THE 2022

The Glenfiddich Artists in Residence program offers Canadian artists a $24,000 residency prize, a chance to collaborate with other celebrated international artists, and the opportunity to live and work at The Glenfiddich Distillery in Scotland. We annually host a small group of visual artists from around the globe, who work in a diverse array of media from print and photography to animation, performance and installation. The historic setting, deep in Scotland’s highlands has inspired Canadian artists in the creation of original art work for over a decade.

the program

Since its inception, the Artists in Residence program has seen over 160 artists from 20 countries take part in the summer residency at the Glenfiddich Distillery in Dufftown, Scotland. The art created takes inspiration from the distillery, history, heritage, people, and craftsmanship of the surrounding area. Each year a diverse and exciting group of the world’s artists create new, inspirational pieces of art, which are exhibited in the Glenfiddich gallery as a culmination of their time at the distillery. The residency has become widely acclaimed in the art world for providing artists with an original setting, space and community in which to work

“Through its commitment and support of the arts, the Glenfiddich Artist-in-Residence Prize gives artists not only the monetary value of their residency but provides such a fertile platform in the lovely Scottish Highlands”
Dr. Sara Diamond President OCAD University

“The Glenfiddich Artists in Residence program has established a reputation for producing radical contemporary art in the normally traditional surroundings of the Scotch whisky industry.”
The Fleming Collection

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Past Recipients

  • Lorna Bauer, 2022

    Lorna Bauer was born in Toronto in 1980 and now lives and works in Tiohtiá:ke/Montreal. Her work has been featured in numerous solo and collective exhibitions in Canada and abroad. In 2019 Bauer was awarded the Barbara Sphor Memorial Award and in 2021 she was a finalist for the Sobey Art Award.

    In her practice, Lorna Bauer utilizes photography and sculpture to examine human’s relationships to their surroundings. Bauer’s projects are generally characterized as site related, leading to a final result that has responded to a specific place and context, and speaks to a material and visual investigation into ideas and experiences generated from ecologies of lived environments. Bauer uses exclusively analogue technology as it provides a set of limitations to achieve an economy of form. She also understands documentary genres to be a series of conventions that can be put toward other poetic means. The sequences of photographs are meant to make the viewer aware of his/her presence at the threshold of the depicted space, and the exhibition site. The sculptural object becomes a middle term in this equation, although it can sometimes depart from its syntactical relationship to the images and become autonomous.

  • Dean Baldwin, 2021

    Dean Baldwin (b. 1973) gambols across media. Toronto-born and Montreal-based, he iterates on themes of hospitality, conviviality, performative still-life, and the structural discrepancies around which we pivot. His practice, which often positions agrarian means within an artworld setting, works to unsettle the structural and social dynamics of a community that privileges its exclusion, its difference. He trades the expected lobster for an invasive crawfish, in River Restaurant; he landlocks a yacht -for the benefit of those without yachts- in Queen West Yacht Club; he fashions Chalet from a museum's previous installation refuse. Moonlighting as host he often passes the bartender's shoulder cloth to friends and visitors, removing himself from its service so others might navigate their newfound work. Applying a palette of aristocracy, he sneaks us in and hoists us up, that we might enjoy the view.

    Baldwin has worked in New York, Rome, Tasmania, London & Mumbai, among others.


    Christof Migone and Marla Hlady have long-standing individual artistic practices; they started to collaborate in 2015. Their joint projects combine pre-existing solo concerns and recurring strategies into works that accent site and sound space within a contemporary visual art context. Marla has an MFA from York and is tenured faculty at the University of Toronto. Christof has an MFA from NSCAD and a PhD from NYU, and is tenured faculty at the University of Western Ontario. Both have international careers, including exhibitions or events in Australia, Korea, Japan, the USA and in 15 European countries. Marla is in the collection of the AGO, the National Gallery of Canada, Museum London, Canada Council Art Bank, amongst others. She is represented by Christie Contemporary and has had over 30 solo exhibitions since 1991. Christof performed at the 2012 Whitney Biennial. A book compiling his writings on sound art, Sonic Somatic: Performances of the Unsound Body was published in 2012 by Errant Bodies Press. He has been the recipient of commissions from the Tate Modern, Dazibao, Kunstradio, Centre for Art Tapes, New Adventures in Sound Art, Radio Canada, New American Radio. Both live in Toronto.


