Jon Spencer Blues Explosion, The Datsuns and The Rival Sons and have been coined a “cult supergroup” by the Belgian press. They are planning to release their first album in March 2014.

Toon’s long awaited shortfilm Perfect Drug had it’s premiere at the 2012 Leuven Kort Short Film Festival. Perfect Drug, best described as a mind boggling experience, created quite a buzz in the national press and has won the Grand Prize at the BIFF and the Meliès d’Argent at the Imagine Film Festival. The film now continues it’s succes abroad where it recently won the prize for “Weirdest Film” at the Knoxville Horror Filmfestival. So keep your eyes peeled for a screening near you..

Toon's work, being it his films or his photos, are characterised by a strong visual style. His work clearly refers to elements of popular culture like horror movies, sci-fi, 70's exploitation or television series. Toon likes images that are loud, colorful, larger than life and over-the-top. Toon tries to intigue the viewer, to capture his attention and more importantly show the viewer the way he likes to look at reality ...

photo Simon Beckmann

Joya: AiR / guest residency co-ordinator / Nicole Gilbert / GBR

"I was at Joya arte + ecología / AiR for three months, and in that time, I lived slowly in a community of people from around the globe to make art, share beautiful food, explore, play, exchange ideas and conversation. Joya: AIR is a residency for interdisciplinary artists and sustains the stewardship and regeneration of the local ecosystem. It treads lightly on the land and gives back through water re-capture and rewilding.

I've found the Joya: AiR philosophy simple. Follow your interests and passions. Create, support and share with others. Leave the world a better place because you lived here."

Nicole Gilbert

Nicole Gilbert received her Bachelor's degree in Philosophy at the University of Sheffield. While at Sheffield, she developed an interest in the aesthetics of the everyday, environmental ethics and phenomenology. Developing these threads, Nicole gained a Master of Arts in Urban Design and Planning, before spending four years as an environmental consultant in UK communities, investigating the possibility of local futures where traditional systems, are woven with art and ecology to create sustainable communities removed from the dominant paradigm.

Nicole has departed from consultancy and is currently developing her own creative practice using mixed materials embedded in place. She would like to continue working and creating in reflective spaces that bring people together with the land, to find new ways of living.