You’re walking alone at midnight, across a long, long bridge over still water. Nearby you see the other bridge, well-lit and filled with people, which you always avoid. You’re thinking about the past. Halfway across, you see a shadowy figure in the distance. They walk toward you, and you think about two possibilities: one, they are like you, a curious traveler in the wonderland. Or, they are a threat. They might steal your pearl rosary, or hoist you up and over this chain link fence into the darkness below. There is nowhere to run, and no one to hear you. Your corset is tight and you feel your ribs pushing against the fabric as your heart beats faster.

In the classic Greek mythology of Orpheus and Eurydice, Orpheus descends into hell to save his dead wife, only to kill her again by looking at her. In our version of the story, Eurydice chooses hell.

We explore a post-Orpheus, post-gender Underworld where interpretations of ancient Greek and Catholic mythologies meet at the intersection of Virgil’s Aeneid. A Venn diagram of fanaticism, fate, fear. Afterparty vs afterlife, prey vs predator, friend vs foe, fate vs free will. Fate as a consequence of free will

She is not from here
You are not from here
Existence as a threat assessment
A feeling of dark whimsy