Dreams as Source Material for an Artistic Process

Dreams as Source Material for an Artistic Process

Heta Asikainen BA in dance performance Stockholm University of Arts 13-1-2021

Table of Contents

Preface

Introduction

Process

Week 1:

First Studio Session and Thoughts 2

Week 2:

Second Studio Session, introduction and first try-out of a chance based score 3

Week 3:

Before the session 5

Third Studio Session, second try-out of the chance based score 5

Trying-Out Active Imagination 7

Week 4:

Fourth Studio Session 8

Costume Shopping and Thoughts 8

Dyeing 9

Week 5:

Fifth Studio Session, and update on the costumes 9

Week 6:

Sixth Studio Session, and seating 10

Week 7:

Seventh Studio Session 11

Creating Glimmer 11

Week 8:

Eight Studio Session 12

Music 12 Week 9: Last rehearsal 13

Conclusion

Bibliography

Appendix

Preface

I would like to begin by sharing a rather mundane, but meaningful personal revelation, which sparked this entire essay: If someone was to ask me, what am I passionate about in life besides dancing, it would not take too long before I would mention sleeping, and more specifically dreaming. I am overwhelmed by the array of impressions I encounter throughout most days and in order to process them, and let go of the ones that no longer serve me, I sleep on them. I have spectacular dreams. I love it how, when recalling my dreams upon

awakening, they barely make any sense, even though I have just spent several hours

convinced that what I am experiencing in my dreams is reality. The idea that in my dreams I am able to let go of a relentless need of sense making, and instead immerge into a profound notion of this moment right now being my entire reality, soothes me in an otherwise hectic life.

Introduction

In this text, I will be sharing and reflecting on the process of creating a twenty-minute performance which has dreams as its source material. This process will be centred around individual explorations, through reading and try-outs, as well as studio-sessions together with a four-person working group consisting of Ane Carlsen, Anton Hedevang, Jane Sievänen and me. These explorations will be done, by using tools and methods familiarised by the Dadaists and the surrealist movement, such as the cut-up technique for Dadaist poem making and automatic writing. Fragments of methods from other scholars’ will also be applied in order to harvest dream-images and further work with the content of the dreams, such as Sigmund Freud’s dream interpretation and Carl Jung’s active imagination.

It should be noted, that this process will be based on the manifest content of the dreams, the content which we are able to recall directly upon wakening, unanalysed and uninterpreted. This said, a psychoanalytic point of view on dreams and dream interpretation will not be included, due to my lack of knowledge in the department of psychology.

I will be documenting the process in the form of a series of log book-like entries, describing the weekly meetings with our four-person working group, together with thoughts, dreams and reflections I find relevant in relation to the context.

Process

Week 1

First Studio-Session

On Monday, we have our first meeting with the working group, as in with the three other dancers. I introduce the topic, and my plan on how to work with it. We share our starting points in relation to recalling dreams, and how we have dreamt up to this day. One of us mostly sees dreams as situations in a dark void, with no specific scenery, whereas one sees mundane events in magnificent landscapes. We agree to attempt recalling our dreams first thing every morning that week, and to meet up after seven nights. Recalling the dreams directly upon wakening is crucial in order to preserve the dreams with as much detail as possible.1 In this process the nuanced dream images are like craft supplies, without which we cannot craft our final product, and therefore, of utmost importance.

Thoughts

I will now proceed to share an excerpt of a dream I dreamt this week, to which I will be getting back to later in this text.

Dream 1, Swimming with Jellyfish and Eels: At a shoreline, which has a brick wall where the land meets water. The water is rather shallow at first but within the first few meters steeply becomes deeper. There are people in the water, running in place, just behind the brick wall. Only their heads are above surface, but the water at the shore is so clear that you can see how they engage their entire bodies, struggling, resisting the suction of the undercurrent. Everyone is calm. I get sucked a bit further into the sea and see my pregnant friend running nearby. I look into the water and see eels and jellyfish swimming close by. I tell my friend that she should get to the shore as soon as possible, but she disagrees and tells me that it is nice to swim with these creatures. I relax and keep on running, not away, but together with the ginormous aquatic-animals.

