Continued from Newsletter 38,
in which we talked about
Mazerick’s Album
and Listening Party :::
Jasper:
…your music made me wonder if you have an interest in choral music, or if you had sung in choirs before. Where did the ability come from to create all these layers of harmonies and interweaving voices?
Mazerick:
Yeah, I love what you said about that interior voice. But also, I did have experience in choirs...it was sporadic, but in my early, early, early life I was around a lot of group singing, just like community singing in New England. A lot of singing while doing tasks and singing while working and singing at fires and gatherings. And a lot of that singing was in the round and involved rounds as well. And were really pretty simple, looping melodies...really like so many of those songs were so hypnotic and really like easy to learn. I don’t know that any of them were denominational, but could very much be compared to shape note singing or like sacred harp singing. Or at least the influence of those things was present. So that was pretty foundational exposure for me and I also had a lot of access to hand percussion instruments and was drumming pretty young in drum circles too. So that kind of communal, improvisational forum was definitely there. My parents were both very musical so I had church choir, musical theatre and jazz influences from them. My father was a concert flautist trained growing up in conservatory in Slovakia who also played jazz piano and my mother grew up in the Methodist church singing in choirs and doing musical theatre, eventually teaching musical theatre and acting at the local college when I was a baby.
So then later....growing up around musical theater spaces, I noticed a common sensibility in how musical theater uses swelling and diminishing of sound to carry a narrative. There’s an epic-ness to the way ideas travel through the bodies of the actors. I wasn’t thinking about that consciously at the time, but it definitely made an impression on me and my body. And even the movements of the actors around each other on a stage was really meaningful to me. And I think the format of the stage also...there’s dimension to it, but because the viewer isn’t moving through the plane from their seat, we are transported into a world by the elements of the story: sound, script, silence, the moving of objects through a space, the passage of time. The stage is like a painting that changes. I think about this in contrast to cinematography that transports the viewer into a space by moving the viewer into that space, depending on where the camera is going. You could be in somebody’s ear and then, you know, looking at them looking at you and then you’re in the ocean and then you’re coming out of their eyeball - there’s dynamism of perspective. A defining difference for me between cinematic tools and stage tools is proximity between the bodies of the viewer and the subject of the gaze. I think about this when I’m making music because of the listeners proximity to my body through the music.
And then I did have involvement in some church choirs. And that music...hearing a room full of people singing music in rooms that were designed to make human bodies feel a kind of crazy way from this music, right? That really affected me physiologically as a child. I was pretty confused about some of the sermons. I don’t remember that material really sinking in as much as, like... the sound of the people in the cathedrals was so powerful and pleasurable to me. I really loved that. It was deeply erotic to me in the sense that it activated my ability to receive and drive to create. The language of the text didn’t matter because music is a universal language and music is vibration and everything vibrates and so do our bodies.
Jasper:
That makes me think a little bit of the title of the collection, Your Love for Humanity Will Be at its Zenith. Can you describe where that came from? What led to that being a framing of the songs?
Mazerick:
Yeah...the phrase to me is about entering a period or an age or an era in a life where your love for humanity is swelling, is at its zenith, and in that there must be a love for ourself as a part of the whole.
I think the significance of that anticipatory movement or the entering into this period is about looking at a past that holds a lot of cynicism or a lot of resentment and dismissal of humanity...a kind of nihilistic sense that is ultimately, for the grand speaker of the album, coming from a past of feeling worthlessness and a lot of loneliness. The album is about exiting that embodiment or exiting that relationship with themselves and choosing to see something else and fighting for access to a different kind of sight and a different kind of perception. I was really excited about the grandiosity of how that’s communicated in that title. And the acknowledgement of a world, like a greater world, because so many of the songs are so interior, happening inside of a character. It felt important for something to fold it inside out, or imply that this sort of reflective processing is for emotional exposure to the world, to distinguish it from perpetual self-obsession, which is what’s over.
Jasper:
I’m curious what thoughts you have about exploring the range of your voice through the songs, and the different qualities of your voice as it’s transitioning. We were talking about Icarus and maybe that’s a good one to think of...you had this beginning idea of the song, and it’s recorded during one period, and then other sections of the song are recorded later.
Mazerick:
Yeah, I think that is such an exciting part of this project, and was not really planned, but was so much a process of just being down for what was happening as my voice changed over the course of working on it.
