BLOOD OF AURORA

losing control of the canvas, children in the studio as part of the process, the sexual mother as a “taboo” subject, refinding sexuality and femininity inside a fourteen-year marriage, the mother archetype as the dominatrix

”controlled pleasure” as its own kind of freedom, the snack tin as unlabeled meditation, farmer’s markets as a way back into your body, hunger vs. craving vs. what your body is actually asking for and why “erotic aliveness” might just mean noticing :::: with anastasia aka snack tin queen– the woman and yoga teacher behind the viral tin ritual.

Lucy shares her very first artist book titled Field Notes in the Vortex, talks about desensitization+displacement+identity, flirtation with landscape, what it means to listen to a body that isn’t yours and why the most commanding presence in the room might be the one asking you to let go.Find her work at lucymuli.studio and on Instagram @lucy_mu_li..✦ ݁ BLOOD OF AURORA is our bi-weekly audio series hosted by Hungarian artist Dóri Varga, featuring raw conversations with women from the creative field on sex, motherhood, creativity, relationship and transformation. ✦ ݁˖

In this conversation, Danielle and Dori talk about the art of identity shifting, what postpartum isolation opened up creatively, the sacred rituals she has witnessed backstage, and why she believes intensity is a green flag.Danielle Fitzgerald is a documentary and portrait photographer, social worker, mother and the creator of Venus 8 — a long-term collaborative project documenting the humanity, multiplicity and inner lives of erotic dancers. Made over four years inside the locker rooms and late nights of the club, her work resists voyeurism entirely.

Observing the gaze, the subconscious in creative work, writing as exposure of the self and the radical act of bringing more mother into everything.Madeleine Morlet is a British-American photographer, writer and mother of two, whose long-term, research-led practice explores the limits of what images can hold. Her work asks hard questions about how we see and who gets to look. Introducing her recent project The Body Is Not a Thing, Madeleine found herself “being confronted by the enduring influence of the male gaze.”