Daniel Savage
Rugby Creed, 2016 Video installation, dimensons variable
PUT YOUR BEARD IN MY MOUTH
macklin celebrini has autism

shark vs the universe
Sweet Seals For You, Always

pixel skylines

@theartofmadeline
Phantogram Three
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sheepfilms
Mike Driver
EXPECTATIONS
Interview Vampire Daily
almost home
The Bowery Presents

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izzy's playlists!

blake kathryn
let's talk about Bridgerton tea, my ask is open

roma★
Cosimo Galluzzi
seen from Nepal
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@cripplefight-blog
Daniel Savage
Rugby Creed, 2016 Video installation, dimensons variable
Daniel Savage
Dis-place is a series of photographs using taxidermy native animals as a metaphor for the position of disability people in contemporary Australian society. While the claim is often made that we have an ‘inclusive’ society, the public space disabled people are allowed to inhabit is often a controlled, segregated, restrictive, recreation of a non-disabled experience. When placed in these spaces the disabled individual is often put on display, an object of fascination, akin to a diorama in a museum.
Dis-place questions our relationship with disability, are we creating space for disabled people to equally engage with society or merely reinforcing the idea of disabled people as ‘other’?
My Video work ‘The Fall of Icarus’ will be on show at Nishi Gallery in canberra as part of ‘The Rendered Experience’ opening on 18th of June and running until the 28th June. Gallery is open 5pm-10pm most days
(via https://soundcloud.com/daniel-savage-16/sets/print-by-numbers-daniel-savage?utm_source=soundcloud&utm_campaign=share&utm_medium=tumblr)
Daniel Savage Print By Numbers, 2015 Inkjet print on clear Vinyl, 69 x 195cm.
(Image 1 L-R) 1. Aaron, 2. Jaclyn, 3. Ria, 4. Kelly, 5. Duncan
(Image 2 L-R) 6. Daniel #1, 7. Daniel #2, 8. Daniel #3
(Image 3 L-R) 9. Evan, 10. Dannae, Harry, and link, 11. Violet, 12. Cass, 13. Sasha, 14. Cyf
(Image 4 L-R) 15. Andrew, 16. Sam
(image 5 - 9) Installation Images at CCAS Manuka featuring universal accessibility: Braille, large print, audio descriptions, touch tours, and sign interpretation.
Print By Numbers - Audio Descriptions
Daniel Savage Twinkie (20th century), 2012 30x14x14cm, mixed media
This work is an artifact for a fictionalfuture, my intention is to ask the question: what will be left behind if the world, as we know it, disappears and how would that reflect on who we were.
In the context of the ClimARTe festival new questions arise: is this piece a memorial for a world that was lost or an almost forgotten memory of the wasteful society we gave up?
A selection of work from my upcoming solo show 'Print by numbers' will be exhibited at Canberra Contemporary Art Space as part of Blaze 9 their annual exhibition of emerging canberra artists.
Opening night is friday Feb 20th, see the link below for details
https://www.facebook.com/events/1604576313105281/?ref_dashboard_filter=upcoming
"No offense, but..." by Daniel Savage
Contemporary western countries are arguably more inclusive than ever. In many societies, however, powerful words and terms, based on race, sexuality and disability, continue to denigrate groups considered to differ from established norms. These are words that have an inherently negative association for sectors of the community who are regularly discriminated against, oppressed, and segregated. While these words and phrases are often unspoken, the misunderstanding and fear they represent manifests in seemingly innocuous, frequently asked questions, such as, “Where are you from?”, “Is it just a phase?” and “Will you ever get better?” This exhibition consists of two complementary series of portraits that bring together universal paradigms of offensive language and the individuals who have to deal with ignorance and insult as an inherent part of their lives. ‘No offense, but…” attempts to address the way words mark individuals as outsiders, create a space for the discussion of these issues, and questions not only how far we have come as a contemporary ‘inclusive’ society but also how much further there is to go.
Daniel Savage
'No offense, but...' 1-16 (of 18), 2014
Inkjet prints, 50 x 70cm
‘Daniel – Quadraplegic / Will you ever get better?'
‘Bec – Lesbian / Who is the man in the relationship'
‘Cam – Transgender / You were born a girl right?'
‘Aoife – Mental illness / Can't you just take a pill?'
‘Andy – Mixed race / Halfies are always hot'
‘Warren and Lee-Anne - Aboriginal / How aboriginal are you?'
‘Jess – Acquired brain injury / Let me do that for you?'
‘Troy – Gay / When did you admit you were gay?'
Install images of exhibition at BCS gallery 26th august 2014 featuring artists.
Left: 'Daniel Savage - Quadraplegia'
Right: 'Daniel Savage - Will you ever get better?'
‘No offense, but…’
Photographic portraits by Daniel Savage
Exhibition statement:
Contemporary western countries are arguably more inclusive than ever. In many societies, however, powerful words and terms, based on race, sexuality and disability, continue to denigrate groups considered to differ from established norms. These are words that have an inherently negative association for sectors of the community who are regularly discriminated against, oppressed, and segregated. While these words and phrases are often unspoken, the misunderstanding and fear they represent manifests in seemingly innocuous, frequently asked questions, such as, “Where are you from?”, “Is it just a phase?” and “Will you ever get better?”