I feel like before my voice changed, I had so much control over this kind of mid-soprano range that was really wide. So my access to falsetto from soprano was really pretty high and very articulatable, or dexterous. And with that, I could also go pretty low for that space so that even though I could sing falsetto to contralto...it sounded so much deeper than it was because I could contrast it with this falsetto really quickly to create dynamic melodies.
And I felt like my voice was sort of like an animal that I had trained to do all these cool tricks. And I liked showing off this sort of party trick. But I didn’t necessarily find a lot of pleasure in the physical experience. Like somatically, I was not that connected to it. But I really liked how it sounded and what I could do with it. And I loved how moved other people were by what I could do with my voice but I was unsettled by the distance between myself and listeners. People were listening to me sing at a very early age, 5 years old, with a lot of focus and intent and even though I grew to command that attention gracefully, it was never comfortable for me.
And I really loved, though, how it felt to sing really deeply. I wanted my body to feel like a drum, vibrating with sound instead of a piece of silk whipping through space. I just couldn’t reach where I wanted to. So as a teenager, I was experiencing this. And I didn’t know what to do, what was possible...so I started smoking. Not only to deepen my voice but that was definitely a part of it. I was listening to Tom Waits and I was like this really tiny femme. I was looking at Tom Waits and I was like....that guy. I want to be like him. He sounds amazing. And there was just no way that that was going to happen. What if I smoked three packs a day? But I didn’t, you know...I didn’t know what hormones were, or like, that there was a way to do that, that was not self -harm. And so, you know, in this process...which song did you point out? Icarus? Yeah, so the beginning of Icarus was recorded in that period where I had this cool, like, kind of party pony, that I could make it do whatever I wanted, for the most part, it sounded so ethereal, like glass.
And then when I came back to finish that song, my voice had dropped so significantly that it was able to really, literally, in so many ways, speak to the concepts that I was touching on...the freedom and embodiment and the relationship with memory and transforming behavior and conditioning. And I had these two really distinct voices that represented those things. And that just felt so special. When I came back to finish Icarus with my tenor range it exposed for me the coming of age quality in which my previous voice was so much representative of a wounded child self who adapted to survive and my new voice exhibiting this older, more confident, more discerning and embodied person. Glisten is maybe most straddling the front and back end of that process Because I was writing it and recording it while the like fastest and most dramatic changes were happening. So I was actively losing my range while I was trying to write it and record it. And so there were certain tracks that I had to, like, give up on, because every day it was getting harder to sing them. Or I’d write a part, and then, like, a few days later, I couldn’t sing it anymore.
So that felt kind of fun and scary, because I was racing against time in some moments, but was also experiencing a lot of excitement and curiosity about what was on the other side of what sounded like a puberty kind of voice cracking. It was also the most limited my range became because I lost the height but I hadn’t gained all the depth yet.
Jasper:
Do you feel like that song was an exploration of that or it just happened to line up with where you were at the time?
Mazerick:
That’s a good question. I think that some of that was serendipity, like the song being about choosing or having access to feelings of love that are kind of unprecedented in the speaker’s life. And then also simultaneously performing this message through this changing voice that’s changing in this kind of move towards love between someone and themselves. So, yeah. You know...I definitely didn’t go into that song or this project thinking I was going to document this kind of profound change. But as time passed, I saw that that was happening and was so grateful that I had that documentation and that it was giving me this beautiful work. Yeah. And that those things were happening organically, simultaneously, and independently of each other, and like facilitating each other at the same time. It really felt kind of cosmically bigger than me and through me. Glisten was also intellectually challenging in a similar way that it was physically challenging…I was battling melodic and sequential qualities that I did not like but were really hard to get away from so I entered an almost excruciating editing process to replace old instincts until I created something that I felt impressed by.
Fondness and Midas were, maybe Fondness more so, was I think written and recorded at like the widest possible range that I have had. Because my voice was getting deeper, but I was still able to hit everything high as I always did. So the range present in those was possible at that time and for a very short time, which was fun.
Jasper:
Do you know how long that was? A matter of days or weeks?
Mazerick:
Maybe a few weeks, maybe a couple of months between May and July of 2024.
But even now, you and I have been re-recording some of the songs. And I’m trying to remember if it was Knell or Icarus, that there were some of the baritone parts that we were re-recording that I was almost hitting notes, not quite getting them in the original recording, that were fully being realized now, like several months after I quote unquote “finished it.”
