art, divination, life, Witchcraft

Bustin’ (Disappointment) Makes Me Feel Good

Yesterday, literally the same day that I posted that tarot reading, I got a bit of disappointing news. I don’t want to get into the details, but it turns out that an artistic opportunity that I’d been pretty excited about isn’t going to happen for me. C’est la guerre. Even amid fulfillment and happiness, it’s a bit much to expect everything to be a slice of fried gold.

Still, understanding that fact doesn’t really banish the bad feelings. Here’s what did, though:

I set a timer.

I gave myself ten minutes to be completely self-indulgent in my complaining. After that, the grumpling grace period was over and I had to keep quiet about it. This serves two purposes:

  1. It keeps me from dwelling on whatever’s bothering me.
  2. It keeps me from becoming insufferable to absolutely everyone around me.

Don’t get me wrong, though. I use this time. I flop dramatically on furniture. I go full Howl’s-Moving-Castle-goopy-wizard. I get to feel my feelings, I can be cartoonishly whiny until I laugh at myself, and other people won’t secretly wish they could lock me in a dumpster.

I did some agitation pedaling.

My partner calls it “having the zoomies.” I call it having more energy than I know what to do with. Sometimes it’s from anger or annoyance. Sometimes it’s boredom. Sometimes, it’s because I ate four bowls of cereal for dinner.

All that corn syrup and riboflavin

Either way, ten minutes of furious living room biking usually sorts it out decently well. I work myself up to my top speed, and hold it as long as I can — all while mentally focused on a goal I have. When I get to the point where I can’t sustain it anymore, I release the energy toward that goal.

Sweat is also cleansing. Sweating can be a sacred act. There are reasons why so many cultures have traditions built around inducing a good sweat.

Singing along to Turisas is entirely optional, but it helps.

RA-RA-RASPUTIN, RUSSIA’S GREATEST LOVE MACHINE

I took a bath (with friends).

(No, not human ones. I don’t think any of them would talk to me afterward.)

When it comes to spells to fix a disappointment, I think they should be spontaneous. It’s not really the time to go worrying about moon phases or astrological timing — if you have needs, fulfill them. Emergency magic performed from the heart can be just as effective as a meticulously planned ritual.

Water is the element of emotions. It’s cleansing. It’s healing. It’s a great way to kill some time doing something that’s objectively good for you. It was late at night, so I didn’t have the energy to make myself a full-on brew, but I do pretty much own my weight in various teas. I boiled some water, added two bags of peppermint and one of chamomile, and asked for their help.

“Peppermint,” I said, said I, “I feel like complete ass and would like that to not be a thing anymore. Peppermint, clear my energy from all that’s dragging me down, and, with chamomile, fill that space with luck and prosperity.”

If you’re putting it in a bath, the garnish is probably kind of excessive

I held my projective (dominant) hand over the vessel, and did the energy thing. When I felt that it was good enough, I asked the brew if it was ready.

“If this be done, and done well, push my hand away from the vessel.”

(Fortunately, I felt the familiar little energetic “push” against my palm. I don’t think I had it in me to sit on my bathroom floor and troubleshoot this spell.)

I poured the brew in a bath full of warm, fresh water, dumped in an unmeasured buttload of Trader Joe’s $1.99 sea salt, stirred it with my projective hand, and called it good. As soon as I stepped in, feeling the silkiness of the water, smelling the fragrant peppermint-and-chamomile steam curling up from the surface of the water, I began to feel better.

I also had a bright, unmistakable vision of a wolf’s face when I closed my eyes, but that’s probably going to take some further research.

I followed the advice I’d been given in the first place.

There’s a lot to be said for the idea of conceptualizing things as happening “for” you instead of “to” you, though that can be tough to remember in the moment. Personally, every setback I’ve ever experienced — every call I never received after a job interview, every breakup — has always led to something better within the space of a few weeks, like clockwork. I don’t force positivity on myself, and you shouldn’t either if you’re really not feeling it, but I try to keep this track record in mind.

Anyway, all of this is to say that, when the sun is shining and everything’s going great, sometimes a minor bump in the road can seem bigger than it is. Tarot readings function as more than a prediction and an energetic snapshot of your life. They’re also advice. Yesterday’s advice was to celebrate, spread joy, and not let my emotions overrule my discernment. I have a lot to celebrate (I sold a painting recently! I can hike longer trails! I did a bunch of paid writing!), I’m hoping this post might be helpful to someone else who’s feeling the slings and arrows of outrageous fortune, and, logically, I know this disappointment will pass and be forgotten before long.

