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The Barn

56 2nd Street
Albany, NY 12210

Stage 1

46-48 North Swan Street
Albany, NY 12210




Scrap Wrenn

Work-Only Residency 

Artist Bio

Wrenn exhibits and writes as a visual artist under pseudonyms including “scrap wrenn” (2013-present), “sean wrenn” (2010-2012), and “scrapworm” (2002-2010). Ms. Wrenn’s participation in artists’ projects and group exhibitions for over 2 decades has included collaborations and shows throughout the New York City area, at the Bronx Museum of the Arts, and in Philadelphia, Baltimore, Texas, and Lecce, Italy – receiving the Mount Royal School of Art Graduate Fellowship Award at MICA (2006-2008) for her MFA. She has lived and worked in the Hudson Valley since 2014, and has been in the Capital Region since 2022 (in Brooklyn 1998-2006 & 2008-2014).

A solo show with ChaShaMa, “kyuko and her soul,” was featured on E42nd St. from July-November 2023. She showed new work on roster with solo exhibitions at the John Davis Gallery in Hudson, NY in 2016 and 2018, and in 2019 group shows at the Ely Center for Contemporary Art (New Haven, CT), Kirkland Art Center (Clinton, NY) and Dorsky Museum at SUNY New Paltz. Other recent exhibitions include group shows at the Marist College Art Gallery (Poughkeepsie, NY 2020, 2022, 2023), Upstream Gallery (Hastings on Hudson, NY, 2022), and Schweinfurth Art Center (Auburn, NY, 2022, 2023).

Benefitting from the time and space of residencies, Wrenn has been a resident/fellow at Arts@Renaissance (Brooklyn, 2012), the Constance Saltonstall Foundation for the Arts (Ithaca, NY, 2013), the Vermont Studio Center (Johnson, VT, 2013), IPark (East Haddam, CT, 2005), Soaring Gardens Artists’ Retreat (PA, 2005, 2015), ChaNorth (NY, 2015), NYC ChaShaMa studios (40 Worth St. 2004-5, Brooklyn Army Terminal B 2013-15), and the Zen Mountain Monastery (Mt. Tremper, NY, various 2014-2021, initially funded by the Hemera Foundation’s Tending Space Grant).


I find metaphorical implications in my original photographs, including references to communicating memories in our photo-prolific culture, and the fleeting beauty of captured moments preserved. The photo-montage works examine the evolution of photography as a tool for physically representing mental recollections. My hand-constructed, paper-layered photo montages involve various daily practices of looking deeply, taking digital photographs; then sorting, editing, printing and enlarging those images. This process yields 11”x14” and 11”x17” paper images that I use toward hand-pieced, one-of-a-kind paper and acrylic medium-assembled montages.

I experience the creative process as a philosophic inquiry into the nature of reality itself, as an attempt to collapse subject and object, and as a meditative movement of the breath in the physical making. Photography could be seen as a devotional practice in appreciation of the world in each unfolding moment. Then, my artworks collapse innumerable moments in space/time to tell a visual story with open interpretation that invites the viewer to allow the imagery to inspire awe. I work in scales from immersive to intimate to offer viewers a range of experiences.

Buddhist imagery and bodhisattvas started entering my photomontages in 2013, initially as a surprise while in residency at the Vermont Studio Center. I brought a photo enlargement of a large Quan Yin image from Chinatown, and the archetypal bodhisattva’s demeanor subtly became the focus of new meditation discoveries and creative directions. Over the next few years, I began seeing images of the bodhisattva of compassion everywhere, and the symbolic figure became a part of my compositions because the image is a part of my daily life within communities of Buddhist practitioners.

skin flesh bones marrow: acrylic medium and color laser printed paper (original photographs) on panel, 60”x90” (3 panels, ea. 60”x30″), 2023

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