Current Fellowships
CCAM Media Fellowship: Sundance 2026
The CCAM Media Fellowship: Sundance 2026, presented in partnership with the Common Good & Creative Careers initiative of Yale OCS, supported a Yale undergarduate student journalist interested in covering film and media to engage the Sundance Film Festival as a critical site of contemporary cinema, media culture, and creative experimentation.
The selected fellow received festival credentials and support for travel and accommodations. The fellow is creating publishable writing and other content (photos, videos) during and shortly after the festival. Final work will appear on the CCAM website and may be distributed through Yale and/or external media channels.
This fellowship is supported by CCAM, Common Good & Creative Careers, and the Paul Block Journalism Program.
The CCAM Media Fellow: Sundance 2026 is Elora Sparnicht.
CCAM Studio Fellowship
The Studio Fellowship invites creators to produce an original project based at
CCAM offers each project:
- funding for project materials,
- meetings with the group of fellows and the CCAM team for project mentorship,
- access to CCAM spaces and the CCAM Equipment Checkout, and
- an opportunity to present their work as part of the CCAM Studio Fellowship Exhibition at the CCAM ISOVIST Gallery.
The call for proposals is open to the Yale community and the public. Please note that the fellowship requires regular, in-person involvement at CCAM.
The call for proposals for the 2025–2026 CCAM Studio Fellowship is now closed. In August 2026, we will announce the call for 2026–2027. To stay informed, please sign up for our newsletter.
Current Studio Fellows & Projects
Aru Apaza
Yale School of Art, Painting/Printmaking
Discos Tierra
Discos Tierra envisions playable 7-inch records made entirely from earth gathered from various locations of cultural significance. Each record is both sculptural and sonic, carrying the physical presence of site-specific soil and embedded grooves that produce sound when played on a turntable. These records generate fragile, grainy tones of the earth itself, layered with field recordings and potentially performed live featuring instrumental accompaniment.
This piece transforms soil into both medium and instrument, and encourages a different type of listening. Instead of Dylan Robinson's term, this project encourages a deep listening not bent on extractive understanding. Through Disco Tierra, we encounter earth not as metaphor or resource but as a living relative with a bodily presence that speaks, hums, and remembers.
Discos Tierra resists a situated resolution, instead inviting audiences into the discomfort and opacity of listening across time, distance, and dislocation. By merging technical experimentation, Indigenous philosophy, and critical theory, the project becomes a practice of decolonial listening and offers an unsettling and reorientation of how we encounter earth, memory, and relation.
Mikah Berky
Assistant Professor Adjunct in Design at David Geffen School of Drama and Scenic Charge at Yale Rep
Erin Carney
Arts Librarian for Drama, Theatre, and Performance Studies at the Robert B. Haas Arts Library
Invisible Cartography
Have you been wondering lately if you’re breathing enough/too much/in the right way? Erin and Mikah have. In this aerial theatre piece, they use superhuman feats to investigate how hard it really is to be human. Part underground rave, part confessional, part Bill Nye the Science Guy episode, Erin and Mikah transform their own health data into sound and visuals to ask what the data might reveal and what we might be missing when we’re busy counting. If you like Evel Knievel, listening to waves crash on the beach, and are tired of hacking your productivity (but still wonder if you should eat more protein), this performance is for you.
Zack Hann
New Haven Resident, Saxophonist, Composer
The Weeds
The Weeds is an 8-channel generative composition, performed by the composer in real time using a homemade synthesizer. Four channels send instrumental parts to a quartet of musicians, each wearing headphones and playing their part by ear. The other four channels are sent to a surround-sound speaker system. Using chance-based processes pioneered by John Cage and Terry Riley, the composition explores the non-linearity of movement, the effect of wind on patch of weeds. Each of the eight parts evolves at a different speed, eventually tangling together and phase apart until they return to rest.
Corine Huang
Yale College, 2026
Listening In
Listening In (inspired by Susan Douglas' book of the same title) is an interactive video installation about my father. In the mid '80s, my father moved to New York City from Guangzhou, China with (in his words) a very frugal grasp of American culture and the English language, gleaned entirely from whatever snippets of Western pop music he could scrape up by descrambling the encrypted frequencies of Hong Kong radio stations and listening to the Top 40 Countdown-esque VHS tapes recorded by his friends abroad.