    Vanessa Maltese’s practice spans the mediums of painting, sculpture and installation. Through research, she asks questions that explore the nature of art and perception. Her work takes specific an interest in the potential of ambiguous figure-ground relationships and optical illusions. She has a interest in the brain’s ability to decipher a figure, from a background, as this interpretive mechanism is a necessity for recognizing objects through vision. Recent works employ the deceptive visual strategies of trompe l’oeil as a referent to temporarily complicate the viewer’s relationship to the work, the viewing experience and space of the gallery.

    Holding a BFA from OCAD University. Vanessa Maltese was the National Winner of the 2012 RBC Canadian Painting Competition and has exhibited her work in solo and group exhibitions across North America. Her recent and forthcoming exhibitions include, Night Gallery (Los Angeles, CA), Shane Campbell Gallery (Chicago, IL), Nicelle Beauchene Gallery (New York, NY), Greenpoint Terminal Gallery (Brooklyn, NY), Halsey Mckay (East Hampton, NY), The Power Plant (Toronto, ON) and COOPER COLE (Toronto, ON). She has published artist editions with Nothing Else Press, Paul + Wendy Projects, Slow Editions and Casey House. Maltese’s work has been reviewed in national and international publications including, Frieze Magazine, Artforum and C Magazine. Maltese currently lives and works in Toronto, Canada and is represented by COOPER COLE.

    Photography by Sarah Bodri 

  • Dave Dyment, 2008

    Based in Toronto, Canada, Dave Dyment is best known for his sound installation work, although he also works in multiples and photography. Dave’s unique project was inspired by his interest in the collapsing of time and the notion of artists planning a work which will not be complete until their lifetime has passed. A 500L second fill sherry butt full of new-make Glenfiddich spirit has been entombed in the ground at the Glenfiddich Distillery. 25 empty bottles have been sold at The Toronto International Art Fair for CAN$2,000. Buyers can pass on the bottle for the liquid to be redeemed in 100 years’ time when the cask is opened (T&Cs apply).

    ‘The whisky itself will be the ultimate gift, a whisky that the buyer will never taste, but will pass on.' Dave Dyment, June 08

  • Lee Henderson, 2017

    Lee Henderson’s is a making practice marked by the persistence of collective histories and the brevity of individual lives… which is to say it's funny, in the same way King Lear is funny.

    Lee is interested in understanding problems, with an awareness that the work of the artist lies in revealing false problems rather than solving real ones. But whether investigating problems of definition or perception, or of measurement or identification, existential crises or mundane anxieties, he has so far found that they all collapse back to the central problem of the terminus, that presumed point of ambiguous inevitability we spend our conscious lives avoiding, or from which we supposedly sprang. This doesn't have to mean the beginning/end of a particular human life—it can as easily be the disappearance of a culture, the retrofitting of an edifice, the emergence of a language, or the transition between weather patterns. And like an electron or a fable, when examined with care, the terminus problem-point reveals itself to be permeable, mutable, and indiscernible.

    Throughout this process Lee stumbles, he gropes; and latches on to a piece of material, or an historical factoid, or the cultural baggage of an object, or a quirk of language, and become fascinated-obsessed until it reveals the mortal banality of its associations. Those associations—networks of human intellectual-emotional investment, more commonly known as "meaning"—then find expression in reconfigurations of light, text, space, sound, and matter. Making artwork is every bit as absurd, direct, and fruitful as rearranging furniture just to see the pattern on the floor.


  • Jonathan Kaiser, 2007

    Born in 1982 in Winnipeg, Jonathan went on to study at the University of Alberta, where he achieved a BFA with Distinction in 2005. Jonathan has held a number of exhibitions across Canada, including the recent Alberta Biennial of Contemporary Art 2007. The landscape around the distillery and the heritage of Glenfiddich has been a major influence during his residency along with the mysticism – both established and newly imagined.

