Fire of the Raven
Trying to find the scraps of light in the dark, the Raven continues its hunt. Scavenging, not for food, but for more. The search for a sense of self, a sense of being, of oneness that continues through the cycle of life, but what of Death?
Does Death mean the journey is over? Have we found the reason within ourselves, or is this the gateway to the next life, the higher self? The Raven pursues not prey, not death, but survival, growth. To see the light in the macabre, to find the warm in the most bitter of cold. It seeks not reward, not sadness, but itself. The wish to be whole, to see brightness, to be confident.
She need not seek others, for in the depths, the Raven has been found. The contentment, the acceptance of self, seeps in and the dark consumes. For in her death, comes about this change. The story Raven is not one of sorrow, but of growth. It has become the celebration of what is to come. It is the chance to experience the world anew with each moment we embrace.
The Raven is. The Raven was. The Raven will forever be.
An Artist Statement: 2019
I remember shit.
Fascination with the goth aesthetic, fantasy, witchcraft, and death has led them to become dark yet illuminating; full of emotion, organicism, religious imagery, and symbolism.
I remember screaming and bashing my head into walls, paying close attention to detail and spirituality. Fabric, paint, and found objects are used as the primary components of each piece.
Through the use of animal, herbal, and spiritual convoys, the artist transforms themself into otherworldly creatures. I am not an artist, in a technical sense anyway. I am someone who is just trying to make sense of my inherent consciousness.
Lots of gold, deep red, and black. I remember being confused
The work is a visual autobiography of an artist overcoming their internal demons to become their authentic self; I’ve always used art as an outlet for my emotions. I remember nothing
I remember not remembering
Memento mori is also integral to the narrative as a symbol of change, and often takes form as actual taxidermied specimens, typically birds and rodents. It also comes from my love of the strange and morbid. From occult and religious imagery, to nature and the decomposed form, my thoughts and emotions are converted into these recurring icons that present themselves throughout the portfolio.
I remember, vaguely, being possessed. Between what is known and unknown, one finds the answer to the mysteries.
I remember why I don’t like to remember