Tilleard Projects Artist Residency – Lamu Island, Kenya

Invitation-Only Month-Long Immersion in UNESCO Swahili Settlement Exchanging Artwork for Residency

Overview

Tilleard Projects offers an exclusive artist residency programme on Lamu Island, Kenya—a UNESCO World Heritage Site and the oldest continuously inhabited Swahili settlement in East Africa. Running annually in July-August and accommodating just 3-4 artists per intake, this invitation-only 4-week programme provides immersion in a car-free tropical island characterized by labyrinthine streets, ancient whitewashed Islamic-style architecture, dhow sailing vessels, and donkey transport. Founded by Caroline Tilleard (formerly MoMA, Skarstedt Gallery) as continuation of Cuevas Tilleard gallery project, the residency operates on a unique model: rather than charging fees, Tilleard Projects takes artwork in-lieu—typically from existing work to ensure complete creative freedom during the residency. Artists live and work in a traditional Swahili home by the sea, exploring centuries-old cultural fusion of Bantu, Arab, Persian, Indian, Chinese, and European influences that have shaped this extraordinary island “steeped in diverse history.”

Founding Story: From New York Gallery to Kenyan Residency

Cuevas Tilleard Origins (2014-2018)

Co-Founders’ Vision:

Anna Maria Cuevas and Caroline Tilleard launched Cuevas Tilleard in 2014 as “the shared dream” of two art professionals seeking alternative to traditional gallery structures.

Backgrounds:

• Museum experience
• Blue-chip art advisory
• Contemporary secondary market galleries

Founding Motivation:

“We started our own thing so we could focus on artists we could actually talk to.”

This statement reveals frustration with:

• Transactional nature of commercial galleries
• Distance between galleries and emerging artists
• Focus on established names over developing talent
• Lack of genuine dialogue and relationship

Programme Activities (2014-2018):

• Exhibition pop-ups in unconventional spaces
• Art fair participation representing emerging artists
• Curatorial projects realizing creative visions
• Gallery in Chinatown (New York)
• Storefront window on Grand Street as exhibition space

This experimental, multifaceted approach positioned Cuevas Tilleard as curatorially-driven project rather than conventional commercial gallery.

Transition to Tilleard Projects (2018)

2018 Restructuring:

Anna Maria Cuevas departed to focus on her role at Petzel Gallery (prestigious New York contemporary gallery)

Caroline Tilleard continued the programme independently as Tilleard Projects

Evolution:

“Tilleard Projects is the continuation of Cuevas Tilleard. It is an artist residency, an exhibition program, a way to realize curatorial dreams.”

Current focus:

• Artist residency as primary activity (Lamu programme)
• Exhibition program building on Cuevas Tilleard archive
• Curatorial freedom outside commercial pressures
• Championing young emerging artists beyond the traditional gallery model

Caroline Tilleard: Founder Profile

Educational Background:

• Masters of Architecture
• Masters of Art History
• Dual degrees informing spatial and cultural approach to art

Professional Experience:

MoMA (Museum of Modern Art, New York):

• Institutional museum experience
• Curatorial methodologies
• Collection management and exhibition practices

Kim Heirston Art Advisory:

• High-end private art advisory
• Client relationships and collection building
• Market knowledge and artist representation

Skarstedt Gallery:

• Blue-chip contemporary and secondary market gallery
• Representing established artists (Warhol, Basquiat, etc.)
• Commercial gallery operations

Geographic Journey:

• Originally from Melbourne, Australia
• Lived in New York for seven years (art world epicenter)
• 2016: began working fulltime on Cuevas Tilleard
• Now lives in Nairobi, Kenya (East African base)

This trajectory—from Australian origins through New York art establishment to Nairobi base—demonstrates:

• Global perspective and networks
• Willingness to step outside Western art centers
• Commitment to East African contemporary art
• Entrepreneurial spirit and independence

Current Role:

Caroline operates Tilleard Projects from Nairobi, Kenya, providing:

• East African art scene knowledge
• Logistical coordination for Lamu residency
• Curatorial vision and artist selection
• Exhibition programming continuing Cuevas Tilleard legacy

Lamu Island: UNESCO Swahili Heritage Context

Geographic & Historical Setting

Location:

Lamu Island lies off the coast of Kenya, two degrees south of the Equator in the Lamu Archipelago (Indian Ocean)

Access:

• Air: Manda Airport on adjacent Manda Island (short boat transfer)
• From Nairobi: 1-hour flight to Lamu/Manda
• Sea: Traditional dhow sailing (historic but slow)

Lamu Town Foundation:

“Believed to be established in 1370” making it over 650 years old

UNESCO World Heritage Status (2001):

Designated as “the best preserved Swahili settlement in East Africa”

Recognition criteria:

• Architectural integrity maintaining Swahili building traditions
• Urban fabric with narrow streets and courtyard houses
• Continuous habitation over 700 years demonstrating living culture
• Cultural landscape reflecting maritime trade history
• Authenticity with minimal modern intrusion

Swahili Coastal Culture & Trade Legacy

Indian Ocean Trade Winds:

“Brought Omani, Chinese, Indian, and Arabic traders to the Swahili Coast.”

Monsoon wind patterns enabled:

• Northeast monsoon (November-March) carrying dhows from Arabia, Persia, India to East Africa
• Southwest monsoon (April-October) returning vessels home
• Centuries of maritime exchange creating cosmopolitan culture

Cultural Fusion:

“The Lamu Archipelago steeped in a diverse history and influence.”

Contributing Cultures:

• Bantu – Indigenous East African people providing foundational population
• Arab – Particularly Omani traders and settlers (Lamu ruled by Oman in 18th-19th centuries)
• Persian – Shiraz traders contributing architectural and cultural elements
• Indian – Gujarati merchants establishing commercial networks
• Chinese – Ming dynasty maritime trade (ceramics, textiles)
• European – Portuguese (16th century), British colonial (19th-20th centuries)

“Throughout its history… all leaving their mark” in:

• Architecture (coral stone buildings, carved doors, courtyards)
• Language (Swahili – Bantu language with Arabic vocabulary)
• Religion (predominantly Muslim with Islamic traditions)
• Cuisine (spice-rich dishes combining African, Arab, Indian influences)
• Crafts (woodcarving, dhow building, textile work)
• Social customs (gender-segregated spaces, hospitality rituals)

Contemporary Lamu Character

Urban Landscape:

“Characterized by labyrinthine streets, ancient whitewashed Islamic-style homes open to sea breezes, the call to pray from many mosques, an Omani fortress, and miles of beach.”

Sensory Experience:

Architecture:

• Whitewashed coral stone buildings reflecting sunlight and heat
• Homes open to sea breezes with mashrabiya screens and ventilation
• Narrow streets (3-4 meters wide) providing shade
• Carved wooden doors (Lamu famous for ornate Swahili doors)
• Interior courtyards (baraza – raised seating areas)

Soundscape:

• Call to prayer (adhan) from multiple mosques five times daily
• Donkey braying and hoofbeats
• Dhow sails snapping in wind
• Ocean waves and seabirds
• Market vendors and craftspeople at work
• Swahili conversation and Quranic recitation

Landmarks:

• Lamu Fort (Omani period fortress, now museum)
• Riyadha Mosque (center of Maulidi religious festival)
• Lamu Museum (Swahili culture and history)
• Shela Village (neighboring settlement with stunning beaches)

Beach Environment:

• Miles of pristine Indian Ocean coastline
• White sand beaches and turquoise water
• Mangrove forests and tidal ecosystems
• Dhow sailing and fishing culture

Car-Free Island: Donkeys & Dhows

“Donkeys and dhow’s are used for transport – there are no cars.”

Transportation Realities:

Donkeys:

• Primary land transport for goods and materials
• Carrying building supplies, water, household items
• ~3,000 donkeys on island
• Donkey sanctuary providing veterinary care

Dhows:

• Traditional Arab sailing vessels
• Inter-island transport (Lamu to Manda, Pate, other islands)
• Fishing and cargo
• Tourist sunset cruises
• Living maritime heritage

Walking:

• All movement through town on foot
• Pedestrian-only streets creating intimate scale
• Slow pace and human interaction

Benefits for Artists:

• Complete disconnection from car-dependent modern life
• Walking pace observation noticing architectural details, daily rhythms
• Sensory richness unmediated by vehicles
• Temporal shift to pre-industrial rhythms
• Environmental quiet (no engine noise)

Artistic Inspiration Through Centuries

“The island has inspired artists and writers for centuries.”