This exhibition consists of two complementary series of portraits that bring together universal paradigms of offensive language and the individuals who have to deal with ignorance and insult as an inherent part of their lives.
‘No offense, but…” attempts to address the way words mark individuals as outsiders, create a space for the discussion of these issues, and questions not only how far we have come as a contemporary ‘inclusive’ society but also how much further there is to go.
Description of the work:
I will be producing two series of photographic portraits which each series depicting the same subjects shot individually. Each subject will be from a various segment of the community that’s face some form of discrimination, at the moment the goal is to have 2 - 3 people each who fall under disability, sexuality, and race.
In one series of photos each subject will be wearing a plain black T-shirt with an offense word, used to describe/denigrate their section of the community, printed across the front. For example I will be one of the subjects and my shirt will say ‘CRIPPLE’. The second series of portraits will be shot exactly the same but the shirts will have the answer to questions commonly directed at the subject that could be deemed offensive, and in my experience are often prefaced by “no offense, but...” hence the title of the show. My goal is not to remove agency from the individual subjects but rather, by talking to them, bring to light their personal experiences through my work. The ultimate goal being that the exhibition, by putting a face to these terms and questions, is a catalyst for discussion about the issues presented.
Daniel Savage
The Fall of Icarus (still), video, 3:21 minutes, 2013.
My video work will be part of the ‘New Releases’ exhibition opening tonight, 6pm, at M16 gallery in canberra. It will be shown along side several video works from recent ANU graduates. The exhibition runs through unit the 24th of may and this will (probably) be the last chance to see this work in Canberra before I start exhibiting it around Australia.
http://newreleaseexhibition.tumblr.com/danielsavage https://www.facebook.com/events/1412610165675927/?ref_dashboard_filter=upcoming http://www.m16artspace.com.au
Daniel Savage KnifeFight and RaRa, 2009 Polariods
Object-ive self portrait, 2012
"Fluxability aims to question the construction and categorization of individuals based on collective and personal notions of the ‘other’ and ‘norm’. Within the images I represent a single individual existing simultaneously as ‘disabled’, ‘abled’, and ‘superabled’. I use this visual relationship to subvert preconceived notions of the ‘other’ and ‘norm’. The work encourages the viewer to reassess these opposing binary labels, and the individual and collective roles we all play as spectators & viewers of these images."
Daniel Savage FluxAblitiy, 1-7 (of 12), 2013 Inkjet print, 89 x 112cm
Daniel Savage FluxAblitiy, 'Disabled', 'Abled', 'Superabled', 2013 Inkjet print, 200 x 336cm
Daniel Savage FluxAblitiy, 2013 Installation images, ANU Graduate Exhibition, 2013
Daniel Savage Twinkie 21st century, 2012 Found objects, twinkie, live cockroaches. Dimensions variable (installation shots from 'the end of the world' members exhibition at CCAS Gorman house, canberra, 2012)
This work was made for the 'End of the world' members exhibition at CCAS Gorman house, it is a play on the two contemporary myths in popular culture that after a nuclear war cockroaches and twinkies will be all that survives. The placement of the the natural cockroach that has become so ubiquitous in urban life and the artificial Twinkie is meant as satirical comment on myth making as well posing the question what would be left behind if we were to disappear and how that would reflect on who we were.
Daniel Savage Accessible 1-5, 2011 Inkjet print, 59.4 x 89cm
"Through this series i’m commenting on how space and perception play a role in how people are defined within the public sphere. By interacting with these communal transitory spaces and playing with preconceived notions of my own 'disability' I intend to engage the viewer in questioning how their own place in society is constructed or influenced by these external factors.”
Daniel Savage Home Sweet Home, 2012 Recovered objects, dimensions variable (installation shot taken at 'For we are young and free' exhibition, toyota spirit gallery, 2012)
"I grew up with my two brothers in the classic suburban Australian house and it was the marks, holes and dents left on the walls over time that reinforced our connection to home. At 21 I suffered a Spinal injury and we had to sell that house, as it wasn’t suitable for a wheelchair, it was bought by a developer who intended to knock it down and put up townhouses. Before that happen I broke in and removed the hall way closet door frame where my parents marked our heights every year as we grew up. By transplanting that door frame into the gallery and inviting visitors to mark the gallery wall this work comments on the trend to knock down and rebuild that seems, simultaneously, to be a result of the ‘Australian dream’ as much as its destroying the memory of dreams past, and how something as simply as a mark on a wall, or a person, can carry so much weight and significance. "