Welcome to part 6 of “Artist Spotlight”, an ongoing blog series recognizing artists from a variety of communities.
The following interview is with SheWolf, our showcase artist from Oct, 2022-Jan, 2023
SheWolf- photo by Amanda Bullick of Brutally Beautiful
SheWolf was born on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations in 1982, and graduated from Capilano University in 2007. She is a graduate of the Studio Art and Textile Arts programs. She has gone on to study Odissi Classical Dance from the Shakti School of Dance in India and the Buhmi Dance Academy in England, as well as Yogic theory from VSOH and Sanskrit studies from Yogic Studies Cambridge. She is of mixed settler heritage, Romani, Eastern European, Dutch-Mongolian and British descent. She draws inspiration from her ancestors’ journeys and the folklore gathered along the way. She is an interdisciplinary artist, working in painting, drawing, tattooing, installation, storytelling, dance and textile media. She has shown work in Vancouver and Mexico, and performed in Canada and India. Her installations have been a part of various community events in B.C., as well as Bass Coast Festival, Parade of Lost Souls and the East Side Culture Crawl in East Vancouver. Her tattoo work is known for being highly detailed and drawn from her relationship with witchcraft, feminism, nature and healing.
Artist Statement: A dive into SheWolf’s work will send you on a visual journey exalting the side of beauty that is rarely celebrated. Exploring the aging body as a vessel and conduit for witchcraft, devotion, and power, transforms the viewer’s fear of mortality into a discovery of the deep connection that can only come with experience and age. It is SheWolf’s quest to smash the patriarchy’s view of the aging woman. Through archetypes, she replaces traditional iconography with that of the visage of the Crone and the Witch. There, the old woman reclaims her role as the centre of creation. She is the end goal of the community, not a curse. We belong to mortality and SheWolf’s work hopes to decorate our fears by celebrating the sensuality of knowledge that follows us to the grave. We must ask ourselves: where is Grandmother in history? What is Her role in Futurism? How do we face our fears of the unknown with skill, grace and softness if we are not connected to the Elder force in everything?
SheWolf’s process begins with a story, a cultural lore, or a feeling. It is then rendered into human form or space, to send the viewer into their own internal and individual journey back to the Creatrix…. which is of course, back to Grandmother’s house.
Artist Spotlight interview:
How did your career as an artist begin and how has it shaped your life/progressed over the years?
“The Rowanwood Godmother”- by SheWolf
Art has always been an integral part of my life. As a child, drawing was used as a pastime to entertain us, and art for me has a general connection with my Romani side of the family. In later years I went on to study art and textile history in University. I worked as a muralist and as a scenic painter for theatre and opera for years. Making the transition from paint to tattooing was a natural process: I wanted to combine my skills as an artist with magic and healing. Art has always been there, spiritually and monetarily. It has literally paid my bills and kept me alive, as well as spiritually grounded. It will probably shape my future as well.
How would you explain the general theme of the paintings in this exhibit?
The paintings in this exhibit are part of an exploration of the role of the Crone Goddess in our human experience. I wanted to exalt the Old Woman (or Witch) to the status of iconographic figure. The Old One is the destiny for all of us, and a destiny we’ve been taught to fear. These paintings are meant to honour Grandmother’s power and celebrate Her role at the centre of creation. Her deep knowledge, and gained sensuality can only come with growing old, and if we fear that process how will we ever gain wisdom and grace? Of course, there’s always an intention to smash the wt patriarchy’s view of aging women (and identifying women), which has permeated dominant culture to be that of something sexists, ageist, racist, ableist, homophobic and miserably uninspired. I want us to remember that the “scary” goddesses are as much a part of our daily lives as the young and sweet ones are. I want everyone represented, I want people to see the full picture of beauty. I also want people to be excited about their own decaying body and view the process as a birthright, not as a curse.
Can you talk about the inspiration behind a few of them? Or a glimpse into your process of bringing these witches to life on your canvas?
“The Cutwife” - by SheWolf
Some of these Crones come directly from mythological archetypes, folklore and culture. Others are based on a feeling, a life stage, or even a plant spirit I am channeling. A painting like “Hecate Phosphorous” is based on Hecate, the hellenistic goddess of witchcraft, and Her less-featured property of being a light bringer and torch bearer. Yet paintings such as “The Cutwife” were born out of the rage I felt over the overturning of Roe vs Wade in the States, and the dismantling of human rights by lawmakers. In those moments, I am reminded that the subjects I paint aren’t just lofty ideals, but represent what has been suppressed and shoved to the side. I work with old photos and images of old folks, but they never come out quite as I expect them to. Much like telling your elders what to do, forcing a Crone to be something I want her to be, never ends well. In that way, I do think these paintings have their own spirit and I’m just the messenger.
Do you identify as a witch?
Yes?? I suppose I am just beginning to label myself as a Witch. It was something others called me before I called myself one. In my mind and heritage, a witch has a role in a community, and although I’ve practiced witchcraft since I was a teen, I’ve only used it recently to serve others. Tattooing is a sort of magic service. I was once told in a coffee grind reading that tattooing was “Chipping away at the woes of people to reveal the imagery underneath. When you remove the burden of others, you are removing your own burden, and that is how real magic works.” Being a Witch for me is about connection. Whether it’s from a person or nature, it’s reading the subtle signs the universe is giving you and doing your best to exist in a symbiotic relationship with it.
Is there a pivotal moment in your life that you embraced your witchyness?
“Mushroom Witch” by SheWolf
I’m trying to remember if there was any specific moment in my life when I was called to witchyness. I practiced witchcraft or earth magic for as long as I can remember, in fact the ability to see ghosts and “smell the dead” runs in my mother’s side of the family. I think there was a series of surreal (or even supernatural) events that took place while I was living in Mexico in my 20’s that sealed the deal. I was forced to adapt to scary situations I couldn’t explain and embrace that part of me that was at home with the unknown. I’ve always been in love with the spooky and gothic.
What was it like for you to come out of the 'broom closet'?
For me, it’s never been about coming out of the broom closet. I sometimes feel that witchcraft shines best in the secret practices of Aunties and most alive within the hearth of the home. It’s most effective secretly serving the community on the underside. For me, being a witch is subtle and I’m not convinced we’re meant to dominate the dialogue of the world. Every witch should have their own intimate practice, and whether or not you want to shout it out loud and proud should be up to the individual. Claiming yourself as a “Witch” is not an integral part of witchcraft. Witchcraft, pan continentally, is the service that people come home to when life gets too much to handle. It’s the practice that fills the gaping holes that mainstream culture and religion cannot. There’s a lot of harm that can be done (primarily by white folks) who preemptively call themselves witches and then use it as a shield when culturally appropriating or refusing to do better. Witch culture is meant to welcome the outcasts and be there for everyone, and it should also be ready to smash broom sticks over the heads of the ignorant when called upon. More folks should embrace their Witch, but they should understand what it means to be one first.
Do you have any specific goals as an artist?
I feel lucky to be doing what I love, and want to continue learning and growing as an artist and witch. I am currently working on a Crone Oracle Deck project that will take a few years of research, painting and collaborations to complete! My hope is to create a deck that can speak to everyone’s experience and either transport you back to Grandmother’s house or scare the daylights out of you. I work out of the Makehaus studio building in East Van and it’s been a great home base for art production, community and research.
The grand opening of SheWolf’s art can be viewed at our next Art Social event on Oct 28, 2022.
Join us for this exhibit/market/short film screening in association with Witches of Vancouver.
See more of SheWolf on instagram @shewolftattoo and at www.shewolftattoo.com