I turned it around.

Creativity is deeply personal. When you put yourself into what you make, it’s hard not to take rejection pretty hard. Most of the time, though, that rejection has nothing to do with you — because creativity is so personal, there’s no accounting for what people want. What I consider my best work is almost never as popular as the things I’m not nearly as attached to.

Similarly, this situation in no way impugns me as a person or a creative force. So, worn out from pedaling, freshly minty, and completely called out by my own tarot deck, I went to varnish some paintings.

I don’t want to suggest that vigorous cycling and a bath are the way to deal with, say, a house fire, the loss of a loved one, someone stealing your car, or a loved one burning down your house and stealing your car, but these techniques can help shift the energy around the things that occasionally show up to heck your day apart.

art, life

It was scary and I did it anyhow.

So, if you missed the livestream on Canvisi, I went on around 1 PM.

Well, I was supposed to go on at 1 PM, but, having never done a livestream before ever in my life, I had no idea how they work. This was absolutely no fault of the person running the stream, either — he was very helpful, professional, understanding, and kind. I, on the other hand, barreled in at 1 and immediately launched into my introduction with the vocal cadence of a hyacinth macaw on PCP.

“HI, I’MJANDTODAYI’D-“

I saw him gesturing toward his ears, and I realized that, despite the amount of Zoom calls I’ve been on, I have no idea what I’m doing. Also my phone was muted.

Fortunately, there was some intermission music to cover for me while I figured out why my setup wasn’t relaying sound properly and tried to get my heart rate somewhere below “hummingbird.” Eventually, everything was good to go.

Honestly, streaming was kind of fun. My lighting was less than ideal, because my studio’s set up to have great light for painting — video, not so much. I managed to cover most of what I wanted to in the time I was allotted, and I didn’t forget to plug my various sites and social media. Score!

I’m actually considering getting back into making time-lapse painting videos. Maybe streaming on YouTube. That’s something for another day.

Anyhow, in honor of getting through my first livestream without wanting to run out of the room, all of the paintings, prints, jewelry, and wands in my shop are currently 15% off. Some stuff has already sold, so be sure to stop by and check it out before it’s too late!

art, life

Saturday Livestream!

Are you busy Saturday afternoon?

Say, 1 PM-ish?

If not, I’m going to be part of Canvisi‘s artists stream! I’ll be talking a bit about how I got into my particular artistic niche, then giving a few demonstrations on incorporating gold leaf and other metallic elements into artwork, and showing a few new, never-before-seen pieces. It’ll be fun and — if you’re a chemistry nerd like me — hopefully pretty interesting!

I also have a ton of new stuff up on my shop. There are original paintings, jewelry, and a selection of wands made of Arkansas quartz and naturally-shed deer antler. They’re all pretty cool, if I do say so myself.

So, come join me and the other artists on Canvisi’s livestream, and maybe check out some new art.

Happy Friday!

life

Hunky Dory Space Adventures with Adolf Wolfli

I’m not very good at coming up with date ideas.

I mean, I’m good at coming up with ideas, just generally not ones that I can convince other people to do with me. That’s why my S.O. is pretty awesome — he’s almost always up for my bullshit.

The weekend before last, the heat finally crept below 80°F. Of course, it also stormed the whole time, so options were limited. Last weekend, the sweltering heat was back. Hanging out indoors somewhere else isn’t something either of us considered optimal, so we made our own fun.

Saturday, we picked up some pies (tofu curry and Baltimore bomb for me, pulled pork and strawberry rhubarb for him), put on David Bowie’s Hunky Dory, and cracked open my copy of John Maizels’ Raw Creation: Outsider Art and Beyond. (I bought this book used, and somehow ended up with a signed copy. So, if you’re out there Steve Moseley, thanks.) My S.O. and I huddled around it like kids with a pile of comic books, poring over the incredible body of work of Adolf Wölfli, the otherworldly twists of the Palais Idéal, and the incredible figures of the Rock Garden of Chandigarh.

Photo of sculptures in the Rock Garden of Chandigarh by Fanoflesage. CC BY-SA 3.0

(Honestly, if you’re not familiar with Wölfli, get ready to go down a deep rabbit hole. His work is fascinating and unmatched in scope. You can even find some of his musical compositions on Spotify.)