1 _{Sigmund Freud, The Interpretation of Dreams. Translated by A. A. Brill. Hertfordshire:}

Week 2

Second Studio-Session, introduction and first try-out of a chance based score

It is Monday, and the second meeting with the working group. We begin by writing down our dreams on separate pieces of paper. I then suggest that we try a modified version of, former Dadaist and later on surrealist poet, Tristan Tzara’s cut-up technique for making a Dadaist poem, in order to create a score from the contents of the dreams, which we will then perform. Tzara’s original score for the technique goes as follows:

TO MAKE A DADAIST POEM Take a newspaper.

Take some scissors.

Choose from this paper an article of the length you want your poem to be. Cut out the article.

Next carefully cut out each of the words that make up this article and put them all in a bag. Shake gently.

Next take out each cutting one after the other.

Copy conscientiously in the order in which they left the bag. The poem will resemble you.

And there you are – an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.2

We cut up our dreams so that each cutting fits one of the following categories; I. descriptions of places, II. actions, III. concepts, objects, colours and sounds and IV. thoughts and

sensations. Then we place the papers from one category at a time into a bag. We pull out one paper from the first category as a common location for the scene. Next, each of us pull out individual papers for ourselves from the second category, which will serve as our movement score. Then we pick a paper from categories three and four, which we will incorporate into the scene in one way or another.

2 _{Tristan Tzara, Seven Dada Manifestos and Lampisteries. Translated by Barabara Wright.}

Our original score:

Location: It is a flash from a street I have never been to. Like the streets in Only Lovers Left

Alive, the Moroccan city would look like in daylight

Actions: person 1) jumping really high and light, like I was on the moon, person 2) getting

my feet covered in spider web, realizing that I might not be able to take it off, and as I try I tangle myself even more, person 3) meeting a relative you did not know existed, person 4) comparing objects side by side

Concept: a couple

Thought: What do humans do? How does a human work?

I continue to propose that while performing the score, we try to let go of our need for sense-making and connection creation. Instead we ought to trust that connections will appear by themselves. Like in a dream, surrendering to the sensation of every moment being exactly the moment in which you are supposed to be, there is no need to anticipate what will emerge next since you create as you go.

After the first try we figured out that:

1) Nine minutes should not be the duration of a single scene, since the final piece will be twenty minutes and we are planning on setting several scenes

2) The action cards should be divided into ones that can be done for a longer duration, and actions which should only be done once

3) The sound cards could be made into a separate audio track, which would add an additional layer to the experience

4) The object cards could be manifested into physical, concrete object, which could be incorporated as scenery

We do another try out, this time with one location, two collective actions (one with a longer duration and one that occurs once), one action which is done individually and a common thought.

Second score:

Location: Being on the top floor of a big Eastern bloc looking concrete building (yellow) in

an apartment with Ellaha, which is also at the same time her old apartment in Jægersborggade, Copenhagen

Collective actions: Laying softly on a matress, moss (long duration) and running through a

stage mid concert (once)

Individual actions: person 1) swimming with jellyfish and eels, person 2) spurting, person 3) having something in the respiratory system, dark and rooty, like a polyp with dark roots coming out, person 4) feel the tongue inside your mouth

Thought: Does anything exist outside this moment?

We set the timer for two minutes, and agree to do five minutes of automatic writing, a method popularised by the surrealists, in which one tries to write as fast as possible in order to not consciously affect what one is writing.3

Week 3

Before the Session

On the previous Monday, we tried out having several different categories - places, actions, concepts, colours, sounds, thoughts - within the score, which ended up being a time

consuming and rather complicated way of working. The scores did not produce movement, instead it created screensaver-like scenarios, and having a pre-set duration for the scenes forced a specific and awkward speed to the actions.

Therefor I extracted all the “actions” from the previous week’s pieces of papers, and made a file with a list of them. I hope that concentrating only on the doing, will shift at least a part of the focus from imagining elaborate dreamscapes into movement and moving in space.

Third Studio Session, second try-out of the chance based score

Today, on Monday, we have our third meeting with the working group. We begin this 90-minute session by sharing some dreams from the past week while individually warming up our bodies. After this we gather together around the computer and I present my proposal of working only with the actions, which were introduced on the previous week. These actions are then being placed in an online raffle machine, which randomly picks them up one by one.