    "During my stay at the Glenfiddich Distillery I have been impressed by its picturesque Highland setting and the proud family history it was built on. I also appreciate the romantic images associated with the brand like the iconic Glenfiddich stag and, being a bit of a Christmas fanatic, the fact that the first drop of spirit ran from the stills on Christmas Day 1887." Jonathan Kaiser 2/7/07

  • Eleanor King, 2016

    Eleanor King is an interdisciplinary artist based in New York and Nova Scotia. She participated in residencies at The MacDowell Colony, Yaddo, SOMA Mexico, and The Banff Centre among others. She has received creation grants from the Canada Council for the Arts and Arts Nova Scotia, and was a national finalist for the 2012 Sobey Art Award. King has exhibited nationally and internationally, including the Museum of Contemporary Canadian Art, Nuit Blanche Toronto, the Southern Alberta Art Gallery, Hudson Valley Center for Contemporary Art (NY) and Galleri F15 (Norway). Her solo exhibition Dark Utopian was recently on view at the Art Gallery of Nova Scotia, and her work was the subject of a feature-length cover article in the Fall 2014 issue of Canadian Art magazine. Eleanor is currently a Fulbright fellow and MFA candidate at Purchase College, State University of New York (graduation May 2016), and she received a BFA from NSCAD University. She is represented by Diaz Contemporary in Toronto. “Combining music, sound art, social practices, improvisation and other modes of creation, the art of Eleanor King is difficult to classify, but remains reliably enjoyable. Whether stacking reams of vinyl records skyward in a sculpture, creating a working bar as part of an art installation, tracing old tape reels to make a drawing, amplifying the sounds of underground streams for a public artwork, (or) playing in Halifax-area bands... her art often provide(s) new ways of connecting with the present moment.” Canadian Art, November 2012

  • Jon Sasaki, 2015

    Jon Sasaki is a Toronto-based multidisciplinary artist, whose practice frequently borrows Conceptual Art strategies, redeploying them in work with an emotionally resonant core. While his projects often employ both humour and pathos, they do so in the service of addressing the fraught and fragile nature of human interactions. Sasaki's work can at times be mildly and intentionally antagonistic towards audiences and participants; he aims to test the limits of sociability, audience generosity, sustainability of actions, conviviality, hope, enthusiasm. Projects invariably risk and even court failure. For Sasaki, tragedy is an inevitable by-product of a practice that is aspirational at its core.

    Sasaki's work has been exhibited in numerous solo exhibitions, recently at the Ottawa Art Gallery, (Ottawa, ON); the Tom Thomson Art Gallery (Owen Sound, ON); Dunlop Art Gallery (Regina, SK); MacLaren Art Centre (Barrie, ON); the Southern Alberta Art Gallery, (Lethbridge, AB); and the Art Gallery of Ontario. Recent group exhibitions include Platform Art Spaces (Melbourne, Australia); Nihonbashi Institute of Contemporary Art, (Tokyo, Japan); Museum of Contemporary Canadian Art (Toronto, ON); The Justina M. Barnicke Gallery, (Toronto, ON); Pace University Digital Gallery, (New York, NY); and Dazibao (Montréal, QC); and Oakville Galleries. Sasaki holds a BFA from Mount Allison University (Sackville, NB) and is represented by Clint Roenisch Gallery in Toronto.

    Sasaki holds a BFA from Mount Allison University.

  • Rhonda Weppler and Trevor Mahovsky, 2014

    Weppler and Mahovsky have worked collaboratively since 2004. Both artists have MFA degrees from the University of British Columbia, where they met in 1996. They initially developed their collaborative practice in Vancouver and have continued after relocating in 2012; Mahovsky currently lives in Toronto, while Weppler divides her time between Vancouver, Burlington and San Francisco.

    Exhibits include: National Gallery of Canada (Ottawa), Vancouver Art Gallery, Alter Space, (San Francisco), Art Gallery of Alberta (Edmonton), Flux Projects (Atlanta), Contemporary Art Gallery (Vancouver), LABoral (Gijon), Dos de Mayo (Madrid), Power Plant (Toronto), Musee d’art Contemporain (Montreal),   Nuit Blanche (Toronto), Orange Coast College Photography Gallery (Costa Mesa, CA), Tokyo Wonder Site, loop-raum (Berlin), Art Gallery of Nova Scotia (Halifax), 516Arts (Albuquerque).   