Sunday, we had crêpes and settled in to watch a movie — Color Out of Space. Admittedly, I mostly find Lovecraft kind of tiresome, owing in no small part to a former room mate who was a little too into his work. Still, COoS is probably my favorite of his short stories. I’ve got a thing for malevolent architecture and eldritch landscapes, and this tale in particular scratches that particular horror itch really well. (So do SCPs 455 and 3219, if you’re into that sort of thing.) It’s also the kind of subject that lends itself to Lovecraft’s particular style, which tends to vacillate between “I can’t describe it, but trust me, it was super weird” and “they were secretly… Foreigners!” When you’re talking about something that defies description by its very nature, like a nonexistent color, it works.

Speaking of, I dig the artistic choice to show the eponymous Color as various shades of magenta. While magenta does exist at least as much as any other color, it’s pretty much the color mascot for the fact that so much of what we consider real is incredibly subjective. Neato.

I also dug some of director Richard Stanley’s other choices in this film. For one, the main protagonists (I’m hesitant to attach the word “hero” to a story so bleak) are a Black man and a young woman. There’s some romantic tension between them. You know, the kind of stuff that would’ve made Lovecraft have to take to his bed with a cool rag and some kind of nostrum.

There’s also one scene with a horse where the horse’s eye briefly flashes purple. It’s ambiguous, however, whether this and the horse’s subsequent freakout are a sign of the contagion or not. Notably, the part of the horse’s eye that appears to flash is the tapetum lucidum, the membrane that reflects light and aids in night vision. Is the horse acting out because the Color’s gotten to it? Is it reacting to what it sees emanating from the people it’s looking at? Is it both? It’s the little fridge horror/fridge brilliance touches like that that I really enjoy.

Lavinia, the family’s daughter, also provides some interesting references to Wicca. Nothing too complicated or heavy, really, though mentioning the Wiccan Rule of Three provides a bit of foreshadowing. The Necronomicon makes a brief appearance at one point, though it’s left unclear whether the in-universe book is meant to be genuine, or just a paperback for edgy kids. Some viewers put forth the idea that, while the Necronomicon itself is widely regarded as a hoax, all of the best hoaxes contain something tangentially genuine — so it’s possible, at least in-universe, that Lavinia’s ritual did something.

(It just wasn’t what she wanted.)

Lastly, near the end, we’re given a brief glimpse of the Color’s home planet. Normally, I hate this kind of thing — one thing Lovecraft got right here was the fact that the things your imagination conjures are inevitably far more terrifying than anything anyone else can show you. In this case, the look we’re given is brief enough, and the atmosphere built by the flashing colors, patterns, emotions, and musical score building to that point is just mentally overwhelming enough, that it’s impossible to fully absorb what you see. You’re given an image, but your imagination still has plenty of room to build around it.

It also strikes me as somewhat visually similar to the ending city in Junji Ito’s Uzumaki:

Which I thought was awesome, because I love Uzumaki. (I get some very Hellstar Remina vibes, too.)

No idea what we’ll do next weekend. There’s an abandoned pyrite mine I’d like to poke around, and this reservoir I found a bone at once. Really, after all this, I kind of just want to snuggle up and re-read a bunch of Ito’s books.

art, life

New artwork!

In case you don’t follow my shop, there are a bunch of new prints available.

I’ve also added a new line — now, in addition to the matte giclee prints, you can also get most of my work as lustre photographic prints. (These are just as high-quality as the others, just printed on a subtly glossy photo paper instead of heavy matte stock.)

And several others!

I always purchase copies of my prints before I list them, so I can make any adjustments to the source files to make sure they look as good as possible. Not to toot my own horn, but computer images don’t really do these justice — the prints came out so good, friends.

I also have several different tarot readings available. Please feel free to drop me a line through Etsy or my Contact page if you have any questions.

divination, life

A Re-sip-ient of the Three of Cups

(… Sorry.)

I get lot of Cups.

I’m not complaining, of course. Cups cards are the cards of emotions, and most of the Cups I end up drawing are all about fulfillment and good times.

This weekend, my S.O. and I had a little cause to celebrate. I’ve been able to get out more now, so we packed the weekend with things we’ve needed to do, and a few that just sounded like fun. The rain dampened our plans a little bit, but that’s alright.

The important thing here is that I’ve got so many plans for stuff I want to do, my dudes. i have a group of tabs open for some local theaters and concert halls, which I’ve been idly refreshing in my spare time to see what’s on offer. It’s a really nice feeling to be able to do that, pick a show that looks like fun, and actually plan to go, instead of feel like I’m tormenting myself with FOMO.