Forty years later, we return to this soundtrack together to reconstruct the contours of his early life in America: his first job (working as a deliveryman for a Chinese restaurant in Harlem), his first vocation (civil engineering), and his first concert (Bryan Adams at the Jones Beach Theater). Alongside old favorites are the tracks currently in rotation: the Mandopop hits he discovered after returning to China. This installation is part of a larger work titled "Carrying Capacity," which explores the dualism of memory as both immanent and extrinsic, both the possessed and possessor, as [ ]—a space-holder, so to speak. This installation examines listening as a form of memory-making, asking how the aural arch
Olga Kedya
Yale School of Architecture, 2026
Solar Instruments
Something shifts in the corridor throughout the day; almost imperceptibly. Light slips, thickens, and drifts across its surfaces, untethered from any visible source. What was once a space of passage becomes a field of gradual transformation, registering the passage of time through shifting atmospheres.
This project explores 3D printing and multi-axis robotic fabrication as a design medium that cultivates new sensibilities through direct engagement with material behavior. It proposes a sun-synchronized light installation that modulates light, shadow, and transparency throughout the day within a liminal interior, such as a hallway or corridor, typically disconnected from the exterior environment. Using translucent polymers and rotational movement, the project examines how variations in surface texture, layer orientation, and infill density produce shifting optical effects. As elements slowly, almost imperceptibly, rotate in synchronization with celestial cycles; light is refracted and diffused into evolving gradients and patterns that unfold over time, transforming the space. Situated within circulation spaces often understood as purely transitional, the work challenges the role of hallways as zones of passage without pause. Instead, it transforms these interiors into dynamic environments that register the movement of the sun, embedding cosmic rhythms within everyday experience. What is typically passed through becomes a site of perceptual engagement, where occupants encounter light as a temporal medium; if one lingers long enough to perceive.
Developed through an integration of design research, material science, and motion-based technology, the project leverages resources at Yale’s Center for Collaborative Arts and Media (CCAM) and robotics lab to ask: What new spatial experiences emerge when material, motion, and light are conceived as an integrated system? How might these choreographies recalibrate how space is sensed and inhabited?
Aubrey Moore
Yale School of Architecture, 2027
Shrimp Vision
Human eyes perceive color through three types of photoreceptors, each tuned to a different wavelength of light—red, green, and blue. Everything we see is a blend of those three signals. The rainbow mantis shrimp, by contrast, has sixteen types of photoreceptors. It doesn't just see more colors; it processes light in ways that are fundamentally outside human comprehension. Shrimp Vision is an attempt to sit with that strangeness and to ask what it might feel like to look at the world through entirely different eyes.
The centerpiece of the installation is a pair of large eyeballs, each constructed from a lattice of 3D-printed hexagons joined by iridescent, multi-colored vinyl. The hexagonal form echoes the geometry of the compound eyes of the mantis shrimp. Embedded within each eye is a robotic mechanism that holds a live video camera. A trackball mouse invites visitors to take control, rotating the eyes to pan across the room, reorienting their perspective in real time. What the cameras look out onto is a room draped in hanging diamond-shaped sculptures. The mediation of the lens, the movement of the eye, the iridescent glow of the vinyl — together they defamiliarize the act of seeing.
Shrimp Vision doesn't claim to replicate mantis shrimp perception. It shows viewers that our version of seeing is only one version and wonders what we might be missing.
Abigail Murphy
Yale College, 2027
Clustered
My piece ritualizes the cyanotype printing process by creating a tangible demonstration of the digital cloud without the risks of data collection. I print cyanotypes of the visitors to CCAM, combining photography, photoediting, and coding, with a historical printing method.
A participating member of the audience gets their photo taken at a small portrait studio in the gallery. The photo is automatically sent to photoediting software that turns it black and white, increases the contrast, and turns it into a negative, as cyanotypes print the positives of negative images. This is automatically sent to a printer, which prints the negative onto inkjet transparency film. I then place the film negative over paper coated in cyanotype solution, place a small sheet of glass over it to prevent doubling, and let the photo develop under a UV light box for six minutes. I then put the print in a water bath to expose and wash away the unexposed chemicals, and hang it to dry on a clothes line stretched between two walls. As I print more images, the collective cloud will grow, creating a community of people unattached to online data. The prints drip blue pigment onto a crumpled rag below, evoking a strong visual effect and commenting on the growing environmental crisis due to online clouds and technology spaces consuming large amounts of water.