  • Daniel Barrow, 2013

    Winner of the 2010 Sobey Art Award, Winnipeg-born, Montreal-based Barrow has exhibited widely in Canada and abroad including performances at; The Walker Art Center (Minneapolis), The Museum of Contemporary Art (Los Angeles), and The Portland Institute for Contemporary Art’s TBA festival.

    “Thanks so much to everyone at Glenfiddich for this wonderful artist residency opportunity. I had an incredibly, intensive and productive summer – creating 2 new performances, as well as a print and drawing series. I know that the work and the concepts I conceived in Scotland, will act as the footing and foundation for the exhibitions I will present over, at least, the next few years”.

  • Jillian McDonald, 2012

    During her time at the distillery, Jillian cast local residents and Glenfiddich craftspeople in a video, creating costumes and masks on location in response to the local landscape, legends, traditional highlands costume, and folklore - both real and imagined. The haunting remarkable romanticism of the landscape figures prominently as the camera creeps across the valleys uncovering dales and knolls.

  • Helen Cho, 2011

    "The goal of the workshop is not about producing good art/craftwork but to enjoy the idea of, and the experience of making something"

    Born 1969, Youngwall, South Korea, Helen Cho moved to Canada in 1982. She now lives and works in Berlin, Germany. Her artworks explore disparate elements encountered in daily life such as everyday objects, prosaic thoughts and film images that are bound together in fateful collisions on an unexpected surface unbound by time, place or space. Notions of make-believe and facts intertwine, chronologies of history are upset, and objects of fiction co-exist in the same space as real objects.

  • Damian Moppett, 2010

    Born 1969 Calgary Alberta, Damian is a graduate of the Emily Carr College of Art and Design, Vancouver, British Columbia, where he went on to teach between 1998 and 2004. Currently living and working in Vancouver, his work is analytical, conceptual, and highly referential in both form and content. Exploring the process of craft making and it's ability to function as a highly personal and autobiographical art form. Moppett also focuses on his own skills; he produces work that spans the entire range of media including painting, drawing, sculpture, photography, film and ceramics.

    Solo-exhibitions include Yvon Lambert, Paris, (2009); Temple University Gallery, Philadelphia (2009); Catriona Jeffries Gallery, Vancouver (2007); and Carleton University Art Gallery, Ottawa, (2006).

  • Arabella Campbell, 2009

    Arabella Campbell lives and works in Vancouver. She has a Bachelor of Arts from the University of British Columbia (1996) and a Bachelor of Fine Arts from Emily Carr Institute of Art and the San Francisco Art Institute (2002).

    Arabella Campbell’s practice is rooted in the studio and attends to a range of media. Calling attention to the white cube, the context of the art exhibition and the medium itself, Campbell’s practice is consistently self-reflexive and produced with formal clarity. Her practice is informed by site-specific studies and conceptual based strategies, resulting in formally attentive works that are concerned with the fundamental structures of representation, as they are manifest in materials, language and place. 

Andy Fairgrieve

As curator for the Glenfiddich Artists in Residence program, Andy Fairgrieve is the colourful, dreadlocked go-to-guy-in-a-kilt. Andy holds the all-inclusive role of coordinator/curator; from artist selection to travel visas, Andy insures that visiting artists get the very best experience while in residence, “In short I act as a local guide, curator and gallery technician. For me whisky is all about relationships, bringing people together and sharing with friends. With that in mind it’s a positive reinforcement of ‘guid’ Highland hospitality that each year, over the weeks and months that the artists are here, lasting associations are formed.”

Andy has been handling every detail of the Artists in Residence prize since its inception in 2002. As curator, he understands the creative thought process and is able to visualise not only the artists’ proposed pieces but the path needed to turn it onto a reality. Andy’s knowledge of the distillery is essential, particularly, when it comes to knowing who to speak to in order to help make the artists’ ideas come to life. One of the things Andy loves most about the Glenfiddich Artists in Residence program is the mission to encourage people to delight in life’s adventures. Andy shares that over a decade after its inception, the program remains, “vibrant and has earned a world-wide reputation for its un-prescriptive and supportive approach. What never ceases to amaze me is that despite having had over 100 artists through our doors since we began, each one of them always sees the distillery with fresh eyes. I feel as long as we can carry on in this vein the program will continue to delight and surprise for years to come!"

Our Jury

  • Dave Dyment

    Dave Dyment was the 2008 Canadian Artists in Residence Prize recipient and has served on the selection jury panel for Artists in Residence Canada for the past 5 years.

    Based in Toronto, Dave is best known for his sound installation work, although he also works in multiples and photography. Dave has had a number of solo exhibitions, and his work has been displayed all over the world from Bulgaria to Ireland, London, Canada and the USA. 


    David Diviney is the senior curator at the Art Gallery of Nova Scotia in Halifax. Prior to joining the AGNS in 2009, he practised as an independent curator and held positions at the Southern Alberta Art Gallery and Eye Level Gallery. He has also taught courses at Alberta College of Art and Design, University of Lethbridge, Thompson Rivers University, and Sheridan College Institute of Technology and Advanced Learning. Diviney participated in the Canada Council for the Arts Asia-Pacific Visual Arts Delegation in 2014 and was a member of the curatorial panel for the Sobey Art Award in 2010, 2012 and 2015.

  • Stefan Hancherow

    Stefan Hancherow is a curator and collector based in Toronto. He has recently held positions as the Project Director of Feature Contemporary Art Fair and Assistant Curator of the Sobey Art Award. He is an alumnus of NSCAD University, and graduated with an MFA from OCAD University in 2013. Recent curatorial projects include Absolutely Free at OCAD U, There is No There at the Hamilton Artists Inc. and Is This Thing On? at MSVU Art Gallery.

  • Michelle Jacques

    Michelle Jacques is the Head of Exhibitions and Collections & Chief Curator at Remai Modern in Saskatoon. Previously she was the chief curator at the Art Gallery of Greater Victoria and has also worked at the Art Gallery of Ontario, NSCAD University, OCAD University, and the University of Toronto. In 2019, she was appointed as the inaugural vice-president, inclusion and outreach, of the Association of Art Museum Curators, a New York-based group that supports and promotes curatorial work around the world.

  • Ivan Jurakic

    Ivan Jurakic is the Director/Curator of the University of Waterloo Art Gallery. He received his MFA from SUNY Buffalo and an Honours BA from the University of Guelph. Since 2004, he has curated numerous exhibitions, sat on the curatorial panel for the 2009 Sobey Art Award and co-curated Zone C for Scotiabank Nuit Blanche 2013. His curatorial practice focuses on multidisciplinary art and installation and he has curated significant exhibitions and written about the work of Kelly Mark, Colleen Wolstenholme, James Carl, Laurel Woodcock, Kelly Richardson, Lois Andison, Roula Partheniou and many others. He is also a principal of TH&B, an artist collective whose site- responsive projects address the intersection of urban and rural environments. He lives in Hamilton.

  • Michelle Schultz

    Michelle Schultz is currently the Interim Executive Director at Latitude 53 in Edmonton, Canada. She studied History of Art, Design and Visual Culture at the University of Alberta before moving to London, UK to complete her MA in Contemporary Art from the Sotheby’s Institute of Art. She was a founding member of GALERIE8, an East London project and exhibition space, and worked with various institutions including Somerset House, Frieze Art Fair and Whitechapel Gallery, as well as publications Ibraaz and DailyServing. She spent three years in Los Angeles, where she was the Director of emerging contemporary art gallery GUSFORD, and most recently was Director of dc3 Art Projects and Bookshop in Edmonton, AB.  Schultz is a self-proclaimed whiskey aficionado who spent her final week living in the United Kingdom touring the distilleries of Scotland, Glenfiddich included, described as the most idyllic time in her life.