So it feels pretty appropriate to draw the Three of Cups this week. I’ve pulled it before, when he and I were about to move into our new place, and we each had a ton of irons in the fire that we were both very excited about. This time around, I’m continuing existing projects more than starting up new ones, and I don’t really have a major life change on the horizon that I know of. There are always more things that I want to do and see, but both my S.O. and I are in a very good place at the moment. I’m very happy to enjoy my new freedom, though!

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Saturday, we’d hoped to go see World in a Box. Unfortunately, the stars didn’t quite align — they were sold out, and the rain made navigating there a bit of a challenge. Still, it prompted me to look at what else Rhizome has coming up, and given me a lot of new ideas.

I love this card. I love the Crow Tarot deck. I love where my life is right now, and I’m excited to see where it’s going.

 

Blog, life

Two Bards.

Tuesday night, I had the chance to see Richard Thompson perform live. It’s a show I’ve had on my bucket list ever since I was introduced to him a few years ago — he’s an incredible guitarist, and watching him play is really an amazing experience. When I stopped being able to go out much for awhile, I was legitimately afraid that I wouldn’t get well enough to be able to see him play. I only learned about Coco Robicheaux on the day of his death, and I missed the chance to see Tom Waits (who doesn’t tour very often) perform when I lived in California; two things I consider some of the biggest missed opportunities of my life.

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I think my S.O. and I were the youngest people in the audience by close to twenty or thirty years, which made me a little self-conscious when we were finding seats. (‘Scuse me, sir and/or ma’am, biker punk and tattooed millennial with a shaved head coming through.) As soon as I sat down, though, I didn’t care. I still whooped it up and applauded hard enough to jam one of my fingers.

He’d just started playing “Valerie” when we got in, which is, bar none, my favorite of his songs. It was honestly a little overwhelming — I’m embarrassed to admit it, but my heart skipped a beat and I thought I was going to have a panic attack for a few. I teared up at “Beeswing” and “1952 Vincent Black Lightning,” just like I knew I would. (Lucky for me, I’d had the foresight to forego eye makeup for this exact reason.)

The songs were moving, tragic, and hilarious by turns. His voice and guitar playing were superb. His banter made the venue feel small, with the kind of warmth and humor that turns a show into an intimate gathering.

I loved every minute of it.

And then, the next day, I found out that Terry Jones had died.

He wanted to be remembered as a comedian, but I knew him best as an author long, long before I knew anything about Monty Python’s Flying Circus. When I was a kid, we had a copy of Fairy Tales. It was my favorite children’s book — as a kid, I think I learned more important morals there than almost anywhere else. Like Three Raindrops, which taught me that everyone’s grave is the same size, and there’s no point in wasting your life on comparisons. Or Jack One-Step, which taught me the value of collective bargaining. Or The Glass Cupboard, which, I’m fairly certain, is what turned me into a tiny environmentalist.

monster
And then there’s this guy, which I’m pretty sure figured prominently in my nightmares until I was ten. Artwork by Michael Foreman.

I loved Michael Foreman’s illustrations, too. To be honest, I can’t really overstate the impact they had on my imagination as a kid, or even on my artwork now. His watercolors were at once bright and soft and dreamlike, surreal and strange, occasionally with a subtly unsettling edge. They were the perfect accompaniment to stories like The Fly-By-Night and The Wonderful Cake-Horse.

cakehorse
Illustration for Terry Jones’ The Wonderful Cake-Horse, by Michael Foreman.

I’m much older now, but the stories and illustrations still mean just as much to me.

Jones’ passed after a battle with dementia. As much as we like to think that “where there’s life, there’s hope,” there’s still a very particular kind of mourning that happens when someone passes from a brain disease. There’s the loss you experience when someone is no longer who they once were, and the final loss that comes with death. Sometimes, the hardest thing to deal with is that we might not think we feel “sad enough” when someone actually dies, because we’ve spent so long mourning the person they used to be. It’s something I experienced with my grandmother, as she declined from brain cancer. As hard as it was to handle her passing, I felt guilty for feeling relief. Not for myself — I felt relief that she was beyond the pain, confusion, and anxiety that her illness had caused her.