Historical Creative Visitors:

• Writers: Inspired by isolation, beauty, cultural complexity
• Visual artists: Drawn to light, architecture, maritime culture
• Photographers: Documenting vanishing Swahili traditions
• Architects: Studying vernacular coral stone building
• Anthropologists and ethnographers: Researching Swahili culture

Contemporary Appeal:

“It provides a new landscape, a new culture, a way to break routine and allow in some new influences.”

For artists accustomed to Western contexts:

• Islamic architecture and urban patterns distinct from European/American cities
• Tropical coastal environment different from temperate regions
• Living pre-industrial culture demonstrating alternative modernity
• Cultural humility as outsider learning from ancient traditions
• Slowness and contemplation impossible in fast-paced urban centers

Residency Programme Structure

Timing & Duration

Annual Programme:

“We host 1 residency program each year, in July-August.”

Single intake annually ensures:

• Focused attention on small group
• Sustainable workload for solo founder
• Quality over quantity
• Careful curation

Duration: 4 weeks (1 month) exactly

“Each program runs for 4 weeks. It allows time to explore, refresh, think, and create.”

Timeline Balance:

Week 1: Explore

• Arriving and orienting to Lamu
• Walking town’s labyrinthine streets
• Meeting locals and understanding culture
• Visiting beaches, markets, landmarks
• Adjusting to island pace and Islamic context
• Finding inspiration sources

Week 2: Refresh

• Decompressing from pre-residency obligations
• Shedding routine and mental clutter
• Swimming, sailing, walking, resting
• Reading and contemplation
• Disconnecting from digital demands

Week 3: Think

• Deep reflection on practice and direction
• Conversations with fellow residents
• Processing cultural immersion and new influences
• Conceptual development without pressure
• Sketchbook work and note-taking

Week 4: Create

• Production if desired (not required)
• Synthesizing experiences
• Documenting inspirations
• Final explorations and farewells
• Preparing to depart

July-August Timing:

Summer in Northern Hemisphere:

• Accessible for Western artists during summer break
• Art world quiet period (galleries closed in August)
• Good time to step away from exhibition cycles

Kenyan Coast Season:

• Cooler, drier period on coast (winter monsoon)
• Pleasant weather (25-28°C/77-82°F)
• Less humidity than hot season
• Good conditions for walking and exploring

Capacity: Intimate Cohort

“Each program can accommodate 3-4 artists.”

Small Group Benefits:

3-4 Artists:

• Meaningful relationships developing over month
• In-depth conversations impossible in larger groups
• Shared Swahili home without overcrowding
• Collective exploration of island and culture
• Supportive community without competitive dynamics
• Flexible programming responsive to group interests

Compared to Larger Residencies:

• More intimate than 8-10 person programmes
• Sufficient for stimulating exchange
• Avoids isolation of solo residencies
• Manageable for single founder/curator

Group Dynamics:

Tilleard Projects likely curates cohorts considering:

• Disciplinary diversity (not all painters or all writers)
• Geographic mix (international perspectives)
• Career stage variety (emerging to mid-career)
• Personality compatibility for harmonious cohabitation
• Aesthetic range creating interesting dialogues

Accommodation: Swahili Home by the Sea

“They live and work in a Swahili home by the sea.”

Traditional Swahili Architecture:

Coral Stone Construction:

• Walls built from coral blocks quarried from sea
• Lime plaster (coral-lime mixture) finishing
• Thick walls providing thermal mass and cooling
• Flat or pitched roofs (makuti thatch or concrete)

Spatial Organization:

• Ground floor: Entry, guest areas (baraza – raised platform)
• Upper floors: Private family quarters, bedrooms, terraces
• Interior courtyard or garden
• Rooftop terrace (dari) for sleeping in hot weather, views, gatherings

Climate-Responsive Design:

• Sea breezes flowing through house via strategic openings
• Mashrabiya screens (carved wooden screens) providing privacy, ventilation, filtered light
• High ceilings allowing hot air to rise
• Thick walls moderating temperature
• Shaded courtyards creating microclimates

Cultural Features:

