International Artists to Share Their Work 'In Process' in Water Mill

Three current artists in residence at the Watermill Center
One of Tercer Abstracto’s previous productions, “Croma,” was inspired in part by the color theory of the painter Josef Albers.

The East End will have another opportunity to watch three emerging international artists at work on performance and visual arts pieces in development at the Watermill Center on Saturday as it opens the studio doors and raises the curtains on its residents Tercer Abstracto, John Stintzi, and Joe Zorrilla.

Tercer Abstracto (Third Abstract) is a group founded in 2012 at the Pontifical Catholic University in Santiago, Chile, with the objective of investigating scenic strategies for performance and theater while drawing inspiration from the visual arts and bringing themes from mathematics and physics to a general audience.

Eight members of the group, the size of which varies from production to production, will hold an open rehearsal of “Blue,” a multimedia production inspired by the artist Yves Klein. “We are not working with the biography of the artist,” said David Atencio, the director of the project, “and we are not working with his images. We are working with his thoughts or statements about art, particularly the question of immateriality.”

In 1961, Klein exhibited an empty room at the Museum Haus Lange in Krefeld, Germany. Klein said of the project, “If the creative process is successful, the invisible and intangible immaterialization of painting should act upon the sensible vehicles or bodies of the visitors to the exhibition much more effectively than ordinary, visible paintings. . . .”

While the performers of “Blue” will constitute the “material base for the imagination of the audience,” according to Mr. Atencio, “the audience will enter the immaterial scene by way of the sound.” One of the eight group members at the center is a sound designer, and another a stage designer.

Tercer Abstracto has incorporated visual artists into other plays, among them Mondrian, Kandinsky, Malevich, and Josef Albers, who was used in their production “Croma.” The group has created nine plays in all since its formation.

Stintzi is a non-binary Canadian-American writer, editor, and artist who was brought up on a cattle farm in northwestern Ontario and now lives in Kansas City, Mo. Stintzi earned an M.F.A. in creative writing from Stony Brook Southampton.

While at the center, Stintzi has been working on a novel, “Field Notes on Desire,” which consists of the journals of Genny Ford. The diary emerges during upheavals in her life, such as leaving home to study civil engineering, being abandoned by her partner, and the visit of a terminally ill childhood friend.

“It starts out with the way she’s working through this confusing decision she has made about her sexuality,” said Stintzi. “She starts the diary to look through all of her moments of desire up to that point in her life, to try to make sense of what’s going on.”

Stintzi, whose work has been shortlisted for several awards and published in a number of literary reviews, will not give a conventional reading on Saturday. “I’m putting together audio, which might include some reading, but I won’t be the one doing it. I’m planning to do a weird installation thing that will include objects as well as text and won’t be a linear presentation. And there’s a lot of weird stuff I have access to here.”

A visual artist, Mr. Zorrilla received his M.F.A. from the California Institute of the Arts and lives and works in Los Angeles. While at the center, he will continue to develop his diverse approach to sculpture. “His works exist somewhere between image, document, and thing,” according to a release.

In a recent solo exhibition at a Belgium gallery, a sequence of ceramics produced in Mexico illustrated a triangular tube turning itself inside out. The successive motion was captured in eight stages, a three-dimensional series that calls to mind the animal locomotion studies of Eadweard Muybridge. Mr. Zorrilla works in photography as well as sculpture and will present an installation of recent works.

In Process at the Watermill Center will take place between 2 and 4 p.m. Free tours of the building, grounds, gardens, art collection, and study library will be offered between 1 and 2 p.m. Reservations, which are required for the tours and the public programs, can be made at watermillcenter.org.

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The online version of this article has been changed from the print version to reflect Stintzi's preference for non-gender-specific honorifics or forms of address.