The cyanotype is one of the only forms of art that cannot be taken over by AI, as it uses sunlight to produce the final product. This process connects people back together through natural, earth-driven methods. We all have digital clouds of shared collectives, but those come with preexisting hierarchies. This process entails intense attention to each individual, resulting in people given the same amount of care: something so often lacking in a digital space.
Moshopefoluwa Olagunju
Yale School of Art, 2027
The Stories We Carry & Tasting Menu
The Stories We Carry is a group exhibition on view at the CCAM ISOVIST Gallery and the Yale Afro American Cultural Center's AfAm House Gallery, bringing together artists whose works explore personal histories, memories, and cultural traditions. Alongside the exhibition, there's a tasting menu, looking at the foods the artists grew up eating. This positions how food can function as an archive of memory and how food and art can preserve lived experiences across time and place.
Maggie Schnyer
Program Administrator, Timothy Dwight College; Yale College, 2024
The Wealth of a Country
This sculpture and musical composition are the creative portion of a larger personal research project on the history of stone walls, masonry, and manual labor as employment in both Famine-era Ireland and colonial to present-day New England.
Speakers disguised as rocks are playing my composition, The Mason, for solo instrument and computer. In the piece’s instructions, I aim to recreate the building of a stone wall by composing as if musical materials were physical building blocks. The piece is around 30 minutes.
Hongting Zhu
Yale School of Art, 2026
Please look away
By repurposing the original camera from old mice, the project allows us to listen to the murmur of a tiny electronic organism. The interaction is slow and tactile, reintroducing a sense of weight and friction that modern technology has tried to erase. In this space, the act of using a mouse is transformed into a gentle excavation, forcing us to negotiate the physical reality of a machine that once felt invisible. The machine now sits in the quiet of an anatomical lab, a space that feels both clinical and sacred. The strange half-life reacts and convulses when activated, as if remembering a reflex from its long history of service. The audience is invited into this impossible future, standing as outsiders in an environment that feels both alien and deeply familiar.
Past Studio Fellows
2024–2025
Kino Alvarez, Jaamal Benjamin, Vani Bhushan, Bohan Chen, Helen Liene Dreifelds, Deming Haines, Ida Kulidzan, Du Nghiem, Soleil Piverger, Sok Song, Xiwen Zhang
2023–2024
Nathan Apfel, Nicholas Arvanitis, Joji Baratelli, Beshouy Botros, Emily Cai, Andina Marie Osorio, Sarah Feng, Lily Koslow, Sammi Kwon, Xinran Li, Aly Moosa, Jason Nuttle, Karela Palazio, Wai Hin Wong
2022–2023
Camilla Carper, Dominique Duroseau, Emily Nelms, Kaifeng Wu, Kennedy Anderson, Kyle Richardson, Laura Medina, Maya Perry, Paloma Izquierdo
2021–2022
Catherine Alam-Nist, Justin Allen, Paul Bille, Carlos Blanco, Stav Dror, Jessica Flemming, Maya Foster, Miguel Gaydosh, Vignesh Harikrishnan, Nikki Pet, Osvald Landmark, Serge Saab, Janelle Schmidt, Cathryn Seibert, Ethan Shim, Matt Smoak, Inhwan (Ivan) Tae, Hannah Tjaden, David John Walker, David Zheng
2020–2021
Herdimas Anggara, Adhya Beesam, Chia Amisola, Roxanne Harris, Max Himpe, Al Larriva-Latt, Anezka Minarikova, Mariel Pettee, Amina Ross, Ilana Zaks
2019–2020
Chia Amisola, Liam Bellman-Sharpe, Felicia Chang, Sofia Checa, Dylan Hausthor, Annie Ling, Ash Pales, Erin Sullivan, Camilla Tassi, Ross Wightman, Anna Zheng, Ye Qin Zhu
Past Fellowships
CCAM x Currents Fellowship 2025
In 2025, the Yale Center for Collaborative Arts and Media (CCAM) partnered with Currents New Media to bring a Yale student fellow to present their work at the CURRENTS Art & Technology Festival in Santa Fe, New Mexico.
As an ambassador for CCAM, the inaugural CCAM x Currents New Media Fellow showcased their project to a global audience of media artists and innovators. The fellowship funds travel (within the U.S. to Santa Fe, NM) and housing costs during the festival. The application was open to all current Yale students, including those graduating in Spring 2025.
The 2025 CCAM x Currents Fellow was Wendy Li (MFA Graphic Design, Yale School of Art, 2025).
Questions
For questions, please contact Lauren Dubowski.