And so that is so cool and like kind of unexpected also. That it feels like the parts were being written for the voice that wasn’t there yet.
Jasper:
That makes sense. Knell has a lot of imagery with birds and you have some symbols, some recurring birds. Do you want to talk about the birds at all in your life?
Mazerick:
Yeah...I think I just really am obsessed with flight. And also ah… the autonomousness and ah… the consciousness of creatures. Like the birds fly and they feel and they think. They could be planes, right? Because planes fly, but planes don’t necessarily feel as many things as birds feel.
But yeah, definitely, I think the freedom that birds embody is really what inspires me. But also, their flamboyance is so precious to me as well. And their range of aesthetic conservatism to like totally outrageously dysfunctional but breathtaking foliage is so endearing.
Jasper:
Did you say dysfunctional foliage?
Mazerick:
Yeah, yeah. Like peacocks are just like...breathtakingly beautiful, the length of color of their plumage is very much, because of this their tails are so heavy, they can’t do very much with that, all that weight. They can’t really fly, so they stroll, and they spread their feathers, and they strut, but they don’t fly. But then also penguins are birds and all their foliage is like just like really dense blubber and it keeps them and their babies and their families alive. They huddle up together and walk with their eggs between their big blubbery legs under their blubbery bellies and that’s how they are alive. But they can’t fly either, but they can dive deeply into the frozen ocean. It’s really amazing. So they are also kind of embodying this mobility and freedom and functionality in a different way.
Jasper:
Yeah, the birds you drew in some of the album artwork. What kinds of birds are those?
Mazerick:
I’m pretty sure those are doves...and I think they are all mourning doves. A couple of them could have been ground doves. But yeah, those are doves....and I’m still learning about doves.
But what I was really attracted to is that ground doves make homes in the ground or in like brick walls. And I appreciate that kind of relationship with the earth or materials of the earth and they’re kind of being drawn to that and... I am also really endeared by how mourning doves will just nest pretty much literally anywhere. There’s so many photos of mourning doves laying eggs on pieces of barbed wire, or a glove, or there’s a rake leaning up against a house and there’s an egg and a stick on it. They also mate for live, so committed to their relationships and just down to be wherever with the other birds they love. And I think that’s really, really beautiful. And so much of the album is about committing to the relationships that we’re in, all kinds of relationships, in our lives. And part of that is being committed to our relationships with ourselves, and accepting the people that we care about and choosing to be in community with them and be in relationship with each other. And that’s so hard sometimes to do.
Jasper:
Yeah, I feel like that ties into the album cover artwork. I mean, it’s maybe a subtle effect, but the materials you’re using. Do you want to talk about that a little bit? Of how that ties to the music or conveys that idea of a relationship to self?
Mazerick:
Yeah...the mattress facing kind of started for....oh gosh, how do I explain this?
...I didn’t think about this question that you might ask me. Which is funny because I’ve already answered questions about this, so let’s see if I can remember. Yeah, I’ve always been interested in making art with beds and mattresses and bedsheets. I made a lot of work with bedsheets in college, but I think I struggled to really understand how to do that in a way that felt aligned, or a way that transcended “bed”. Ultimately I was attracted to the suggestion of intimacy, the relationship with the body, and the public presentation of something that is usually private. I also loved the materiality of large swaths of yardage, the feeling of bedding as it moves and the amount of it attracted me. In this project, this material of the mattress facing has been so exciting because it’s...like the material itself is so beautiful. This shiny golden woven mattress with this golden diamond stitching...keeping the woven surface to the foam is already so beautiful and also so funny that it’s hidden underneath the sheets all the time. You don’t look at that unless you’re changing your dirty sheets. It’s like a really nice satiny surface and you just never see it. And there’s flowers on it...the woven pattern I think is roses and leaves and pink flowers all over this sort of golden shining textile. So I really thought that was so beautiful. And also, you know...beds can be the site of profound pain for so many of us, either because of what has happened to our bodies in the bed or because of feelings we bring to the bed in our bodies from our day.
And also, because they are our resting place, they are often the location for so many of our feelings. I think often, when people are depressed, that’s where we end up spending so much of our time. It’s one of the most comfortable places to cry. You know...we dream our dreams in our beds, and sometimes our dreams are really scary, and sometimes they’re really amazing. But then also, at the same time, our beds can be the locations for so much joy and such important rest. Our beds can also be the site of so much pleasure because of what can happen in and to our bodies there and ultimately should be extremely safe places for our bodies to be. Hopefully we remember laughing and playing in the bed throughout our lives, jumping on the bed, hiding under the covers and coming out in surprise, singing lullabies in the bed, sharing love in the bed.
