The Art: 
A dark and whimsical portrayal of death, birth, reincarnation and our relationship with the sometimes mundane sufferings of life. With clear Masonic art references (black & white checkerboard & the orphic egg) this piece is set firmly in the "surrealism" category. I wanted to utilize clear and obviously occult symbolism as a tongue-in-cheek attempt to wink at those whom have historically guarded the gates of spiritual truths from the every day person. Cradled inside the egg within the egg, coiled in the effervescent embrace of the serpent, lies the everyman - the modern day human. Wrapped in a humble burial shroud, meant to resemble a cocoon, a body lays in the fetal position. If you look closely-  the faint profile of a face is visible but nearly missed if one is not focused on the detail, this is a purposeful attempt to represent the blurring of our identities, our ego, upon departing this world.

 Death is a divinely Feminine force at its core, as it is indistinguishable from the veil of birth itself. It vibrates with the number Zero, as does the planet Pluto. It is the Glyph of this Planet which you will notice, hovers above the head of the cradled figure. The Feminine-aligned heavenly body which rules over birth, death, reproduction, inheritance and sex (among other things). The tea kettle is a direct reference to the lyrics of the song 'adieu', a humble messenger of death which whispers our name when the time has come.

the song:

"Adieu"  begins by pointing a finger at a familiar feeling which we humans often experience. It's the feeling  of not necessarily wanting to die- but wanting suffering to end... and, not knowing how to do so. We typically turn to substance and interaction, looking outside of ourselves for comfort or dopamine. The song paints a picture of the rat-race , full of people going through the motions and partaking in their vices, not daring to speak of their depression or suffering, for fear of disrupting the social norms.

There are three main characters: sang from the perspective of "The Everyman", to the "divine mother" , about the ever alluring seduction of "Death" - the serpent that calls out to us. The tale is a desperate yet innocent plea to the mother, the cradle of the womb, to feel whole and at peace once more within the serenity between existences - a desire to start anew and perhaps "get things right" the next time around.   

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