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MARR’s mission is to provide an alternative option for waste management and challenge the perception of waste culture. We aim to do this by providing a unique platform for artists at the intersection of art, community and waste systems. The Moab Arts Re-Use Residency offers a unique opportunity for emerging, mid-career, and established artists by facilitating artists’ direct engagement with the waste stream in the Moab Valley. The Moab area is highly impacted by the tourism industry and as a result, waste management. MARR encourages residents to consider their studio practice through the lens of sustainability and to thoughtfully re-asses their processes of material sourcing and waste disposal. Working with our community non-profits, local artists and residents, schools and waste industry partners, MARR offers a holistic approach to the residency experience. MARR understands the importance of breathing room and provides the space and materials for artists to have full creative agency during their residency.

Not Accepting Applications
Artist Residency Program

A more traditional 4-week program. Standard residents are given access to waste materials and a studio space, as well as local artist contacts. Artists from the US and internationally can apply to this residency. Artists in Residence are expected to spend a majority of their time creating work for the residency.


• 4 Weeks 

*25-35 hours per week


Full access to private studio and waste centers for material sourcing.


Assistance with project documentation.

Studio visit with Arts Council.

'Open studio' event and community workshop.

Capstone exhibition at one of Moab Arts’ gallery spaces.

2022 Artist In Residence
Justin Tyler Tate




My artistic practice is an ongoing research based process which looks to develop localized site-specific works while addressing contemporary global problems. Each project aims to expand simple definitions of art into hybridized manifestations of installation, architecture, engineering, activism, new media, design and dialogical methodologies. I build my work in relation to the landscape, the local community, what materials are available and the unique characteristics of a place.


I use this approach to working with places in conjunction with a variety of technical skills that I mix and match according to the resources of any given place and the needs of any given project. Wood is my primary material as I can work with it quickly and roughly, slowly and gently or somewhere in between but I am also highly adept at metal fabrication, plastic fabrication, lighting and work with electronic elements. In my approach to making, I try not to create simply sculptures or art objects but prefer to create environments which utilize a layering of different welds. Many of my projects which are built in real space also have simultaneous double-lives where they live and spread in virtual space as websites where their designs are published and tutorials for components or whole works are available so that others can recreate them. This open-source approach to sharing my work relates to my interest in alternative education and pedagogy. In some recent examples of my work, installations have been designed specifically to house workshops or classes in order to be spaces for inspiring experimentation and curiosity. 

Projects become experiments in social design and creative placemaking which are used to interact with, learn from and give back to their local environment. This is an ongoing process of trial and error. Each project aspires to improve upon the last, while developing solutions for the future, as I continually seek to exceed my own limitations in the hopes of creating a beneficial impact on the natural and cultural landscapes.

2021 Artist In Residence
Milissa Orzolek




Stories are at the heart of our beings. Stories are how we learn, how we understand, how we acknowledge,  how we share, and how we create. Stories are messy and personal and full of conflict and, sometimes,  resolution. We dive into the stories of other people's lives so that we can examine our own. This is why  stories are so important. They give us a chance to reflect on what we wouldn't otherwise. 

My academic background is in geography. Often a misunderstood discipline, geography is the study of  space and how all the stories taking shape within a given location intersect to both define a place and to  connect to those living there. Because our human stories are constantly changing and shifting, our  relationships to each other and to place are necessarily dynamic. As an artist, these are the themes I am  drawn to; I understand these dynamic relationships as the constant struggle to create home and belonging.  

Primarily, I am a puppet artist, which means I straddle the worlds of performance and visual art. Although  I often conceptualize a project alone, I thrive in collaborations. I seek out musicians, builders, singers,  actors, writers, puppeteers, and dancers to push and to pull a project to life. I'm continually amazed by the  twists and turns a project takes through these creative evolutions and iterations. These collaborations, with  their surprises, advances, interruptions, and frictions, then allow the process itself to become dynamic.  Which brings us back to the stories that create and shape our places. Above all else, it is the stories that I  love. 

So this is what I create: stories – visually compelling stories. Through cardboard and paper and puppets  and masks and words and music and movement, I create stories that focus directly or indirectly on ideas of home and belonging.

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