Elaine Cameron-Weir Is WORTHLESSSTUDIOS’ WARP Residency Inaugural Honoree

Since its founding in 2018, WORTHLESSSTUDIOS has recast the landscape of contemporary art residencies, responding to the changing needs of artists eager to push the boundaries of scale, materials, and fabrication processes. With WARP, the organization takes that work a step further, partnering with art and design consultancy, fabrication, and preservation hub UAP to give artists access to technical expertise, specialized tools, and a community of supporters invested in producing ambitious sculptural work. The residency is designed to encourage exploration, giving artists the freedom to challenge existing practices and experiment with processes and materials that might otherwise be difficult to access within New York City.

From a top-tier fabrication budget to a growing selection committee of patrons, WARP is structured to support artists through every stage of production while fostering a network that values contemporary sculpture as a practice. In the following interview, founder Neil Hamamoto offers a close look at the residency’s approach, the possibilities it opens for emerging sculptors, and the ways WORTHLESSSTUDIOS continues to shape opportunities for ambitious work in New York.

How have WORTHLESSSTUDIOS’ residencies evolved since you first started the organization?

Like a living organism, WORTHLESSSTUDIOS evolves each day, bringing new learnings that allow us to grow into something even more beneficial for our community. From an inspiring conversation with a major supporter to a dynamic discussion amongst staff about our open call questions, these shared experiences fuel the evolution of our residencies so they become more tailored to the ever-changing needs of artists.

Tell us about the decision to partner with UAP for WARP—what made them the right/ideal partner at this point in time?

UAP has a long history of understanding the complexities of sculpture fabrication. The process of designing and fabricating artwork is a real art in and of itself: one that requires open-mindedness, curiosity, collaboration, flexibility and passion, which UAP deeply embodies as a company. From the founders Dan and Matthew Tobin to the foundry’s incredible workshop team, UAP was a clear choice as a partner for us, as we look to provide the best resources to our artists.

Tell us about the importance of contemporary sculpture, to you and to WORTHLESSSTUDIOS’ mission, given that it’s the medium this residency will support.

A world without sculpture is a sad place! Since the inception of the organization in 2018, our programs have maintained a focus on getting materials, tools and dollars into the hands of New York-based artists so they can produce ambitious works of art. 

What can you tell us about the selection committee? 

The WARP Selection Committee is a very special group of WORTHLESSSTUDIOS patrons who are coming together with the shared interest of supporting artists in making great sculptural work. We quietly began assembling the group this past May and have been so inspired by the response thus far; we’re already 30 members strong and growing rapidly, with the group having already contributed $75,000, which will go directly into producing the WARP program in 2026. 

What kind of possibilities does the WARP residency open for up and coming contemporary sculptors? 

WARP is a residency that affords artists the opportunity to say “yes” to as much exploration as possible, so they can push the bounds of their work to new limits. We’re also proud to share that the program’s generous fabrication budget and stipends rank at the top tier for artist residency opportunities based in New York. It’s my hope that the program will attract more artists to New York and increase the output of sculpture-based artwork.

Tell us about the inaugural WARP artist, Elaine Cameron-Weir. How does she and her practice embody who and what WORTHLESSSTUDIOS looks to uplift with this residency?

Elaine is an artist who incorporates a ton of technical fabrication processes, explores a wide variety of materials and, almost always, works meticulously in her studio to produce her own work. I thought that she’d be the perfect fit as our inaugural WARP artist because the program will provide her with fresh opportunities to break away from her existing approach and challenge her to explore something new. 

On a technical level, Elaine fabricates her work in a way that aligns closely with the resources that WARP offers. She frequently works with metals, loves to cast objects, and often needs the support of machines such as welders and kilns: tools and processes that WS and UAP are highly experienced with and well-equipped to support.

Elaine has also created larger-scale works that can be more challenging to create and exhibit, which is an important focus of WARP. We want artists to have the opportunity to think about scale and using new materials or techniques, pushing the bounds of their work to make something new and special.