Artist Savannah Jane currently lives and creates in Santa Fe, New Mexico. Primarily a xylographer, she starts by carving her topsy-turvy line work into sustainably sourced wood. Creating a wonderland of abstraction, she combines multi-media installation, sculpture and protean canvas prints to translate you into a metaphysical realm of environment. Using form, bold linear expression, and movement to awaken the senses into an organic rhythm. Inspired by music visualization and ecstatic dance, SJ intertwines her pianist knowledge to map out large scale compositions that seduce you into a secret garden. Earning her Bachelor’s of Fine Arts at Murray State University, she continues to stay curious about the unorthodox techniques of printmaking and the gravity of zero waste. Santa Fe Reporter states she brings an earthy moodiness to the table. Currently her own table is wrapped in one of her off cut prints, where she is somehow creating in her new home and studio - the Fleetwood truck top camper - named Stevie.

thesavannahjane@gmail.com
505 603 7369

References upon request

artist statement.

Seduction is not about the culmination or gratification of desire; it is about the thrill of the desire itself. I am the architect of my own wonderland, creating ‘Terra Incognita’— unknown or unexplored territory— through my large scale compositions. I compose my acoustic map with dancing with each mark to enhance the experience of movement, space, and perception through the abstract structure. Interlocked with the expressive marks, I pull from music theory to create controlled nonsense, developing an overwhelming geometric pattern that translates sound through movement of time. Where there is order there is language— if you explore, you get rewarded with new findings, just as you are reading a map to depict a code, or reading a clock, counterclockwise. 

Visualizing this experience of sound and abstract movement through deep meditation within the composition, is shown through altering shapes to create abstracted human form within industrial structures to put the viewer in a metaphysical sense of place and rhythm to move to. I am developing a map that seduces your body and mind into a garden of euphoria—the essence of Mushin. Communicating movement of vibrations through the act of repetition of design rules, type as form, and musical notation to represent the chaos in our organic environment versus industry. I manipulate the gestural lines to disconnect us with the familiar, taking us into a visual vocabulary of architecture. Using a process of layering reductively and additively is how I deconstruct the perception of my large scale composition with multi media—screen print, wood cut, drawing, painting, bookbinding, and sculptural installation.