And so, you know, I was thinking about that and was replacing this mattress that I had been sleeping on for a year and my body had been changing so much over that year and my relationship with my life had been changing so much and I just had really wonderful associations with this specific bed that I was replacing, that just felt really important to linger on. And then the actual mattress was so beautiful to look at at the same time.
I didn’t want to get rid of it. Yeah...
And I also was about to have a really intense surgery and was going to be spending a lot of time in this new bed and I was getting ready to not be able to do very much physically while I recovered. So I was getting ready to start embroidering because it was work I could do with my arms at my sides. And so I started making some work about the body being a home and something to be made and tended to. And so I was machine embroidering into this mattress facing with messages and text about that, and making these wreaths with white flowers to frame the mattresses with the embroidery. And had not connected that to the album until we spoke about it some time after.
You kind of bringing that material to my attention for this project was really exciting and I think changed the way I feel...like it unlocked something for me in the way that I think about visually representing the music that I had been looking for but hadn’t found yet.
And so just that kind of thought collaboration or aesthetic collaboration felt like I really discovered something exciting.
Jasper:
I just realized with you talking about all the different things we experience in our beds, how important that is as a place to feel safe. And it’s where you are when you come back to consciousness, when you wake up in the morning. And you took photos of your artwork for the album in the morning with the morning light. And that makes me think of the title of the album as a mantra. An intention. Maybe when waking up, you know, there’s different ways you can approach the world. And maybe that’s kind of like a mantra to wake into. “...your love for humanity will be at its zenith...”
Mazerick:
Yeah, that is such a special connection. Wow. I love that idea that the age of loving ourselves and humanity is the day that we are entering and that we are entering that from sleep. We’re rising from our beds and entering the age of love in ourselves. That’s so beautiful to me...
Jasper:
And you work in different mediums, so it’s interesting to see some of the connecting threads, so to speak, between your writing and the visual work you make and the music. And there’s some crossover in themes and probably just whatever you’re thinking about from project to project. I’m curious if you feel like you move between materials frequently or go through phases of say, music making and then more writing? Does everything start from writing or is there a particular area where you feel like you’re kind of pulling things together with different materials?
Mazerick:
I definitely go through periods with different materials. I do think that music and writing are kind of historically the most present or consistent materials that don’t ever feel like they go away, even if they are not where my undivided attention is at all times. I feel like those forms are really intuitively accessible to me and that music feels like a behavior that I like exhibit or like have. And the writing feels like a processing...like a refining or editing process.
Physical materials feel more like flirtations or like, fulfilling curiosities. I’m really interested in tactility, and I really, really love beautiful things. Beauty has so much power over me and inspires a lot of wonder for me. So I think often with object making or even just material manipulation, I am following a sort of affection with that, what I’m looking at or what I’m touching. Yeah, it feels like I’m following a crush with a sensation or an aesthetic.
Conceptually, everything is always connected for me, whether I’m fully aware of the how or not. And I think this project is really synthesizing so many of those things in maybe the most cohesive way yet, but in a way that I’ve really been, I think, yearning for....or trying to understand how the pieces fit together. That’s becoming clear with this project in a way that feels really gratifying.
Jasper:
And you’re doing a lot of writing for a zine to go with the music, which is another whole component...
Mazerick:
Yeah...It feels very much, you know, like I was saying before...music feeling like a behavior and writing feeling like a refining process. The zine and this concept writing feels like it’s helping me understand better what the music is doing. And I’m really excited about the opportunity to communicate in clearer terms what the music is for, because this music feels like an art object to me in that I want it to do something for a listener. I want it to physically affect them and activate awareness for them.
I want the music to inspire anyone who might feel themselves in the music. I want it to inspire them to examine the ways that they are powerful and can affect their experience on this earth and be responsible for their experience...and be responsible for how they affect the people in their lives. Because I think that’s so beautiful that we have so much influence on each other and our feelings.
It can be so challenging and it can be so beautiful. So I really want this writing to make that awareness more accessible, and hopefully be additional information for anyone who listens and resonates and wants more or is hungry for more. There’s so much information in this zine! (laughs)
Jasper:
How many pages is it?