• Carved wooden door (possibly ornate Lamu-style entrance)
• Niches (zidaka) for display or storage
• Built-in furniture (stone or coral benches)
• Islamic geometric patterns in plasterwork
• Minimal furnishings (Swahili aesthetic)

“By the Sea” Location:

Implies:

• Ocean views from rooftop or windows
• Beach access for swimming, walking, sailing
• Cooling sea breezes constant ventilation
• Maritime sounds (waves, dhows, seabirds)
• Tidal rhythms structuring daily life

Living & Working Spaces:

Shared communal areas:

• Kitchen for collective cooking
• Dining area for shared meals
• Living room or courtyard for conversations
• Rooftop terrace for evening gatherings

Individual spaces:

• Bedrooms providing privacy and personal workspace
• Potential shared studio area
• Quiet corners for reading, writing, drawing

No Specialized Studios:

Unlike dedicated residency facilities:

• No purpose-built studios or messy workspace
• Artists work in bedrooms, communal areas, or outdoors
• Suited for contemplative, research-based, or small-scale practices

Best for:

• Writers (laptops, notebooks)
• Photographers (documenting Lamu)
• Sketchbook artists and diarists
• Poets and literary creators
• Researchers and thinkers
• Small-scale visual work (watercolor, drawing)

Challenging for:

• Large painting or sculpture
• Messy processes (oil painting, welding, etc.)
• Practices requiring specialized equipment
• Work needing dedicated studio infrastructure

Revolutionary Financial Model: Artwork in Lieu of Fee

Core Principle:

“Rather than charging for the program, Tilleard Projects takes artwork in-lieu.”

How It Works

Artwork Selection:

“Oftentimes the selection is made from existing work – leaving the time on the residency free from the pressures of ‘producing.'”

Process:

1. Artist accepted to residency
2. Tilleard Projects reviews artist’s existing body of work
3. Mutual selection of artwork to exchange
4. Agreement made before residency begins
5. Artist arrives at Lamu free from production obligation

Typical Arrangement:

Work made before the residency ensures:

• Complete freedom during month on Lamu
• No pressure to produce finished work
• Focus on exploration, thinking, refreshing
• Creative inquiry without deliverable anxiety
• Psychological liberation from outcome requirements

Alternative Possibility:

While “oftentimes” suggests pre-existing work is norm, occasionally might include:

• Work created during residency if artist desires
• Post-residency work inspired by Lamu experience
• Flexible negotiation based on artist’s practice and Tilleard’s interests

Why This Model?

Artist Benefits:

Financial Accessibility:

• No upfront cash payment (which can be $1,000-4,000+ at comparable residencies)
• Trade value of artwork potentially less than cash cost
• Accessible to artists without savings or grant funding
• Removes economic barrier to international opportunity

Creative Freedom:

• Not producing-on-demand during residency
• Permission to rest, think, explore without guilt
• Research time valued over output
• Process over product emphasis

Professional Validation:

• Tilleard Projects (with blue-chip gallery background) selecting artwork
• Work entering curatorial collection
• Institutional relationship beyond transaction
• Potential future exhibition opportunities through Tilleard archive

Tilleard Projects Benefits:

Collection Building:

• Acquiring artwork from emerging artists before market establishes
• Long-term investment as artists’ careers develop
• Archival documentation of championed artists
• Exhibition material for future shows

Curatorial Vision:

• Supporting artists Caroline personally believes in
• Relationship-based rather than purely commercial
• Freedom from sales pressure during residency
• Building cohesive collection reflecting aesthetic vision

Sustainable Model:

• Artwork has lasting value potentially appreciating
• Lower cash outflow than fully-funded stipend programmes
• Equitable exchange of value rather than charity
• Professional framework respecting both parties

Comparison to Other Models

vs. Fee-Based Residencies:

• Tilleard: Trade artwork
• Others: Pay $500-2,000+ per month cash

vs. Fully-Funded Residencies:

• Tilleard: No cash stipend but no cash cost
• Others: Competitive selection, limited slots

vs. Artwork Donation Requirements:

• Tilleard: Artwork selected before residency, removing production pressure
• Others: Often require work created during residency, adding obligation

Unique Positioning:

This model is relatively rare in residency landscape and particularly unusual for month-long international programmes. It reflects:

• Caroline Tilleard’s gallery background (comfortable with artwork as currency)
• Artist-centric philosophy prioritizing creative freedom
• Collection-building strategy beyond immediate revenue
• Long-term relationship vision with emerging artists

What’s Provided vs. Artist Responsibilities

Included in Artwork Exchange

Accommodation:

• Shared Swahili home by the sea
• Private bedroom
• Communal living spaces
• Kitchen facilities
• Rooftop terrace

Basic Living:

• Likely basic provisions or groceries (clarify with Tilleard)
• Potentially shared meals among residents
• Cleaning and household maintenance (typical in Kenyan homes with staff)

Access & Orientation:

• Introduction to Lamu
• Potentially connections to local artists, craftspeople, or cultural figures
• Guidance on navigating island

Curatorial Relationship:

• Caroline Tilleard’s expertise and mentorship
• Connections to Nairobi art scene
• Potential future exhibition opportunities

Artist Responsibilities

Travel:

“Participating artists travel to Nairobi and onwards to Lamu.”

International flight to Nairobi Jomo Kenyatta International Airport (NBO)

Nairobi to Lamu:

• Domestic flight (~1 hour, $100-200 roundtrip)
• Or overnight bus (15+ hours, less comfortable)

Total travel cost: Variable (international $500-2,000+, domestic ~$150-300)

Visa:

• Kenya e-Visa or visa-on-arrival (most nationalities)
• ~$50 USD

Insurance:

• Travel and health insurance essential
• Medical evacuation coverage recommended (Lamu has basic clinic; serious cases require Nairobi)

Living Expenses on Lamu:

• Food shopping if self-catering
• Restaurant meals if eating out
• Personal expenses
• Activities (dhow trips, museum entry, etc.)

Note: Lamu relatively affordable—meals $3-10, basic living expenses low

Art Materials:

• Any supplies needed for creating work (if desired during residency)
• Shipping costs if sending work home

Total Estimated Artist Investment:

• International travel: $500-2,000+
• Nairobi-Lamu domestic: $150-300
• Visa: $50
• Living expenses (1 month): $300-800
• Insurance: $50-150
• Total: $1,050-3,300 depending on origin, lifestyle, travel choices

Plus: Value of artwork traded

Compared to $2,000-4,000 cash residency fees elsewhere, this remains accessible while providing unique Lamu experience.

Selection: Invitation-Only Model

Access:

“Participation by Invitation” – repeated twice for emphasis

No Open Applications:

Unlike most residencies, Tilleard Projects does not accept unsolicited applications

How Artists Are Identified:

Curatorial Research:

• Caroline Tilleard attends art fairs, exhibitions, studio visits
• Discovers artists through gallery shows, Instagram, publications
• Follows emerging artist networks in New York, Nairobi, globally

Referrals & Recommendations:

• Artist nominations from trusted colleagues
• Gallery recommendations from previous Cuevas Tilleard contacts
• Institutional suggestions from museums, curators, critics
• Previous residents nominating peers

Exhibition History:

• Artists who participated in Cuevas Tilleard exhibitions (2014-2018)
• Those in Tilleard Projects ongoing exhibition programme
• Archive artists Caroline has worked with previously

Nairobi Art Scene:

• East African artists Caroline encounters living in Nairobi
• Regional emerging talent she discovers through local galleries and studios

Selection Criteria (Inferred):

While not stated, likely includes:

Artistic Quality:

• Strong, distinctive practice
• Consistent body of work
• Technical proficiency and conceptual depth

Career Stage:

• “Champion young emerging artists” – focus on early/mid-career
• Artists at stage where Lamu experience could be impactful
• Not yet represented by major galleries (hence “beyond traditional gallery model”)

Personality & Fit:

• Comfortable with shared living
• Culturally sensitive and curious
• Able to handle basic conditions (no luxury resort)
• Respectful of Islamic culture and customs
• Collegial and community-oriented

Practice Compatibility:

• Work feasible in Swahili home without dedicated studio
• Portable practices (writing, drawing, photography, research)
• Artists who benefit from thinking time more than production time

Geographic Diversity:

• International mix creating cross-cultural exchange
• Balance of Western and African artists
• Representation from various art scenes

How to Get on Tilleard’s Radar:

While cannot apply directly, artists can:

Build Online Presence:

• Active, professional Instagram (@tilleardprojects follows artists)
• Website with clear portfolio
• Engagement with art community online

Exhibit Work:

• Show at emerging galleries Caroline might visit
• Participate in group exhibitions and art fairs
• Build exhibition CV demonstrating professional practice

Nairobi Connections:

• If East African, engage with Nairobi contemporary art scene
• Exhibit at Kuona Trust, Circle Art Gallery, other Nairobi venues
• Participate in Nairobi art events Caroline might attend

Network Referrals:

• Ask curators, gallerists, or artists who know Caroline to make introductions
• Previous Cuevas Tilleard artists might recommend peers

Reach Out Respectfully:

• Email caroline@tilleardprojects.com with brief, professional introduction
• Share portfolio link and CV
• Express genuine interest in Lamu and Tilleard’s mission
• Don’t expect invitation but create awareness of practice

Exhibition Programme & Archive

Continuation of Cuevas Tilleard:

“Tilleard Projects will be building upon the exhibition history established under Cuevas Tilleard.”

Archive Access:

“The archive can be accessed here.” [Link on website]

Archive likely includes:

• Exhibition documentation from 2014-2018
• Artist profiles and images from Cuevas Tilleard roster
• Installation views from gallery shows and pop-ups
• Press and reviews
• Curatorial statements

Ongoing Exhibitions:

While residency is primary focus, Tilleard Projects continues exhibition programming:

• Potentially in Nairobi (Caroline’s base)
• Pop-up shows in various locations
• Digital presentations online
• Collaborations with other galleries or institutions

Connection to Residency:

Lamu residents become part of:

• Tilleard Projects artist roster
• Future exhibition opportunities through Caroline’s networks
• Curatorial projects developing from residency relationships
• Collection of works traded for residency

Disciplines & Artist Profile

Not Explicitly Stated

Materials don’t specify disciplines, but context suggests:

Well-Suited Practices:

Writers:

• Lamu has “inspired writers for centuries”
• Swahili home conducive to literary work
• Laptop/notebook-based practice portable and feasible

Visual Artists (Small-Scale):

• Drawing, watercolor, sketching
• Photography (incredible subject matter)
• Works on paper
• Conceptual development and research

Multidisciplinary Researchers:

• Artists investigating Swahili culture, Islamic architecture, maritime heritage
• Cultural anthropology meets artistic practice

Likely Less Suitable:

Large-Scale Visual Production:

• Painting requiring dedicated studio
• Sculpture needing tools and space
• Installation work
• Messy or toxic processes

Performance/Music:

• Unless research/conceptual development phase
• Limited performance venues or audiences

Film/Video:

• Challenging without equipment, crew, post-production facilities
• Though documentary research possible

Previous Cuevas Tilleard Artists:

Reviewing archive would reveal:

• Painting, sculpture, installation, photography, mixed media
• Likely contemporary practices across disciplines
• Emerging artist aesthetic (experimental, conceptual, diverse)

Cultural Sensitivity & Islamic Context

Important Considerations:

Lamu as Muslim Community:

• Predominantly Islamic population (>95%)
• Daily prayer calls five times
• Ramadan observance (month-long fasting – avoid July-August residency coinciding if possible)
• Gender norms (modest dress, gender-segregated spaces in some contexts)
• Alcohol not widely available (few licensed venues)

Respectful Engagement:

Dress:

• Women: Cover shoulders, knees; avoid tight clothing; consider headscarf in some contexts
• Men: Long pants, shirts (not shirtless in town)
• Beach: More relaxed but still modest (Shela beach vs. town)

Behavior:

• Public displays of affection minimized
• Photography: Ask permission before photographing people, especially women
• Prayer times: Respect when shops close for prayer
• Ramadan: If residency coincides, no eating/drinking in public during daylight hours
• Mosques: Non-Muslims typically cannot enter; respectful observation from outside

Cultural Learning:

• Swahili language basics appreciated (Jambo – hello, Asante – thank you, Pole pole – slowly)
• Islamic customs understanding enhances experience
• Local dress (women might purchase bui-bui – black cloak, or kanga – colorful cloth wrap)
• Hospitality traditions (accepting tea, removing shoes indoors)

