Exhibitions

Migration Parade

Penticton, BC/Montreal, QC

Island Mountain Arts Gallery, 2019

 

“Migration Parade”, a collaboration with electroacoustic sound artist Danielle Savage, is a multimedia gallery installation. 

The installation consists of large-scale felted sculptures. Each sculpture is comprised of over 70 hand-made felted woolen vessels. The palette of the exhibition is inspired by the natural white wool used for the felted components which imparts a soft, warm lustre indicative of bone, cocoons and animal hair.

The sculptures are intentionally ambiguous, but meant to evoke diving bells, eggs, spindles, cicadas, cocoons, seed pods and hives. Each structure has its own sonic vocabulary. The underbelly of each work contains small, portable music players, directing themselves down to noise-cancelling headphones. The sculptures share their aural voice in hive-like, primal patterns and choral groupings of sounds. Swells, flocks, assembly and dispersal; the beauty of vocables in motion. Drawing on field recordings made in Canada and Colombia over the past year, the sounds are ephemeral and evolving, using the voices of frogs, insects, and birds as a foundation to explore electroacoustic sonic terrain: both the hyper-edited and the natural. 

Read our Artist Statement

 

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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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