The actions fed to the raffle machine are as follows (the ones in bold, are ones that appeared multiple times in the pieces of paper): Getting covered, jumping (really high and light, like I was on the moon), meeting, jumping, running, sprinting (going in spurts),

3 _{André Breton, Manifestos of Surrealism. Translated by Richard Seaver and Helen R. Lane.}

running (through), biting, testing out (the different possibilities), feeling (the tongue inside

your mouth), morphing, carrying, shifting, not controlling, dropping, swimming, sitting, eating, running, floating, holding hands, swimming, exiting (the human body), laying and comparing

The raffle machine will also delete each option from the list, after it has been selected, so only the options which appear several times on the list, have a chance to be drawn several times.

We choose to have the machine draw two actions for every round, then we will execute these actions for the duration of a random song and afterwards we will write down three things each, which come to mind right after finishing the round. We do this procedure four times. The try-outs are being filmed in order to afterwards see what kind of materiality these scores produce.

First pair: Not controlling/almost unnoticeably

(for some reason the machine glitches and adds a random part of my working document into the raffle, and therefore, we end up with “almost unnoticeably”, which is not one of the predetermined options).

shaking - small – introverted - openness - flow – hiding - determination - antiauthoritarian - mischievous - uncanny - hiding in plain sight - secret

Second pair: Jumping really high and light/carrying

air – lounge – hard - fun - space – fast - helping - air – muscles - old - young - sweat

Third pair: Shifting/getting covered (this round finding words felt excruciating challenging, hence only one words per person)

hiding - protecting - digging - heavy

Fourth pair: Testing out (the different possibilities)/sitting

stupid - conservative - friendly - silly – careful – exploratory -football - team – crotch shy touching - sensitive - togetherness

After this we take five minutes in the end for automatic writing. We do not share the writings with each other, instead we place them in an envelope together with the previous week’s writings, to wait for our next session. We also add a new action card with some of the words which were brought up after the score.

Trying-out Active Imagination

It is Wednesday. My readings and internet searches have led me from Freud to surrealism, from there to dada and now I have stumbled into an e-book about Carl Jung’s technique of active imagination.

In active imagination one begins by choosing a starting point, any image, for example one from you dreams. One then concentrates on that image and follows how it begins to unfold and change. One is not supposed to consciously shape it, only observe its slight changes due to associations. After a while one sets themselves into the picture and interacts with the image, in ways such as speaking with the other figures.4 And from here one is to proceed into some medium of self-expression and continue developing their theme.5

I decide to test this formula. For my starting point, I choose to use the dream excerpt from the first week called Swimming with Jellyfish and Eels. I am out of paints, so I grab my partner’s iPad and start to draw on Procreate, a digital illustration app. (picture can be found in the appendix).

It is Friday, I repeat the process of active imagination with a new dream image from the previous week.

org. In Finnish: Matalareunainen lastauslava täys’ maa-ainesta ja lehtiä. Juoksen sen läpi, pienen pienet maapartikkelit tuntuvat ilmalta jalkojeni alla. Saan ihottuman pikku

ötököistä jalkoihini. (translation. A low-edged charging platform is filled with dirt and leaves. I run through it and teeny-tiny dirt-particles feel like air under my feet. I get a rash on my legs from the little bug bites.)

Again, I use Procreate and use drawing as my creative outlet. (picture can be found in the appendix).

On Wednesday, when I first tried out the active imagination, I chose to use visual arts as my form of self-expression instead of dance, not only because I enjoy drawing, but also to see

4 _{Jung, Carl Gustav. “9 On the Nature of Psyche.” and “10 Three letters to Mr. (1947)” in}

Jung on Active Imagination, edited and with an Introduction by Joan Chodorow, 294-301, 302-306. Princeton: Princeton University Press, 1997.

https://www.scribd.com/read/299521534/Jung-on-Active-Imagination, 303.

whether this could be a method for indicating how we should decorate our performance costumes. After my second attempt, I see no reason why active imagination could not be used.

Week 4

Fourth Studio Session

It is Monday, and our working group gathers together again. We begin with a warm up and dream sharing, followed by reading the texts we wrote the previous week. I propose we pick one of them and try to use it as a score for movement material. The one we choose begins as follows: “crawling, feeling, touching, grasping, holding, folding, going, leaving…” We create a five-minute set material together, based on this score.

By the end of the session, we decide to disregard the material we have created today, as it does not feel fruitful. We agree to meet up again on Saturday, to dye our performance costumes.