Caroline Tilleard’s Role:

As Nairobi-based curator familiar with Kenyan coast, Caroline likely:

• Pre-arrival briefing on cultural sensitivity
• Orientation to Lamu customs and norms
• Ongoing guidance throughout residency
• Connections to local community facilitating respectful engagement

Artist Responsibilities:

• Research Lamu and Islamic culture before arrival
• Open mind and cultural humility
• Flexibility adapting to different norms
• Respect for host community

What Makes Tilleard Projects Unique

In Global Residency Landscape:

1. Invitation-Only Access:

• Curated selection ensuring quality and fit
• Relationship-based rather than open competition
• Exclusive opportunity not widely advertised

2. Artwork-in-Lieu Model:

• No cash fee removing financial barrier
• Pre-existing work eliminating production pressure
• Long-term curatorial relationship with founder

3. UNESCO Swahili Context:

• Living 700-year culture not museumified
• Car-free island creating temporal shift
• Maritime heritage and cosmopolitan history
• Tropical island beauty (not urban or desert)

4. Intimate Scale:

• 3-4 artists only per annual intake
• Single residency yearly (not multiple cycles)
• Personal attention from founder with blue-chip background

5. Gallery Professional Founder:

• MoMA, Skarstedt experience bringing institutional credibility
• Curatorial vision beyond administrative management
• Exhibition opportunities through ongoing programme
• Market knowledge and professional networks

6. East African Base:

• Nairobi-based founder (not Western organization importing artists)
• Regional perspective on African contemporary art
• Local knowledge of Kenyan coast and culture
• Bridge between East African and global art worlds

7. Exploratory Philosophy:

• “Explore, refresh, think, create” emphasis
• Breaking routine prioritized
• New influences welcomed
• Freedom over production explicit

Practical Information

Contact:

Email: caroline@tilleardprojects.com
Instagram: @tilleardprojects

Location Details:

Tilleard Projects based in Nairobi, Kenya
Residency takes place on Lamu Island, Kenya

Getting to Lamu:

International to Nairobi:

• Fly to Jomo Kenyatta International Airport (NBO)
• Major airlines serve Nairobi from Europe, Middle East, Asia, Africa

Nairobi to Lamu:

By Air (Recommended):

• Domestic flights from Wilson Airport (Nairobi) to Manda Airport (Lamu)
• Airlines: Safarilink, Fly540, AirKenya
• ~1 hour flight, several daily
• $100-200 roundtrip
• Boat transfer from Manda to Lamu Town (10 minutes, included or ~$2)

By Bus:

• Overnight bus Nairobi to Lamu (~15 hours)
• Less comfortable but much cheaper
• Ends at Mokowe (mainland) then boat to Lamu

Within Lamu:

• Walking primary transport
• Donkeys for heavy loads (not for tourists to ride)
• Dhows for inter-island travel

What to Pack:

• Modest clothing respecting Islamic culture
• Light, breathable fabrics (tropical heat/humidity)
• Sun protection (hat, sunscreen, sunglasses)
• Mosquito repellent (malaria present, though low risk)
• Laptop, notebooks, art supplies for your practice
• Camera (incredible photo opportunities)
• Books for reading and research
• Portable devices (Kindle, tablet, etc.)
• Modest swimwear for beach
• Headlamp/flashlight (power outages possible)
• Travel adapter (UK-style three-pin plugs in Kenya)

Health:

• Yellow fever vaccination required if arriving from endemic countries
• Malaria prophylaxis recommended (consult doctor)
• Routine vaccines up to date
• Travel insurance with medical evacuation
• Lamu hospital basic; serious cases evacuated to Nairobi

Money:

• Kenyan Shilling (KES) official currency
• Lamu has ATMs (sometimes unreliable – bring sufficient cash)
• Credit cards not widely accepted (cash economy)
• USD sometimes accepted but poor exchange rate

Safety:

• Lamu generally safe for tourists
• Respectful behavior reduces issues
• Solo women travelers common but observe dress codes
• Beach safety: Strong currents, be cautious swimming
• Security situation: Northern Kenya (Somali border) has issues, but Lamu Island usually safe (check current travel advisories)

Best Season:

July-August (residency timing):

• Cooler, drier period (25-28°C / 77-82°F)
• Less humid than hot season
• Pleasant for walking and exploring

Other Kenya Seasons:

• Hot season: December-March
• Long rains: April-June
• Short rains: November

Why Choose Tilleard Projects Lamu Residency?

