macro lens unveils their tale.
Lovely death, frozen.
(Lumix+Panasonica/Leica Macro DG Elmarit, VSCO, Mextures, Lightroom)
In my mid-20s, I experienced an interesting exploration of death as a subject in my work, professionally and creatively. Delving into the intricate realms of death became an unexpected but necessary journey. Originating from my research and work in psychology, the fascination found a niche in the recesses of my mind, dancing at a newly discovered crossroad: psychology and spirituality.
The illusion of immortality, a comforting notion in my youth, began to unravel, and a sobering awareness seeped in – a gentle reminder that time, despite our desires, marches on. This realization stirred occasional anxiety, yet it birthed within me an artistic sanctuary. While my “irl” associates and friends were rather put off by such a topic of discussion, it was given tangible validity within the “lovely dead stuff” community on Instagram.
Back then, Instagram thrived on genuine connections, nearly two decades ago during its inception. Communities flourished, spanning from technical visual elements, like layering textures and tones, to profound philosophical discussions embedded in art. It was within the latter that the “lovely dead stuff” tag/community found its home. While the platform’s landscape may have evolved, I suspect its essence endures, adapting to the shifting tides of philosophy and the world’s unfolding events.
The “lovely dead stuff” community, a haven for kindred spirits, provided a liberating space where my inquisitive mind and creative endeavors harmonized. In those formative years, it fostered an environment that not only embraced my curiosity but also guided me in the art of amalgamating thought and creativity. It became a conduit for transforming introspection into tangible expressions, a timeless journey that shaped both my understanding of mortality and my artistic identity.
During that formative time in my spirituality, I realized that the connections between psychology and spirituality were becoming a pressing issue in my still immortal mind — I think I wanted to, like many, freeze time and never die and there was this underlying current of consciousness beginning to happen to me that screamed, “you’re not as immortal as you think you are, young ‘un!”
It would sometimes create a lot of anxiety, those explorations, but I am so grateful that I found an outlet in the “lovely dead stuff” artistic community on Instagram. It was a liberating community that embraced all those levels of me (brain, heart, and soul) and helped me learn to employ them simultaneously for the first time in my life (I’d never been allowed that prior to that time in my life). I was able to create some tangible reality out of it all.
I was not expecting to revisit those memories or that topic today, but I found myself considering it as I “walked the yard” (a Dorie thing that some of you may remember) this morning in search of moss to photograph for a mixed media project I was working on to commemorate my mother’s birthday. Amidst the quiet canvas of nature, the stark contrast between the lingering death of winter and the emerging promises of spring captured my attention. Winter’s remnants, laid bare and hanging in the air, echoed the transient beauty of life’s inevitable cycles. Meanwhile, the subtle signs of spring’s awakening breathed new life into the scene, embodying the enduring spirit of renewal and the continuous dance between life and its inevitable counterpart.
It served as a poignant reminder that, like the seasons, our perspectives too undergo a perpetual transformation, each moment holding within it the delicate balance of both closure and new beginnings. Here’s to remembering and retrying forgotten editing skills, and to whatever comes next…
Happy birthday, Mama. Thank you for the lessons, and the love. I miss you…
catacosmosis 