Costume Shopping and Thoughts

During the week, I search for light coloured cotton clothes to dye. It seems like only plain shirts are available at the thrift stores. A shirt feels too formal. I do not see dreams as formal. Dreams are floaty; it is hard to anticipate what dream you will see, yet they usually do show up. They bring up thoughts you have not actively thought of in years and stitch them together in an unbelievable manner. “They have at their disposal the earliest impressions of our

childhood, and they bring to light details from this period of life, which, again, seem trivial to us, and which in waking life were believed to have been long since forgotten”,6 as Freud puts it. While dreaming, one rarely questions one’s dream-reality. Only after waking up and recalling the dream, one sees the absurdity of the events, and after a moment of pondering why did one dream what one dreamt, one is able to see the connections in-between the dream-events.

The only other option available are Lucia day gowns; long, white, sleeping gown –like clothes with peter pan styled -collars. In this moment, it seems rational to buy these gowns, I am not quite sure why right now, but before I even have the time to question my decisions the store is about to close and I proceed to purchase four adult sized floor length night gowns.

Dyeing

On Saturday, our working group meets up once more. We begin by practicing a simplified variation of active imagination. We all pick one of our dream-images to concentrate on and then proceed to paint with acrylic paints on paper. This will then serve as an inspiration piece, for what we will afterwards dye on the costumes. For some reason one of us decides to, instead of following the proposed task, pick up some textile markers, and draw pictures directly onto their performance gown. I catch myself about to question their actions, but instead of correcting them, I choose to follow the dream-logic and trust that in the end of this process it will all make sense. Maybe what is happening right now, is exactly what is

supposed to happen.

We continue to dye the gowns with textile paints, with the acrylic paintings as sources of inspiration. Again, I get frustrated, when noticing that I cannot control how other people interpret the task, neither can I fully control how the paint decides to spread on the wet cotton. I give up. I give up on trying to control. I do not control the events in my dreams, and I have never had a problem with that, so why would I do so now? I accept, that what comes, comes. I will trust the process.

After several hours of dyeing and chatting in the laundry room, we are done. The colours are outrageously vibrant and I leave the room unsatisfied, since the colours in my dreams are usually much more murky and muted. I try to trust the process, but it is hard not to anticipate to be let-down by the outcome.

Week 5

Fifth Studio Session, and update on the costumes

It is Monday again, and the working group meets up. We begin as usual with dream sharing and warming up, then proceeding to today’s proposal. I have made small cardboard cards with the following tasks on them: swimming inside a storage room, morphing into a feline, running through a stage mid-concert, sprinting in spurts, moving like being on the moon, no control over arms, exiting the human body, feet getting tangled in spider web, small hop and swing, running in water, laying softly on a mattress, holding hands and shy touching then hiding in plain sight then floating. These are all activities, which have appeared in our dreams during the previous weeks. We place the cards in a bag and pick them out in a random order, letting chance determine the course of our future events. After this we place pieces of paper with numbers on them into the bag and repeat the procedure in order to determine how many

people are on stage during each task. Then we do the same once more with papers with the participants’ initials on them, so we know who will be executing the tasks. So, now we have a score set for who should be in the performance space and doing what. We try it out and film it for later viewing. Music is playing on shuffle setting. We have not set a time limit for the try-out. Everything seems to work fine, everyone is pleased with the flow of events and the duration ends up being 13,5 minutes. This is something to keep working with.

I revisit the laundry room, where our dyed gowns rest in the drying cabinet. To my surprise the colours have faded and new darker abstract blotches and stains have appeared. They have this cloud-like quality to them; after staring at them for a while you can see shapes and images, but as soon as they move around, they become a cottony mass of aquarelle-like paintings.

Week 6

Sixth Studio Session, and seating

Another Monday arrives, and our working group gathers. We repeat the exact procedure of chance operation with the cards and end up with a new score. We begin our second try-out; play some random music and hit record on the camera. The new score is as follows: no control over arms, running through a stage mid-concert, holding hands, laying softly on a mattress, feet getting tangled in spider web, sprinting in spurts, jumping high and light like on the moon, exiting the human body, shy touching then hiding in plain sight then floating, running in water, swimming in a storage room, morphing into a feline, small hop and swing. The plan is to afterwards try different music tracks on top of the video, in order to find something that would support the material. Unfortunately, halfway through the score the recording glitches.

