The same flexibility that SoMad seeks to embody in its structure and programming applies to its residency, and as such, none of our residents' individual experiences with the program would be identical to another's. We offer dynamic workspaces; access to resources, gallery space, and equipment; and personalized support for photography, sculpture, and multimedia art. 

Meet the 2025 Residents

Rachel Rampleman creates bodies of work that explore gender, artifice, and spectacle. Utilizing directorial, curatorial, and anthropological processes, she showcases exuberantly irrepressible personalities who revel in challenging clichés and taboos to rethink and reimagine the gender construct. A sampling of subjects include Girls Girls Girls - the world's first and only all-woman Mötley Crüe tribute band, and Tazzie Colomb - the world's longest competing professional female bodybuilder and powerlifter. Since 2019, she has been working exclusively on "Life is Drag" - the largest living digital archive of drag in the United States.

Originally from Cincinnati and currently living and working in New York City, Rampleman received her MFA from NYU in 2006. Since then her work has been shown at such venues as the Shanghai Biennale (China, Brooklyn Pavilion, 2012-13), the Chennai Photo Biennale (India), S.M.A.K. (Stedelijk Museum voor Actuele Kunst) and Art Cinema OFFoff (Ghent, Belgium), VIDEONALE.16 at the Kunstmuseum Bonn, C/O Berlin, Die Fruhperle, and The Secret Cabinet (Berlin, Germany), Socrates Sculpture Park, SPRING/BREAK Art Show, Smack Mellon, Auxiliary Projects, BAM, Satellite Art Show, Spectacle Theater, The Wassaic Project, Flux Factory, VOX Bizarre, The Warehouse Gallery, SELECT Art Fair, un(SCENE) Art Show, Cantor Film Center (New York), The Wexner Center for the Arts, The Contemporary Arts Center, The Weston Art Gallery (Ohio), University Hall Gallery at UMass Boston (Massachusetts), PULSE Miami (Florida), The Flint Art Institute, (Michigan), the Carnegie Museum of Art, and The Andy Warhol Museum (Pennsylvania).

She recently had a survey exhibition on view at Satellite Gallery LES, as well as solo exhibitions at the cell, La MaMa, VOLTA NY (New York), These Things Take Time (Ghent, Belgium), Carl Solway Gallery, The Neon Heater Art Gallery, Weston Art Gallery in the Aronoff Center for the Arts (Ohio), 3S Artspace (New Hampshire), and an early career retrospective at CEPA Gallery in Buffalo, New York.

She has also created curatorial projects with Vanessa Albury as The Sun That Never Sets for venues such as The Frank Institute at CR10 in the Hudson Valley and SPRING/BREAK Art Show in NYC. Rachel’s work has been reviewed in The New York Times, The Huffington Post, autostraddle, Art F City, Paper Magazine, Artnet, DRAIN, Domino, eyes toward the dove, HYPERALLERGIC, Gothamist, Berlin Art Parasites, the Fanzine, Seattle Pi, Absolute Arts, ÆQAI, and LeCool Bangkok, among others.

Additionally, Rampleman will collaborate with SoMad on the curation, production, and immersive installations of original performances tailored specifically for the Mad Pride 2025 celebration on June 20th.

SoMad has invited Tiffany—a shimmering algae-femme and host of the animated series Life Touching Life—to teletransport her underwater apartment straight into their white-walled Midtown gallery for Mad World 2025.

Created from recycled set paper, collaged imagery, and remixed open-source video, this fantastical living space offers glitchy glimpses of sea life: gender-swapping fish, self-cloning sponges, and a coral reef throwing a full moon bacchanal.

The apartment’s ambient soundtrack, composed by Matthewdavid, weaves together underwater sonics sourced from open-license shrimp recordings. Occasionally, Tiffany herself appears in full algae regalia to host conversations with special guests in her aquatic salon.

Research materials on queer ecology and magical practices—books, artifacts, and talismans—rest inside an aquarium bookshelf. Live plants, including the Moon Cactus and Bird of Paradise, each with its own peculiar history of mutated cultivation, nest in sculpted sconces, offering a surreal take on how terrestrial flora might be stylized in aquatic homes.

Visitors are invited to sink into custom furniture, cruise the bookshelf, and observe a coral city that floats just beyond reason—unnamed, yet unmistakably subaqueous.

As Mad World’s artist-in-residence, Zulu Padilla presents a multimedia installation that traces the migratory patterns of neotropical birds as observed from cruising spots in Prospect Park. In these secluded pockets of urban wilderness, birds and queer communities converge—unbound by borders, rules, or fixed identities. Padilla’s large-scale photographic collages evoke the layered, transient, and embodied nature of both flight and desire. By intertwining the avian and the human, the work reveals a shared multiplicity: each body, feathered or flesh, carries countless perspectives and ways of being.

2024 Residency Exhibition

David Aliperti and Soraya Zaman have been in residence at SoMad for the past year (2023-2024), culminating in a two-person exhibition. In his art practice, David Aliperti explores how time spent and communal effort in the making of the artwork can serve to slow down the pace of the viewer’s visual experience.
His current series titled Mother Tree includes sculptures molded by hand from repurposed paper paste, a foam composite that is very lightweight yet buildable. This material choice enables new, gravity defying, flora to ascend almost weightlessly. These sculptures require many hours of meditative handwork; to sculpt the numerous individual petals, leaves and stems that come together to form the whole of each sculpture. Aliperti loves traces of that handwork via fingerprints and nail marks to remain.

The process of making this work is intentionally labor intensive and slow. Aliperti wants the viewer to be challenged by the notion that a small object can contain so many hours of labor. His process emphasizes the value of human connection. Aliperti explores cycles of life, death, rebirth and reconfiguration in his work. He views the human imprint as both tangible and ephemeral. In these patterns of repetition, he finds universality; that systems repeat on micro and macro scales across all forms of life. Aliperti takes comfort in this transience. His work is not a monument to a sole maker but rather an encapsulation of communal effort and time spent together. The work is also an invitation to the viewer; to create on their own terms and to join with others collaboratively.