Island Mountain Arts is excited to announce an exhibition launch, “Migration Parade”, on Friday May 3rd, 2019 at 7 pm, featuring the work of Alexandra Goodall and Danielle Savage. This free exhibition will be a collaborative exploration of the sensorial: specifically sound and vision. Migration parade is supported in part by the Canada Council for the Arts.
The exhibition will remain on view through Sunday, June 9th, 2019.
“I am a textile artist interested in embodiment and relationship; my current focus lies in exploring the nature and myth of body/mind separation through the medium of felt. I create sculptural felted pieces and incorporate cut and painted paper, as well as other found objects, into these assemblages. I have grown to extend my practice into the discipline of installation art. In installation work, I am challenged to notice the spaces in our perception that we are normally blind to. It allows me to explore the work as an experience that enfolds us and stimulates all of our senses,” explains Alexandra.
Alexandra’s works have been said to “look like they should make sound,” invoking a type of synaesthesia. “This inspired me to reach out to Danielle as a collaborator. Her sound work and approach to the creative process is very inspiring for me and pushes me to expand beyond my dominant medium, which mostly uses my visual and haptic senses.” Alexandra’s work has been previously featured in Lake Country Art Gallery and the Penticton Art Gallery. She currently lives in the Okanagan Valley, British Columbia.
Danielle Savage uses natural sounds and hyper-edited entities on her personal journey to discover new ways to listen. “The sonic material I am using for this installation will draw largely on field recordings taken in Canada and Colombia during the past year. I spent years hitchhiking and busking, which is largely how I got my start musically,” says Danielle. She is interested in sound as practice, research, ritual, and as it induces liberation/ altered space. She has studied composition with Georges Dimitrov, Sandeep Bhagwati, Rosemary Mountain, and Jose- Luis Hurtado. Recently, she has presented work at Foro de Musica Nueva (Mexico), Festival de la Imagen (Colombia), Visiones Sonoras (Mexico), and 60x60 festival (Montréal). She has completed two undergraduate degrees, both from Concordia in Montréal: a BFA Specialization in Composition, and a BFA in Electroacoustics. Some of her other music being presented this year includes a piece for loudspeakers at Montréal New Music Festival (MNM) in March, and a premiere of a piece written for two pianos by Duo Turgeon at LER Auditorium (NB) in September.
Danielle has been a featured performer in both solo and group-projects at a number of festivals and other venues, including: a collaboration with the Concordia Laptop Orchestra (CLORk) at Music In New Technologies (MINT) conference, Radio WWOZ New Orleans, Santa Barbara Public Television, ArtsWells Festival, Lux Magna Festival, Kulaks Woodshed Hollywood, and more.
These artists are excited to return to Wells to collaborate together, a place that has been a big part of their artistic process over the years.
The installation will consist of three 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.