Savannah Lamal

Lamal works across painting, photography, sculpture, installation, architecture, and sound. Her practice engages the material and perceptual conditions of experience, treating form, space, and process as sites for inquiry. Through open-ended experimentation, she examines how systems of making and seeing construct meaning within contemporary and historical contexts.


Selected Work

GRANT LAGARDE - PLAYS THE WORLD
THE ROOM NEXT DOOR
MASKED PORTRAITS
PALIMPSEST
OSINT
WEST (A LONG LOOK AT ORANGE AND BLUE)
FALLOUT
VOLUMES



CV
Email



Sound Oriented Work

Grant Lagarde
Grant Lagarde

Fieldwork Devices
Fieldwork Devices

Caviar Dreams

Forest Graham

GRANT LAGARDE - PLAYS THE WORLD is a nomadic audio performance series by Forest Graham (Forrest Lawn) and Savannah Lamal. At its core the project’s purpose is to derive signal and noise from a site to utilize as a medium for live on-site improvisations. Whereas traditional field recording practices tend to use traditional microphones, we are more interested in what lies outside our senses. Instead we deploy a variety of sensors such as ultrasonic microphones, geophones, contact microphones, electromagnetic pickups, and geiger counters, just to name a few. 

The Room Next Door explores the threshold between observation and memory, moving between representation and abstraction. Plant forms emerge and dissolve throughout the composition, creating a space that feels both familiar and elusive. Vegetation becomes atmosphere rather than subject, softening boundaries between interior space and the organic world. Through layered marks and shifting forms, the painting invites viewers into a quiet passage between memory, perception, and place.

MASKED PORTRAITS

This ongoing series of portraits explores the tension between concealment and revelation through the motif of the mask. Rendered in black oil stick on paper, each image captures a subject in a moment of transformation, where identity becomes fluid, obscured, or reimagined.

Some masks are worn, others painted directly onto the skin, blurring the line between surface and self. The stark contrast of the oil stick emphasizes both presence and absence, gesture and void. What emerges is a study of the psychological space between who we are and who we appear to be, an invitation to consider the masks we all wear, willingly or otherwise.







 

PALIMPSEST 


This series is part of a multi media body of work currently in progress, investigating hyperobjects anchored around the port of Vancouver, British Columbia; coalescing the parts and effects of extractive industries, global trade, climate change, insults to indigenous sovereignty, labour exploitation, ecological destruction, etc., all issues humanity confronts as a species, at every scale of social formation. 






 

OSINT

OSINT (Open Source Intelligence) is a photographic series composed of still images sourced from publicly accessible webcams ; fragments of everyday life continuously transmitted through invisible networks of observation. Borrowing its title from the intelligence term for publicly available information gathering, the series examines the uneasy space between surveillance, spectatorship, and image-making.

The photographs capture overlooked and often impersonal environments: empty intersections, industrial sites, parking lots, coastlines, hotels, and public infrastructure. Originally intended for utility rather than aesthetics, these webcam images carry the visual residue of digital systems; compression artifacts, pixelation, low light, timestamps, and glitches; which become central elements of the work.

By isolating and reframing these transient streams into static photographic images, OSINT transforms functional surveillance imagery into contemplative landscapes. The series questions authorship, privacy, and the increasingly blurred boundary between public and private space, while reflecting on how contemporary life is mediated through cameras that are perpetually recording, broadcasting, and observing.

WEST (A LONG LOOK AT ORANGE AND BLUE)

FALLOUT

VOLUMES

CV





b. 1977, France. Raised in Vancouver British Columbia, Canada
               
2007    
B. Arch, The Irwin S. Chanin School of Architecture , The Cooper Union, New York, NY, USA

2000
B. AA, School of Interior Design, Toronto Metropolitan University, Toronto, Ontario, Canada



Group Shows

2026    Grant Lagarde, Santa Fe Noise Ordinance, Santa Fe, NM  collaboration with Forest Graham

2024    Caviar Dreams, Santa Fe Noise Ordinance, Ghost, Santa Fe, NM  collaboration with Forest Graham

2023    FWD, Santa Fe Noise Ordinance, Bob’s Galleria, Santa Fe, NM  collaboration with Forest Graham and Jon Almaraz

2019    West (A long View The Color or Orange And Blue), Incantations-Mojave Sound Art, Wonder Valley, CA  collaboration with Forest Graham

2018    Fallout, Jack Webster Projects, Los Angeles, CA  collaboration with Forest Graham

2017    After The Plague, Jack Webster Projects, Los Angeles, CA  collaboration with Forest Graham

2013    Volumes, The Beaver Mill, North Adams, MA  collaboration with Forest Graham

2011    The Due Return, Center for Contemporary Art (CCA), Santa Fe, NM  collaboration with Meowolf


Lamal works across painting, photography, sculpture, installation, architecture, and sound. Her practice engages the material and perceptual conditions of experience, approaching form, space, and process as active sites of inquiry. Through open-ended experimentation, she investigates how systems of making and seeing construct meaning across both contemporary and historical contexts.

While working as an architect at Herzog & de Meuron, designing spaces for the exhibition of art, Lamal became increasingly aware of a parallel impulse, to move beyond framing the conditions for art and instead participate directly in its making. This realization marked a decisive shift: from that point onward, her own art practice began to take shape, evolving alongside and in dialogue with her architectural work.