Migration Parade

Penticton, BC/Montreal, QC

Penticton Art Gallery, 2022

Island Mountain Arts Gallery, 2019


Fall 2021: Learn about our collaboration with artist Charlie Prince

* Spring 2021: Learn about our collaboration with artist, Winona Rae

* July 2020: News from our June/July Residency at Island Mountain Arts

* March 2020: We Got funding!


Born in the fall of 2018, “Migration Parade” is an evolving, collaborative body of work and multimedia gallery installation by electroacoustic sound artist, Danielle Savage, and sculptural textile artist, Alexandra Goodall. 

This work is an act of earnest research into the phenomena of hive-mind, relational space, and collective intelligence, from the micro to the macro, starting with ourselves. Through multiple research streams and creation methods, we are using the artistic disciplines of sculptural textile and electroacoustic composition to explore the movements of personal and collective bodies. We have drawn on the field of phenomenology, philosophically and through application, and rely on direct engagement with materials (cloth/fibre and raw sonic experimentation) to guide much of our studio practice. Simultaneously, we continue to follow and nurture the conceptual dimensions of our work, tracking how this evolves and how it provides further context, shaping and insight to our inquiry. 


Download the full project outline and artist statement here



When visitors enter the exhibition space, they are met with nine large-scale white sculptures, hanging from the ceiling, arranged in a circle. The room is dark except for the sculptural pieces, which are subtly lit from above and below. Each piece is made of many hand-made, felted components. The color-palette of the exhibition is taken from the natural white wool used for the felt which imparts a soft, warm lustre indicative of bone, cocoons and animal hair. These sculptural pieces are intentionally ambiguous, leaning towards associations of eggs, cells, spindles, cicadas, seed pods and hives. The hope is that they are evocative, yet don’t instruct the participant how to feel. Rather, they invite engagement and inquiry.


Motion sensors embedded in the felt are triggered by the participants’  movement, setting off a multi-part sound work, which plays through speakers housed in the sculptures. This allows participants to feel how their presence impacts the space. The composed sounds swirl in hive-minded, primal patterns: swells, flocks, assembly and dispersal, on a spectrum from textural to gestural. The tone of the space implies a mass devotional conversation, at once alien and familiar, contemporary and primordial. It expresses the current milieu of human interventions with all their complicated outcomes and processes.



In the first iteration of this work, which was exhibited as three sonic/felted sculptures in 2019, we explored human and animal collectives: how they move, organize and express. In the second phase, we expanded the number of sculptures to 6 and challenged ourselves to focus on research of sonic technologies, shifting to a transdisciplinary approach. We looked at various diaspora and collective trauma, digging into our own relationship to living ancestry and culture and applying this to our work. 


We now embark on our third phase, in which we shift our centre of gravity from the studio out into our community, entering into relationship with it as a living collective, inviting gallery visitors to communicate and co-create with the sculptures through interactive sound and bodily engagement.


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Migration Parade
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January 2021 Studio
Migration Parade

With gratitude for the support of the Canada Council for the Arts



MicrocosmoSoma, 2015

Penticton Art Gallery, 2015 

Lake Country Art Gallery, 2017



This installation grew out of my experimenting with phenomenology and the artistic process. The first works were products of meditations, carried out in quite a structured way. I wanted to give myself a container to note what certain artistic functions felt like on the level of the physical senses. For instance, what do certain colours feel like when they touch the eye, and what is my experience of aesthetic or conceptual decisions on a body level? I am interested in the feelings and sensations that characterize the decision making process in art-making: What is the sensation of an aesthetic decision, or of balance in composition? What is the bodily experience of art-making? I made copious notes on some days during the making of these pieces, and on some days none at all. The structure was to record the date, and then the time I began and ended work on the piece for that sitting. I also recorded any thoughts, emotions, physical sensations and other phenomena that arose.


This process was influenced by my interests in the body-centred and psychoemotional therapies and different mindfulness and meditation approaches (emotional awareness approaches, Yoga, Feldenkrais method, Hakomi, Intermodal Expressive Arts, relational psychotherapies, Vipassana, Advaita/non-duality teachings, Buddhist approaches). All of these in many ways explore the nature of body/mind dualism.


The works weren't intended to be representational, yet I took delight in seeing them form into objects that resemble microscopic images of pollen, or cellular structures. The first experiments in phenomenology grounded the project and eventually gave way to working on the pieces as a collective, in a symbiosis of gallery space and artwork. Artwork continually evolves in its' encounter with us (the viewers, experiencers, perceivers, and meaning-makers) – us who so gracefully animate it by the simple act of gifting it our attention. For me, in this dynamic encounter between the artwork and those who experience it, relational space is lived and illuminated.



Artist Talk - Penticton Art Gallery, October 2015
00:00 / 00:00

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