Mazerick:
The zine so far? It’s not done...the essay isn’t done. The zine is like 32 pages with images. I think the actual text document is maybe 10 pages right now, not double spaced.
Jasper:
So yeah, that’s a good amount of context to explore. The last thing I thought might be interesting to talk about is that we’re putting on a listening session for the album. You’ve also performed part of this music before. How did you feel about performing it and what’s the idea behind listening to the album as a public event versus performing it in a more traditional way?
Mazerick:
This is going to be a rough answer, but I’m excited by the question....I stopped performing regularly around 2016, but did perform regularly for many years in my adolescence and enjoyed that… I think in a similar way that I enjoyed making my voice do things before it became what it is now. I liked how moved people were by my performances but I didn’t necessarily enjoy how I felt and some of the ways I was being perceived as a performer. The performance that I did in May 2025 with Stump and Zoe at Dan Bailey’s gallery felt like a reintroduction or like a re-initiation to live performance in some ways. It was really exciting and it was really intimate, but part of it was definitely me trying to assess if I could do that...could take up space like that and enjoy the way I was being perceived and the way I was being received and the way I felt as myself in my body. I think that I am excited by the possibility of performing again, but I am, I think, interested in the way that the listening party will facilitate a different kind of connection with the content. I think that is why I’m attracted to this format. Because for me, when I’m at shows or listening to music live, I really enjoy it, but what I’m enjoying is being around people and feeling the movement of the music through my body. And I’m not necessarily able to attach to meaning in the music. And this album is, you know, the movement of the music through the body is such an important part of it and I think is a really exciting potential in its performability. But I know that I will be able to receive feedback and connect with an audience in a totally different way if we are all recieving or experiencing the material from the same location. And that is really exciting to me.
Jasper:
It seems more meditative, possibly...where it’s more focused on listening than looking.
Mazerick:
Yeah...I think a big part of it is that I don’t want to be looked at. Or I don’t want to be watched right now, for this. And that boundary feels good. I want to share this thing that I made that I think is beautiful and look at it together, as opposed to being the thing that is being observed. That separation feels important.
Jasper:
You’re sharing your work and it’s about that and about the composition rather than a performance.
Mazerick:
Yes...
Jasper:
Any other thoughts?
Mazerick:
I’m really enjoying revisiting the material with you. I’m learning so much about my process and the meaning of the sonic choices through reproducing it with you and having to communicate with you about what matters to me in the quality of the sound. I wasn’t expecting that, but have been really stimulated by that.
Jasper:
Yeah...and in the process of working on that with you and mixing the layers of the voices, I realized that the sound will be spatialized in the room for this listening event...that we’ll be in the middle of the sound, which I think is really interesting and connects back to the idea of the voices in the music being, at least some of the time, an interior voice. And we’re literally going inside of your voice, with it surrounding us. I just think it kind of puts the audience or the listener into the psyche of the song in a way where there’s not just one voice but many iterations of your voice cascading around...and getting to be in the middle of that is really fun....
Mazerick:
Yeah, I had not thought of that. That is a really exciting prospect. Exciting, like physically, that will be really exciting. And so beautiful how it connects to what is happening with the content.
Jasper:
You wanna take a break and then go record?
Mazerick:
Yeah, Sounds good. I’m getting chilly. It’s cold now the sun is gone.
Seasons later.....after May Day...
Jasper:
So we finished recording the new stereophonic version of your album, and released it at the May Day show.....and you sang with a new group, Every Dove Alive! That was magical...what are your impressions of that day?
Mazerick:
May Day was sweet to be a part of. The weather created a spooky spring time feeling that I appreciated. It reminded me of the veil between worlds thinning towards the end of October but with a spring time air. It was humbling how many people turned up for our set, at one point between songs I let my eyes focus over the crowd and I could see people extending all the way out into the lot past the yard. During our interview last year we talked about the difference between sharing music as a performer and sharing recorded work as another listener in the room - performing at May Day did challenge my stage fright but it also made me really happy and I felt proud to be there singing with my friends. I decided to go as Every Dove Alive because I love the soft guttural coo of the dove’s cry. It’s so soothing to me and it reminds me of the way it feels to sing now. With every performance I’ve done in Birmingham, I’ve never sung with the same arrangement of people more than once. I like the idea of Every Dove Alive being an unfixed ensemble of singers and musicians who phase in and out as the specific show calls for.
