open air studio (laboratory for experimentation founded 2006) spacetime is ahome” site for Sandrow creating art and engaging in timely matters thru the lens of history making and remaking itself.  Within the continuum of space and time, studying the inter relationships of living organisms to one another and their physical environment. Art works and Installations, beyond the parameters of the “white cube”, compose an interdisciplinary art practice exploring sociological and ecological effects of human domination on the natural world in the geologic times of the anthropocene. Unfolding in front of a lens through which she embraces chance, creates art encompassing the mediums of still, video, mixed media, sculpture, new media and social practice existing through the bounds of overlapping disciplines.


A platform evoking critical discourse about “now”, the “everyday” for Sandrow as a resident artist within the Shinnecock Hills, Town of Southampton east end community. Engaging colleagues and the public in collaboration and dialogue: questioning what it means to inhabit “place”. The impact of local art and social history to reveal new understandings and relationships. And, globally, online: through the medium of flourishing web-based networks in clouds (since 2007) in the livestream Happening Live spacetime (Shinnecock Hills since 2007). A dozen site specific installations framed by a dozen cameras, donated by Panasonic North America,  study flora and fauna adapting to changes in climate (global effects) and environment (locally). This 24/7 multidisciplinary installation is sited in Sandrow’s “backyard” within the Shinnecock Indian contact period Village Fort Critical Environmental Area; along the Atlantic Flyway. Where nomadic hunter-gatherers freely roamed from Manhattan as far back as twelve thousand years ago alongside Fowl, Fox, Deer, Bear.


“Sometimes when you’re looking for one thing, you find something completely different and unexpected”. 

Harvard-Smithsonian Center for Astrophysics


The genesis was a Chance Encounter (Surrealist doctrine of objective chance) with a white Padovana Cockeral (March 28, 2006). When he crossed the road from Hills latterly preserved (2008) by Sandrow in hand with Shinnecock Indian Nation: to Sandrow and husband Ulf Skogsbergh’s land (part of Jane Borrowe Colt Estate 1891 - 1947). Nearby the home/studio of plein air painter William Merritt Chase (1881 - 1902) that Sandrow’s project title references. And two miles east, just north of Shinnecock Indian Territory, Chase’s Shinnecock Hills Summer School of Art (1891 - 1902): the first open air painting school in the United States.


“Hope” is the thing with feathers - That perches in the soul - And sings the tune without the words -And never stops - at all -                                                                                                                    Emily Dickinson, published 1891


Sandrow embraced the riddle  “why did the chicken cross the road?”: her answer (potentially a “folly”) for the cockeral Shinnecock (named for where they met) “to be my guide, muse.” And like the creation narrative in the garden of Eden, snakes appeared, (two) apple trees sprouted, took root in her open air installation where Shinnecock and his family flock find shelter.


Threads along a two mile stretch of road in Shinnecock Hills that weave a story of cultural and social history. In which the place of women, community, civil rights and “our” nature juxtaposed to art and social history are investigated, as Sandrow’s art practice. And life: (Jan 15 2020) The 38th state voted to endorse the ERA (the first while Sandrow was in art school: “Virginia’s decision does not seal the amendment’s addition to the United States Constitution. A deadline for three-quarters, or 38, of the 50 states to approve the E.R.A. expired in 1982.” Making art that reflects life experiences within the frame of our natural world has been Sandrow’s medium for processing sexual abuse since a child. “Why, Sandrow says, beginning at an early age, assault on my body linked to that on earth, air and water.” 


And, on the other side of the world during chance conversations with Balinese and Mangarrai weavers revealed shared interests: inspiring talk of open air studio Silangjana spacetime (Bali, with Sudipa Yasa Family and Kekur’s cockeral Rwa and Hen Bhineda) and open air studio Komodo spacetime (Sea of Flores with Mikel Albaran Valle) Indonesia. As collaborative offsite components of the Art in Embassies commission The Fabric of time and space spacetime permanently installed (2018) in US Embassy Jakarta. Lands where the Indonesian heritage chicken Kekur (Green Jungle Fowl) forage freely in backyards: common ground was found with Sandrow, her Padovana flock and life as an artist.


Prisms of chance are Sandrow’s medium to study cultural and social history, the natural world of three coastal sites: Shinnecock Hills New York first inhabited 10,000 BC; Pacific Islands Komodo 11,000 BC and Bali (Silangjana)1,000,000 BC. A trajectory of human development paralleled by the chickens journey, ie cockerals Padovana Shinnecock and Kekur Rwa from jungles to forests to farms and backyards. Current research identifies chickens as symbolic of the transformation of the biosphere, a marker of the anthropocene in our times.


open air studio spacetime coexists on multiple layers, displaying relationships between personal and public, Sandrow’s backyard to her neighbors and those across the world in Silangjana and Komodo (twelve hour time difference). The micro and the macro: such as the process of a hen, Gallus Gallus (Padovana) and Gallus Varius (Kekur), laying an egg begins after light sensitive cells behind her eyes message her ovary to release an ovum into the egg yolk. Fertilized by sperm, coated by albumen as the egg travels through the oviduct. This creative process encompasses twenty-four hours; as the rotation of earth on its axis.

"...the problem about the egg and the hen, which of them came first, was dragged into our talk, a difficult problem which gives investigators much trouble. And Sulla my comrade said that with a small problem, as with a tool, we were rocking loose a great and heavy one, that of the creation of the world." 
                                                                                                              Plutarch Table Talk, Moralia 120 AD

The Other Side, The fabric of time and space, open air studio spacetime 2016 Photograph

(left, New York; right, Eastern Indonesia Islands of Bali and Komodo

open air studio spacetime is the art project (founded and directed) of conceptual artist Hope Sandrow whose multidisciplinary art practice is a ‘way’ of life; real engagements with the world to inform and direct her artistic vision. At critical times her role is as participant like that of the viewer, more often as Observer in works that encourage interaction between artists, the public and the natural world. Fiscally sponsored by the New York Foundation for the Arts: tax-deductible donations can support this ongoing project.




(l) Folly open air studio Shinnecock Hills spacetime

9” x 9‘ x 9‘ Glass and Wood Cube, Dahlia Plant Tag, Steel Circle   2012 Found, Hurricane Sandy  (October 29, 2012)


  1. (r)Eastern Garten Snake

open air studio Shinnecock Hills spacetime

September 30 3:53pm Shinnecock with Susanna

One of seventeen portraits of Shinnecock Family Flock commissioned by Agnes Gund  The Sky is Falling  Open Air Studio Shinnecock Hills  spacetime  2009

Albumen Prints 20” x 16” Unique


These portraits reference the importance of a Chicken and their eggs to the history of human evolution. Including technology: the early photographic process “Albumen” prints (1860 - 1899) involves coating a sheet of paper with albumen (egg white), followed by a solution of silver nitrate that form light-sensitive silver salts on the paper. When a glass negative is placed directly on the paper and exposed to light, it forms an image on paper. Cockeral Shinnecock poised by an egg laid by Susannah, challenging the viewer to consider: