T.H.E Interview – Magali

In the dynamic world of multimedia art, where the amalgamation of sound, sight, and narrative blurs the boundaries between digital and physical realities, stands an artist like Magali, a virtuoso of this craft. In an exclusive interview with T.H.E, Magali delves into her creative process, inspirations, and the conceptual framework that is the bedrock of her latest project, “The Lady, The Swallow, The Sorceress.”

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“I tend to use the written story as an anchor that the music and visual art can grow from,” Magali explains, describing her creative process as a “circular cycle” where each medium feeds into and enhances the other. It is within this spiraling dance of creation that Magali’s work thrives, reflecting a profound harmony between disciplines that often seem worlds apart.

The inception of “The Lady, The Swallow, The Sorceress” finds its roots in Magali’s past endeavors, particularly a piece titled “Auntie Christ.” “Themes and histories of feminism in Western spirituality, and the changing meanings of the ‘Witch’ were ideas I explored in Auntie Christ – the song, the music video, and the short film,” Magali recalls. This project is both a culmination of past explorations and a venture into new realms, embodying a journey through the ethereal expanse of the digital domain.

Magali’s work is often likened to pioneering artists such as Björk and Imogen Heap, comparisons that she considers great compliments but rarely dwells on. “I get so much inspiration from other artists, mostly from very different genres than the works I produce honestly,” she shares, inviting listeners to experience her diverse musical tastes through her monthly Spotify playlists.

Her collaboration with Gian Bravo, a name synonymous with legends like Dr. Dre, is highlighted as a particularly enriching experience. Magali praises Bravo’s skills and his ability to enhance the vocal production on her upcoming album. “It has been great working with Gian. Not only is he very skilled at what he does, he’s very engaged with the vision, patient and detail-oriented,” she notes, reflecting on the intricate process of bringing her musical vision to life.

Within the tapestry of “The Lady, The Swallow, The Sorceress,” the narrative plays a pivotal role. “The album and visuals are all detailing different parts of this short story,” Magali states, emphasizing the importance of the story as a map for the world-building that her music and visuals aim to achieve.

The utilization of 3D modeling and animation is a conscious choice for Magali, opening doors to new worlds where digital landscapes are rendered with as much depth and detail as their physical counterparts. “The world-building possibilities, the ability to create movement within them and the choices in audience engagement (animation film, VR, video game) keep me engaged with this medium,” she asserts, showcasing her desire to push the limits of her art form.

Drawing from the deep well of ’90s electronic music and traditional Celtic sounds, Magali forges a unique soundscape that is both nostalgic and refreshingly innovative. “Celtic music came in as a reference through my research into pre-Christian religions throughout Europe,” she elaborates, demonstrating how historical and cultural research informs her artistic output.

In the music videos for the project, a “quasi-natural world” is presented, one that symbolizes Magali’s musings on the nature of digital spaces. This aesthetic choice underscores the project’s thematic exploration of spirituality and the digitization of our existence.

Reflecting on her artistic journey, Magali observes a maturity and stability in her current approach. “I’ve taken more time to make it, allowing more interrogation from myself and others,” she says. This evolution is palpable in the depth and complexity of her new work.

The interplay between human existence and the digital expanse is a theme that permeates Magali’s work. She views the digital world as a catalyst for artistic niches, community building, and a source of learning and independent business for artists.

Translating the multimedia experience to the stage, Magali incorporates seated choreography and projection art to create a narrative-driven performance that echoes the storytelling traditions of old, while embracing the possibilities of modern technology.

Magali’s academic pursuits at Columbia University, where she’s delving into 3D and VR/AR artwork, further influence her approach, offering a vast network of inspiration and pushing her to explore new depths conceptually and materially.

As for what lies ahead, Magali leaves it to fate, content to explore the vast “sea” of her current project. But one thing she wishes for her audience to experience is “the sensation of being in the forest,” a metaphor for the immersive and enchanting nature of her work.

In closing, Magali contemplates the evolving role of artists in an era where reality is increasingly entwined with virtual realms. “Virtual worlds are reality,” she asserts, underlining the responsibility of digital artists to navigate and shape these burgeoning spaces.