We continue to contemplate on where the audience should be seated: what would give the most dream-like experience? Should the audience’s experience have anything to do with dreams? We come to the conclusion that having the audience seated around us along the sides of the performance area, will facilitate every audience member to have a personalised

Week 7

Seventh Studio Session

Monday – it is time for the working group to gather once more. We share dreams from the past week and do our three song warm up. The amount of remembered dreams has increased now that the initial stress about having to recall dreams has faded away. Now instead of recalling dreams as if we were in a desperate need for craft supplies and the supply store closes in five minutes, it is more like browsing at the craft supply store and finding cool stuff without even trying.

We reach into the bag filled with cards, and set them on the floor in an unforeseen order. We also do the two other rounds in order to determine who should be on stage and when. We have a timer set for twenty minutes and music playing on shuffle mode, and place cameras on two sides of the stage so that we can see whether having audience on more than one side has an impact on the performance and how will their experiences differ from each other’s.

After doing a run, we come together and decide to raffle a new score and do the entire procedure again. We have now established a sufficient format for creating the movement score for our performance, and all the content originates from our dreams in one way or another. This feels like a small victory.

We watch the filmed videos simultaneously on separate screens one next to each other. The cameras were placed on opposite sides of the stage, so when one of them had performers facing it, the other camera had a view of their backs. This serves well the purpose of distorting the unified experience of the audience members.

Creating Glimmer

On Thursday, I notice that at some point in the process I had abandoned my original wish to construct scenery. Now that the format for building the score is set, the seating situation of the audience is confirmed and the costumes are done, if minor modification sowings are not taken into account, it is the perfect time to revisit the possibility of building scenery.

I have no craft supplies at hand, and I have already spent my entire project budget on things that I find more important like paying my co-workers a modest salary for all the hours they have put into this project and getting decent costumes, so I take a trip to the recycling room of our housing cooperative. For my surprise, I find one hundred CDs. I pop them out of their cases and get back home with my treasures.

I flick through the papers with our group's old dreams and automatic writings, searching for something I could bring to life with this pile of CDs. “Rays of sun glimmer on the surface of the ocean”, “I am lying in a field of hay. Morning sunshine peeks through the straws as they sway in the wind” and “The tin roofs in Paris reflect light into my eyes, blinding me”. There is a light element in a handful of the writings, so I decide to build a large mobile with CDs dangling from it, which will then be hung from the ceiling. Hopefully it will fragment and reflect the light around the space.

Week 8

Eight Studio Session

Another Monday, another session. We warm up, then draw a new order for the score and get going. After finishing we do another round, this time wearing our performance costumes, which at this point look a bit cult-ish and require some alterations before the performance. Everything goes well, and the feeling of trust towards the performance grows.

Music

For now, we have been using music playing on the shuffle setting as our piece's soundtrack. This means that within the twenty minutes, there have been four to six beginnings and endings, since all tracks have had a similar duration. To break with this, and add variations, I need to mix a track for the actual performance.

I return to our pile of texts and find the following automatic writing written on week 3. It goes as follows:

Eenie meenie miney mo I do not know where to go it feels like I have been here before, I know what happens next to me is a whole other world with creatures appearing and disappearing into a soft pile of earthworms squirming gracefully towards the light from where they have once arrived and dissolving into salt water as the waves wash the shore. I forgot where I came from, but that is the tendency.

I begin to build a multitrack session, using the automatic writing as my score. Eenie meenie miney mo in Finnish is Entten tentten teelika mentten, I type this into the Spotify search bar and find an entire album with tracks named after the children’s riddle. I go to iTunes and purchase the tracks from the artist Tuusannuuskat (Finnish for being broken to bits and pieces), Entten tentten and Teelika mentten.

I do not know where to go it feels like I have been here before, I know what happens next. A few days ago, I had come across a haunting musical piece, by 82-year old Argentinian composer Beatriz Ferreyra, called Echos. The track is made up of recordings of Ferreyra’s late niece singing Latin American Folk songs which have been heavily distorted, looped and layered. It transmits the sensation of shifting from one place to another, and then ending back where you started.

A whole other world, with creatures appearing and disappearing. I have Perpetual Motion via Jungle Transport by Asa Tone saved on our warm up song list, and well is a jungle not a whole other world with creatures appearing and disappearing?