(If invited…)

Unparalleled Setting:

• UNESCO World Heritage Swahili town
• 700+ years continuous habitation
• Car-free island with donkeys and dhows
• Tropical paradise beaches and ocean
• Cultural fusion of African, Arab, Persian, Indian, Chinese influences

Founder Expertise:

• Caroline Tilleard’s blue-chip gallery background (MoMA, Skarstedt)
• Curatorial vision from Cuevas Tilleard legacy
• Nairobi base providing East African insights
• Exhibition opportunities through ongoing programme

Revolutionary Model:

• Artwork-in-lieu removing cash barrier
• Pre-existing work eliminating production pressure
• Complete creative freedom to explore, think, refresh
• Long-term relationship with collector/curator

Intimate Experience:

• 3-4 artists only annually
• Personal attention from founder
• Swahili home by sea authentic accommodation
• Month-long sufficient for deep immersion

Cultural Immersion:

• Living Islamic culture not tourist attraction
• Swahili language and customs
• Maritime heritage and dhow culture
• Respectful engagement with host community

Professional Development:

• Tilleard Projects roster inclusion
• Exhibition archive participation
• Networks through Caroline’s connections
• Career support from experienced gallerist

Since 2017:

• Several years operating (exact track record on website)
• Established programme with proven model
• Growing archive and reputation

For Aspiring Residents

How to Position Yourself:

Since invitation-only, focus on:

1. Build Strong Practice:

• Consistent, high-quality work
• Distinctive voice and vision
• Professional presentation online and in exhibitions

2. Exhibition History:

• Show at emerging galleries
• Participate in group shows and art fairs
• Build CV demonstrating serious practice

3. Online Presence:

• Professional Instagram (@tilleardprojects might discover you)
• Clear, well-designed website
• Active engagement with art community

4. Network Strategically:

• Connect with previous Cuevas Tilleard artists
• Engage Nairobi art scene if East African
• Cultivate curator and gallerist relationships who might recommend you

5. Reach Out (Carefully):

• Brief, professional email to caroline@tilleardprojects.com
• Share portfolio link and CV
• Express genuine interest in Lamu and Tilleard’s mission
• Don’t expect invitation but create awareness

6. Be Patient:

• Invitation may come years after initial contact
• Caroline curates thoughtfully, not hastily
• Right fit at right time in your career

7. Practice Compatibility:

• Assess if your practice suits Swahili home workspace (not dedicated studio)
• Ensure you’d thrive with month-long thinking/refreshing focus
• Confirm cultural sensitivity and interest in Islamic context

Contact & Next Steps

Tilleard Projects
Based in Nairobi, Kenya
Residency on Lamu Island, Kenya

Email: caroline@tilleardprojects.com
Instagram: @tilleardprojects
Website: [URL with archive access]

If Invited:

1. Respond enthusiastically and professionally
2. Discuss artwork selection for exchange
3. Clarify July-August timing and exact dates
4. Arrange travel to Nairobi and onward to Lamu
5. Research Lamu culture and Islamic customs
6. Obtain Kenya visa and required vaccinations
7. Pack appropriately for tropical island, modest dress
8. Prepare flexible mindset for exploration and cultural learning

If Hoping for Future Invitation:

1. Build strong artistic practice and exhibition history
2. Maintain professional online presence
3. Email portfolio to Caroline with brief, respectful introduction
4. Follow @tilleardprojects on Instagram
5. Engage Nairobi art scene if regionally based
6. Cultivate relationships with those in Caroline’s network
7. Be patient—invitations come when fit is right

Experience one of the world’s most extraordinary UNESCO heritage sites through a residency that trades artwork for month-long immersion in Swahili culture, Islamic architecture, donkey-and-dhow transportation, and the “long views” of tropical coastline—where centuries of maritime trade left layers of influence in coral stone buildings, where call to prayer punctuates days, and where Caroline Tilleard’s curatorial vision champions emerging artists beyond traditional gallery models in a programme designed to help artists “explore, refresh, think, and create” in complete freedom from production pressures.