Death-Wishes, Liars, and a Witch's Coil
Sabrina Scott’s illustration and cogent insight into Kristeva’s Powers of Horror: An Essay on Abjection (1982) and the abject as a theme contains a tornado-like force of expression, tinkering between art and theory as the mind settles in states of demise. The work is reminiscent of how the artist (and the witch by extension) comes to terms with what Alejandra Pizarnik (2010) calls the poetic body, or the dream of death. That is, both the self and human becoming take shape between the bleeding shades and luminous lines of India ink in her illustration. The convex of being and non-being which emerges as subjectivity underlies the central struggle of what the abject is (flourishing in that brittle moment of hope as possibility strikes in a cascading brush line).
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