Into a soft pile of earthworms squirming gracefully. I type into the Google search bar different word combinations but end up only finding weird worm videos. I finally type in soft pink music, and find an artist called The Soft Pink Truth, AND THEY HAVE A SONG CALLED Grace. Phew, disaster dodged. The song suits well the once I have already found; it is an electronic, instrumental track filled with ambience.

Towards the light from where they have once arrived and dissolving into salt water as the waves wash the shore. This one was definitely the furthest fetch, but I have had a song called Icarus by White Hinterland on my air-plane playlist for several years now and was reminded of it this Christmas when I flew to see my family. I think the Ancient Greek myth of Icarus flying too close to the sun and getting his wings burnt and then falling into the sea and drowning, is in a way portrayed in the reference line.

I forgot where I came from, but that is the tendency. For this I will be mixing some of the songs to re-enter throughout the piece, as well as, end the performance with the song it begins with as if it would start all over again and one is stuck in an eternal loop.

Week 9

Last Studio Session

We have our final studio session together with the group and decide to set this version of the score, which was now drawn out of the bag, as the version we will perform. We figure out vague ques from the music for when each part should begin and end. Finally, we determine how the exits and entrances should be concluded: whenever someone exits the stage, they first drop what they are doing, in order to not have a lot of energy exit the space, and then walk out of the audience circle. On the other hand, one should enter already performing the task taking place at that time, in order to bring even more energy into the space.

Conclusion

I would like to end by sharing some reflections on the process, and thoughts which have emerged during it.

Since the beginning of this process, I have been struggling with, what parts of the dream am I actually working with, and why? I began by reading Freud’s The Interpretation of Dreams, in which recalling dreams is the first phase in the process of dream interpretation. That was essentially the only part of his theory, which stayed with me. I did not want to unravel any past trauma by purposefully analysing my unconscious mind during this process, especially without the supervision of a professional.

Freud writes that the dreams and their manifest content undergo a system of censorship, which distorts the original dream-wishes, the latent thoughts, the thoughts the dream is actually about, before letting the dream through to the conscious mind. He condensates this theory into: “The dream is the (disguised) fulfilment of a (suppressed, repressed) wish.”7 I think that just interacting with the unconscious mind by giving it the information, that I am in fact tracking the dreams it produces, must have some sort of an effect on what it produces.

Where one could state that using methods, such as the cut-up technique, automatic writing and active imagination are methods to avoiding decision making, I would partly have to agree, but then again, I have made the conscious decision of using these particular methods in this process. I also find it fitting in the spirit of working with dreams as a source material, to minimize conscious decision making, as we do not do that in dreams either.

This process in comparison to other processes I have taken part in, felt pleasant and peaceful. Carlsen, Hedevang and Sievänen were amazing to work with, and having a common goal to try to let go of our need to make sense, and trusting that where we are right now, is exactly where we are supposed to be, made our time together even more pleasurable. It relieved us from anticipating failure and feelings of stress, and instead encouraged us to keep on going from one week to another.

In the future, I hope to resume working with dreams, go more in depth into all that they have to offer, and discover ways in which they can facilitate and companion the creation of art.

Bibliography

Breton, André, Manifestos of Surrealism. Translated by Richard Seaver and Helen R. Lane. Michigan: University of Michigan Press, 1972.

Freud, Sigmund, The Interpretation of Dreams. Translated by A. A. Brill. Hertfordshire: Wordsworth Editions Limited, 1997.

Jung, Carl Gustav. “9 On the Nature of Psyche.” and “10 Three letters to Mr. (1947)” in Jung on Active Imagination, edited and with an Introduction by Joan Chodorow, 294-301, 302-306. Princeton: Princeton University Press, 1997. https://www.scribd.com/read/299521534/Jung-on-Active-Imagination

Tzara, Tristan, Seven Dada Manifestos and Lampisteries. Translated by Barabara Wright. Surrey: Alma Classics, 2013.

Appendix

Swimming with Jellyfish and Eels.

Dirt-particles and bug bites.

The most beautiful city I never visited

A digital art piece created through the process of active imagination. Done as a way to meditate while writing this essay. Based on one of my later dreams.

In my parents’ living room

A digital art piece created through the process of active imagination. Done as a way to meditate while writing this essay. Based on one of my later dreams.