It’s something I’ve had to come to terms with, too. Intracranial hypertension causes brain damage, and it’s very likely that I will suffer a stroke at some point and either die, or have to fight my way back from that. Sometimes, you have to mourn for yourself. The important thing is to process this grief, then get on with the hard work of living. For Jones, that was raising awareness. For my grandparents, it was my grandfather feeding, dressing, and bathing my grandmother. For me, it’s working a little more every day to try to regain some ground before I lose more of it.

I guess what I’m trying to say here is that it doesn’t matter if you’re part of an artist’s primary audience. Life’s too short to miss the concert you want to go to, or to overlook a book just because it’s intended for children. Eventually, like the Three Raindrops, we all become part of the same big, muddy puddle. Draw inspiration and spiritual nourishment anywhere you can.

art

Here’s to new beginnings!

Well… Re-embarking on an old one, but in a new direction. Still counts!

I started my Etsy shop years ago. It was an experiment, a new way for me to stretch my limits and see what I was capable of. I’m doing some more stretching.

All of this is to say that I have new listings available — tarot readings, prints of my artwork, you name it. (As long as you are naming one of those two things.)

shop
Whoo!

ravsundetailAll of these are high-quality prints made using the giclée

process, on Somerset velvet fine art paper. In the future, I’d like to offer some of my original work, too, and maybe some jewelry. For now, I’m focusing on prints and seeing how things go.

Painting has always been a way for me to work through things. For years, I suffered from crippling thanatophobia — living almost seemed pointless if it was all going to end eventually, and nonexistence was terrifying. Painting ravens, crows, and other carrion birds and death imagery in bright, lively colors was one way for me to come to terms with things. To stop seeing death as something to be feared, and, instead, as a part of the cycle of life. It was a big step toward my goal of death positivity, and it was through death positivity that I could really start living.

Now, I’m not afraid. I love the aesthetic quality of juxtaposing carrion birds and bright colors. I take a lot of inspiration from ravens and crows in my artwork, my divination, and my magical workings. (I even have a raven-inspired oil that I use for journeying work that’s amazing.)

afriendfull

I hope my work resonates with you, too. 💜

divination, life

Cup Party

Party!

Kind of!

I am currently on enough antibiotics to make a Belgian Blue hallucinate, so I will make today both short and sweet: I drew the Three of Cups again.

Last time I did, it was at a time when my S.O. and I had a number of things in the works. We’d initiated the process of moving into a new place, I’d finished some paintings, and we were working on getting a site up and running. This time, I’m pleased to say that these things are reaching their fulfillment — appropriate for the full moon, no?

The apartment is about done being renovated. I received proofs of the images of my paintings that I sent to the printer, and they look awesome. We have a business license, our site is up, and we’re happily posting bits and pieces of the story of The Teller of Fortunes. It’s time to celebrate!

(It’s the culmination of something else, too: filtering and bottling my raven oil. It takes me a year to make, and I set it up and filter it on October’s full moon. One of these days, I might get around to compiling my recipes and processes into something I can share. This one, in particular, is good stuff.)

Of course, while the full moon marks the culmination of a cycle, the waning moon comes right behind her. Next is the time to work on the tiny, unseen things, followed by the new moon, before the energy ramps up again. I don’t really have much that I need to work on this cycle (well, not externally, anyhow); there are plenty of balls rolling already, it’s time to see where they go.

 

art, Witchcraft

Spiders, Sea Perch Eyes, and Salvador Dalí

I’ve been writing a thing about sleep, which has resulted in a not-insignificant amount of research into everything from sleep apnea statistics, to what kind of effects certain sounds have on the body’s cortisol level, to what Salvador Dalí used to do with sturgeon eyes.

Let me back up.

I once read a paper on Academia.edu (which I highly recommend if you’re at all interested in Semitic mysticism, lecanomancy, ancient Greek magical texts, or Egyptian magic). Ever since, I regularly get emails about some incredibly interesting subjects. For example, I have a pretty good handle on how to get a skull to talk for divination purposes, as well as how to punish it if it only tells lies and refuses to stop yelling. I don’t recall the exact search string that led to me getting a link to a copy of Dalí’s 50 Secrets of Magic Craftsmanship, but I did.

In it, he describes an ideal meal of sea urchins (“three dozen sea urchins,” to be exact, “gathered on one of the last two days that precede the full moon, choosing only those whose star is coral red and discarding the yellow ones”) and beans à la Catalane, after which you are to sit in front of a blank canvas without any light, until it’s become too dark to see it.

“It will become more and more dim until, when night has submerged you, you will completely have ceased to see it, or at most will only be vaguely aware of the space it occupies. Continue still to look at it, without remorse, for another good fifteen minutes, for it is under these circumstances that your spirit will work best and most decisively, and do not worry about making the maid wait when she calls you and says that the soup is on the table, for after what you have eaten at noon, your long afternoon sleep and everything that you are in the midst of painting in the dark, without yet even suspecting it, you have already in a sense had your supper, and more.”

After this, he recommends dining on sea perch, specifically the eyes. After consuming all but the hard kernels inside, you are to keep them in your mouth. Then, after getting into bed:

“[T]ake these eyes out again. Keep one in your hand, and put the other two on a small book or on a black box which you will rest on your knees, placing them at a certain distance from each other in such a way that, when you hold your forefinger in front of the two super-white balls and focus on your forefinger, the eyes of the sea perch will join, thanks to the precious distance between your own eyes, the grace and the mystery of your binocular vision, and the two eyes of the sea perch will become one single ball. This ball will seem to exert a hypnotic effect on you, and it is very desirable that on that night you should go to sleep while looking at it. But at the same time that you are staring at these two balls which have become one, it is furthermore necessary that, holding the third sea perch eye — the one which your wife has smilingly yielded to you — between the crossed forefinger and middle-finger of your right hand, you should gently caress it. You will then have the striking and unbelievable sensation of having contact with two sea perch eyes, and not merely with the one which is really between your fingers.”

This is “the secret of the sleep with three sea-perch eyes,” and, ideally, will make your sleep start off on the “right, good, and wise path!”

Later, he talks about the importance of constructing an aranearium — that is, a place to keep a spider. Granted, his ideal setup is strikingly different from mine. When I kept tarantulas, a small glass or acrylic aquarium with a suitable substrate and a very firmly-locking lid was enough to keep everything from a docile rose hair to a tetchy cobalt blue. He explains:

“The best aranearium is constructed with a slender olive branch, which you shape as nearly as possible into a perfectly round hoop, leaving four or five olive leaves clinging to the outer part of the circle, on which the spider will enjoy placing himself on various occasions. This hoop of olive wood you will secure on a four-foot pine pole provided with a solid base. At the bottom of the hoop place a small box in the shape of a perfect cube, of very green pine, provided with two holes, one in the top, and the other in one of the sides. This empty cube will serve as the spider’s nest. Within the previously moistened box, introduce a little earth and allow it to dry well in the sun. Since amber is very sympathetic to the spider — and how much more to the painter! — you must always keep a little ball of it on the cube, which you will use to magnetize the tip of your wand, with which you will manipulate and train your spider, so to speak, and with which you will reach to it its feasts of flies, of which you must always have several in reserve, which you may keep in a little bowl beside the ball of amber — for between amber and dead flies there also exist numerous affinities.

I’m interested in his ideas about the affinities between dead flies and amber. We know fossilized insects are often found inside of it, and that amber exhibits an interesting  triboelectric effect. Could that be adjacent to what he’s referring to? Or is it something closer to Remedios Varo’s exercises in effecting extraordinary change through the arrangement of shoes and stuffed hummingbirds?

He goes on to explain that a good artist’s studio needs five of these araneariums, for a particular purpose. You must place a crystal bowl full of water so that it reflects the landscape, and arrange the five araneariums in a line between you and it. Then, looking at the reflection in the water through the webs in the hoops of the araneariums, you can see the land adorned with a “glorious rainbow aureole produced by the irisation of your araneariums[.]” Ideally, you’ll do this around age twenty, and avoid ever looking at that sight again. This sight with therefore move you so much, it will have the effect of “set[ting] traps when we are young for our future adult emotions[.]” In other words, create a kind of a snare for nostalgia, so we can be moved by a smell, a postcard, or something equally small and mundane.

I admit, I’m not much of a fan of Dalí as a personality — while his work was undoubtedly brilliant, he was also arguably the first “celebrity artist.” While there were plenty of other famous artists before him, he arguably treated self-promotion as just as much of an art form as painting. Was he really building spider-homes and caressing sea perch eyes? I can’t say. I do find some interesting parallels between his writing and Remedios Varo’s letters and journals, though, as well as other occult practices.

Maybe I should build a spider box or five. For now, I’ll content myself with Rigoberta’s company.

Rigoberta, the orb weaver.
Rigoberta, the orb weaver.