The set was a different arrangement than the album, it was really about the coming of spring in our lives, I revisited some old work, finished some pieces and created a new one. My favorite piece that we did is called S I X and is about the creation story, how on the sixth day, we were all together. The song we sang that is featured on the album is Mnohyalita, a Ukrainian blessing song I rearranged with a poem about the function of memory in our bodies. It’s an additional 9th track that my friends Zoe and Jasmine helped me with when we did the group singing with all the listeners at the listening event last November. It was really impactful to facilitate an audience singing in the kitchen and something I have been doing more at my events since then. Another favorite of mine was Scale Spine, an old piece that I reworked, adding another song to the front end, White Coral Bells, a spring time song that I grew up singing in the round with my family. It helped open the set with a tone of arrival and persistence despite subtle discordance.
Jasper:
And we had practiced singing “White Coral Bells” as a round with puppets! But we didn’t get to sing it with the crowd because the show got hectic with possible rain coming in....I’m hoping a puppet singalong can still happen in the future. Where did you first hear that song? It’s really perfect for the spring and for May Day....and hearing you sing it with Every Dove Alive was really special.
Mazerick:
I learned White Coral Bells in my early childhood singing rounds and harmonies in a small homeschooling collective in New Hampshire. There are so many I don’t remember anymore but when I picked up the banjo to relearn my old song Scale Spine, there is a reference to White Coral Bells in it and it jogged my memory of the song loose and became a really special a capella opening to the banjo piece. It felt perfect to sing for that set because of the themes of a spiritual spring and perfect to sing at May Day for the coming together to celebrate the earthly spring. I was really looking forward to singing it with the puppets and the audience at May Day but I’m looking forward to another opportunity to do it when the weather is better!
Jasper:
Could you talk a little about Mnohyalita? You and a couple friends led us all in singing that song at the listening party in November, which was beautiful.....a room full of people, gathered in a very dim warm light...that’s the most people that have ever been in that kitchen.....i think it was over 30 people in one room. And then we ended up recording a version of it to close out the album. You also performed it on May Day with a spoken text. Remind me where Mnohyalita comes from?
Mazerick:
Mnohyalita is a Ukrainian blessing song that translates literally as “many years”. I understand it is sung at birthdays and I believe other celebratory events that a community would want to bless with longevity or prosperity. I learned it one summer working with Bread & Puppet up in the Northeast kingdom of Vermont. They’re the oldest independent puppet theatre in the country and their founder, Peter Schuman is originally from Poland and created the theatre in New York City during the civil rights movement as a way to advocate for equal housing in the 1960’s. During my time working for the circus there on the farm we sang a lot together as a group and Mnohyalita is the one that stuck with me for years after. It’s a really beautiful three part piece with a drone and alternate melody. When the arrangement is good the resonance is unbelievable.
Jasper:
Ok, any last thoughts for now? Are there any other projects or ideas you’re getting into at the moment?
Mazerick:
I’m so grateful for this opportunity to talk with you about all this work and the time spent together in it. Looking back on the last year of my life makes me really emotional. I see how much stronger my creativity and relationships are, my ambitions are so much greater and so much more grounded and I know that’s a result of being present and choosing to live with the other living ones. Thank you so much for all of your care and attention over the last year. Feeling really blessed these days and stronger for every challenge.
I’m up to a few things this summer moving through next spring. I just finished an immersive installation during a month-long residency in Japan. It was inspired by Japanese gardens and shrines, my ideas about our bodies as our homes and relational security as an extension of our homes. There is a lot of documentation of the project on my website at everydovealive.com/installations. I was able to bring my partner with me as my collaborator, I am really lucky to have had their skills and support and sensitivity and I’m so proud of what we were able to make during our time there. We even did a group sing at the artist talk in Japanese!
Now that I’m back home in Birmingham I’m working on a labyrinth installation that will come together in the spring, getting back to my tattooing roots, getting ready to publish some private workshop offerings and really trying to spend less time online. I’m doing all that and trying to get my home and routines in a really supportive pattern so I can take surer steps towards some of my bigger goals.
I think the next big thing coming up for me is the outdoor video art show we’re planning together at Sweet Wreath for this fall. This show is so exciting to me, I’m so grateful to everyone who agreed to participate. I can’t wait to see how we all bring our work out for these ideas about water as a carrier, a healer, a mirror and a portal. I’ve been really looking forward to meeting as a group in the space to talk about next steps.