  • Collin Zipp

    Collin Zipp is a multidisciplinary artist who works with public art, video, photography, sculpture, painting and installation. Collin has exhibited his work widely both nationally and internationally in solo and group exhibitions and screenings. Selected exhibiting venues include Saskatoon’s Paved New Media, Winnipeg’s Plug In ICA, The Winnipeg Art Gallery, Modern Fuel in Ontario, Gatineau’s AXENEO 7, the Boston Underground Film Festival, Halifax`s eyelevel gallery, the MOCCA Geffen in Los Angeles, the Kelowna Art Gallery and the Musée d'art contemporain de Montréal. Collin obtained his BFA from the University of Manitoba’s School of Art in 2005 and his MFA from the University of Lethbridge's Faculty of Fine Arts in 2011. As an arts administrator, he has over 15 years experience programming exhibitions, directing galleries and consulting on large-scale artwork productions. He is currently the Public Art Manager at STEPS Public Art.

Frequently Asked Questions

Does the proposal have to be about whisky?

Not necessarily. It can be if that is what the artist wishes to focus on, however the programme seeks to capture the essence of the artist’s experience while at Glenfiddich. While many artists do become attracted to the process of distillation, the local community, the environment and heritage of the area have also featured in artist’s projects over the years. The bottom line is that the Glenfiddich residency exists to provide artists with full creative freedom and the programme will seek to support the artist’s regardless of the direction they choose to follow.

Can the project change from the original proposal?

Yes. We fully appreciate the difficulty in writing a proposal detailing an experience the artist has not yet had. The proposals submitted should be seen as fluid and open to evolution once the artist has arrived at Glenfiddich.

What is the jury process?

A jury of artists, curators and art professionals from across Canada select their personal top ten applicants, ranked one to ten. These lists are then collated into a single shortlist of ten artists. Andy Fairgreive, the curator of the program, makes his final decision from this shortlist.

Do you accept collaborations?

Yes we do, and have already had a collaboration residency in 2014 with Trevor Mahovsky and Rhonda Weppler. Under these circumstances the total award remains at £10000 (GBP) and collaborating artist share the same accommodation, however we do cover flight costs for both artists.

What sort of accommodation/studio space is offered?

Each resident artist is provided with a self-contained house which is fully furnished and all essentials such as bedding towels etc. are supplied. The houses are all on the distillery site and each one is only a few minutes’ walk from the others. Each house has oil fired central heating and comes with its own wi-fi connection and phone line. Spare rooms can be utilized as studio spaces and are suitable for most practices.

Can I bring my family?

In most cases the houses have two or three bedrooms, meaning artists can bring (at their own expense) family and friends to join them for part of or throughout the residency period.

Are there facilities for ceramic working/metal working available on site?

No. However we are only twenty miles from the Scottish Sculpture workshop at Lumsden ( where a ceramic workshop and metal foundry can be accessed. Glass work can be accommodated at Northland Creative Glass at Lybster which is a four hour drive to the north ( In all cases it is advisable to make arrangements to use these facilities well in advance if required.

Can the residency be extended?

This has been arranged in the past provided accommodation is available and plenty of notice is given. Due to the visa restrictions imposed by the UK government any requests for extensions beyond the tree months should be made at time of residency application. If extensions are granted the budget remains the same as for the three month residency.

Can breaks be taken during the residency period?

Yes, but with-in reason. Should an artist require time away longer than two weeks from the residency (out of the standard twelve weeks) reductions may be made in the over-all fees paid.

What assistance is given in the visa application process?

William Grant and Sons is a fully certified member of the UK Governments Sponsor Management System under which the required Tier 5 (creative and sporting) entry visas are issued. A certificate of Sponsorship is issued to the resident artist by WG&S well in advance of arrival in the UK and should be used by the artist as part of the application process for the visa. Failure to secure a visa for any reason disqualifies the artist from taking up the residency. Artists should ensure they have a valid passport and are responsible for all fees required for the visa.

Is the residency open to writers and musicians?

No. The programme is aimed primarily at visual artists.

How to Apply 

Artists in Residence Prize will open as of December 9, 2022 and must be received by midnight eastern standard time, January 31, 2023. Applicants will be shortlisted for jury consideration based on their completion of application. Candidates for The Artists in Residence Prize are requested to submit a proposal outlining how they would like to use their residency. For complete terms of reference, selection criteria and application process please download the PDF below.

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