Exhibitions

Migration Parade

Penticton, BC/Montreal, QC

Island Mountain Arts Gallery, 2019

* March 2020 Update: We Got funding!

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

 

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. 

Migration Parade exists in the context of a world where bodies, collectives, and swarms take on new meanings daily. While we are able to immerse ourselves in the humorous serenity of a chorus of frogs, we are concurrently aware of the intersecting challenges facing our collective, such as the mass extinction of the honey bee. Politically, walls - both conceptual and material - hinder and shape migration patterns for all: plants, animals and humans. Collective movements have the capacity for great beauty in their attunement and responsiveness, and great destruction in their unconscious momentum. 

The installation consists of large-scale felted sculptures. Each sculpture is comprised of over 70 hand-made felted woolen vessels. 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, cocoon and animal hair. These sculptural pieces are intentionally ambiguous, leaning towards associations of eggs, cells, spindles, cicadas, cocoons, 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. 

The sculptures emit sounds that move in hive-like, primal patterns and choral groupings; swells and flocks, assembly and dispersal; visceral agitation and meditative expansion. Drawing on field recordings made in Canada and Colombia, the sounds are ephemeral and evolving, using voices (animal, human-animal, etc.) as a foundation to explore electroacoustic sonic terrain. The sounds are deconstructed and reassembled, moving from group voice to individual, and back again. 

The completed installation space becomes, for us, an expression of a mass devotional conversation. At once alien and familiar, experimental and innate, contemporary and primordial, it expresses the current milieu of human interventions with all their complicated outcomes and processes.

 

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We gratefully acknowledge the support of the Canada Council for the Arts

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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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