Eyes Wide

Eyes Wide
Eyes Wide

Eyes Wide is a community exploration in what it means to live consciously and free.

Episodes

  1. The Elusive Symbolism of Dreams & Death—Julius Töyrylä

    28/04/2022

    The Elusive Symbolism of Dreams & Death—Julius Töyrylä

    Listen above, on Spotify or Apple Podcasts. Transcript: I’m Alexa Ashley and this is Eyes Wide. In this episode we hear from artist and photographer Julius Töyrylä, who has been recording his dreams since he can remember. In 2018, he woke up from a particularly meaningful dream, remembering two words he didn’t understand. He inquired with linguistic professor Michelle Black and learned that the words were from an Indigenous language spoken in the Andes region, and also in his birthplace of Colombia, from where he was adopted to Finland. The language is called Quechua. When he was five years old he was told by his Finnish parents about a birth sister who passed away before he was born. The incident left him with an eerie feeling about someone, somewhere, invisible.  In his latest photography project Black Book, Julius reshapes and analyzes his dreams with the medium of photography. His photos often contain a woman figure, usually without a face, and objects from nature depicted in a twisted and surreal kind of way. After viewing his exhibition at Taller Sangfer in Oaxaca City, Mexico, I sat down with Julius to explore the elusive symbolism of dreams and death. Alexa Ashley: To start, tell me a little bit about growing up as you. Julius Töyrylä: Oh, that’s a good question. We’re going hard from the beginning I guess. Damn. I was really lonely because I was an only child. And you were in the exhibition and saw some of the works there. So there was the picture of the woman sitting and she has the light in front of her face. There’s a story behind it, close to my life also. Do you want to hear it? Alexa: Please. Julius: Do you want the short version or the longer version? Alexa: Whatever you’re willing to give me, Dear. Julius: I want to give you the longer one. Ok, let’s go. Before I was in our family of now three people, I had a sister. But she unfortunately passed away after birth.  Alexa: I’m sorry.  Julius: Yeah, I know. And then I was adopted from Colombia to a Finnish family. And they told me a story when I was like five years old or something like that. But I’ve always had this strange feeling that there should be someone there, and there’s nobody. But also a feeling of like something similar, like the feeling that you have a sister but you don’t. Hard thing to explain; but anyway.  A few years back from here, we were on vacation, my family. In Spain. And I was just looking at the sea. And then, this strange dreamlike feeling came over me for some reason, and it started to get dark. It was like a perfect moment in a way. And then I looked at the sea and I looked at how it waved, back and forth, and I got this feeling that now is the time to remember her. Her name is Paula. And I was like, “Hm, what can I do now to really remember her?” Not just a memory but something else in a way. And I didn’t have my camera with me, so I was like, “Maybe I do an act or something.”  So, then I decided, as it got dark, I saw the stars. I thought, “Let’s be romantic.” And I looked at the sky and I was like, “I’ll go under the brightest star and I’ll get something from the ground.” Memorabilia or an amulet or something from that moment, because it was so strong. Then I started to walk, like five kilometers away. Then I got to the spot, I was looking up and was like “This is it.” It was like a beach, a rocky beach.  And so I put my hand down and got something from the ground. It was like a little stone. But what is strange to me at least is that the stone was a little heart-shaped. I’m not making this up! It felt like it had a lot of emotion. It was a green one. I got it back to Finland. It was 2019, so I started working with this project “Black Book” in 2018, so just a year later this happened. And so I went to Finland and thought, “Now I have the rock in my bag, incorporate that into my work.”  In my exhibition, the woman with the light in her face but also the rock. I also made the portrait of my friend back in Finland. And the reason for the light, for not seeing the model’s face is because some of my dreams are really abstract. And there’s these really strong dreams that have this—it’s hard to explain—but a strong feeling behind them. And in those dreams there’s a woman figure—for some reason, she never has a face. So that’s the reason behind that series of photos.  I also brought that stone with me there. So it’s in the corner of the exhibition there. That’s the story behind that picture and also what it was like growing up, because I always had that thought in my head. I had never done any acts towards it. Just now, when I’m grown up, I’ve started to make art from the personal stuff.  Ugh, that was so hard to explain, but I did it! Thanks for asking; we’re going personal straight away. Alexa: So, you were told when you were five about your sister? You said you had the feeling like there should have been someone there. Did you have that before you were five, if you can remember? Julius: I guess between five and seven, for some reason, because those are the ages when I remember little glimpses of life. I guess everybody has that first memory. The first memory when you became conscious in a way. I guess you have had one of those also, haven’t you? Do you remember? So I guess my first memory was from seven years old, but I remember because my mom and dad told me that when I was five. But I guess I started to think about it when I was seven, because I don’t remember things before that. Alexa: And this was your adoptive family who told you about your sister? Julius: It was my Finnish family. So my adopted thing was—I was given away by my biological family. Not an orphanage spot, but kind of like that, like a child group home. And I got some papers with it—for example, the reason and stuff like that, which shortly said that the family in Colombia didn’t have the resources or finances, they couldn’t have just one more child. They decided to go adoption. But I have a picture of my mom, and the most amazing thing is she looks exactly like me. The photo is so cool because it’s like a bad photocopy, but it looks just like me, straight up. Yeah, it’s fun.  Alexa: Were you told at the same time that you were adopted that you had a sister, or were they different times? Julius: I can’t remember. It feels like the adoption thing, it feels like a traumatic thing in a way, because it’s so different from everyone else’s lives, at least back in Finland. So I guess it has stuck to me more than with my sister. I also had this natural feeling towards death. I have always thought about death in a certain way, from when I was a small child. And I’m not sure if it’s something to do with a traumatic perception of that adoption.  For example, I was really close to my grand-grandmother, and when she died I remember really vividly that funeral because everyone was crying, but I didn’t cry. And it’s just a child thing that I didn’t know what was going on. Being honest, I remember I knew what was going on. I knew she was gone forever, but somehow it didn’t affect me in that way that I would cry.  In a way I was kind of happy for her. And it’s really strange because I was so young. Like seven, eight years old at that time. But that thing has followed me into adulthood also.  Alexa: Sometimes I feel like people have a natural ability to feel closer to people or things after they’ve passed. Do you feel that? Julius: Yeah I think I do feel that. That’s a good way of putting it, that is. I’m not sure if it comes naturally to people, but it feels like it comes naturally to me. And I’ve always made imaginary stories in my head, like what happens to my ghost when I die, and stuff like that, from a young age. So I guess every child has a vivid imaginary world, but that was my world. Filled with dead loved ones, in a way. Sounds like I’m a really morbid person. Death! From the darkness of Finland, you know? “Every child has a vivid imaginary world, but that was my world. Filled with dead loved ones.” —Julius Töyrylä Alexa: I kind of see a similarity between your latest explorations in dreams and death. It’s seemingly a state that is just as real as this one, at least it feels that way when we’re there. Do you feel that resonance between dreams and death? Julius: Yes I do. There’s an anecdote from—I can’t remember the book right now—that when a person goes to sleep, they die in a way. They enter another realm of the human psyche—you could say it that way. And I have had that same feeling. And I was a really anxious kid, and anxious to this day. I have also had this anxious feeling when I close my eyes because it’s not static, I always see something going on. For some reason, from a young age, that was really important to me.  Alexa: What do you see? Julius: I see these little—I call them particles or something—but particles of different colors and they just move in different ways. And sometimes I have the sensation of smoke, of smoke coming to me

  2. 11/03/2021

    Gender Expression as Art—Elliott Rae

    Listen above, on Spotify or Apple Podcasts. Transcript: Alexa Ashley: This is Alexa Ashley with Eyes Wide. In January of 2020, I got to sit down with makeup artist, model, and designer, Elliott Rae Stone, to talk about technicality and gender expression as art. Elliott Ray Stone: I was a very curious child. I did ask a lot of questions and I still do ask a lot of questions. I think then I just didn't know what questions to ask. I would ask questions and not really be able to get any answers because nobody really knew how to answer the questions that I was asking, because they were very nonspecific. They weren't questions that necessarily had answers. And so now I know how to ask a question. I do remember I was one of those kids, I'd go play outside and make mud pies and we had animals. And so we would run around with our dogs and do sports, that's what I remember from being a kid. As I got into being probably like 10 and 11, my mom was actually a Creative Memories—I forget what they're called—but the ones who sell the supplies for scrapbooking. So I actually really got into scrapbooking for a while because my mom had all the supplies and I was like, I want to do that. It's fun shapes and colors and pictures. And I got to use little cutters and stamps and stickers. And I do remember my grandma used to host card-making parties where you would do embossing and you get to play with glitter and felt tip pens. I do remember being interested in wanting to participate in a lot of that, but I wasn't necessarily ever given the opportunity to participate because it was all the adults. I didn't start doing art until closer to middle school, high school. I was president of the tech club at school. And I was on the board of directors for the art club in high school. But when I was really, really young, it was all about sports and learning. So I was playing soccer and I was doing school and AP classes and extracurriculars and it wasn't until I got to college that I actually started exploring the creative side of my brain. Because I started school as a chemistry major, anticipating doing science the rest of my life. And I didn't know what kind of science I just knew that was what I was going to go to school for. And then after a year I was like, I just don't love it. I don't feel passion for it. I don't really want to do it anymore. And so I actually changed my major without telling my family. I was working at school over the summer and I was just thinking a lot about what I liked about the science program and what I didn't, and it ultimately came down to, I didn't love the math, I didn't love the actual science. I loved the visual reality of science. So when we were doing the reactions and we got to make things change color in the test tubes by adding different chemicals or when we got to light something on fire and it grew, or it had a blue flame or a purple flame, like that's what I loved. And then I realized that design was something that kind of mixed the technical with the art. So it took me a couple of tries to get there. First I thought maybe I'll do English or maybe I'll do writing. I didn't have any clue. So I was just taking my common core curriculum. And then I think I took, I want to say it was either an art history class or like a sculpture class. And once I took that class, I was like, this is what I want to do. I like the technicality and I like the art. Then I realized that a lot of the technical things that I was doing as a kid were artistic. It just didn't feel like it because of the mentality that I had had, because when I was president of the tech club, I was doing web design. We were learning coding and so I was doing a lot with color and color theory and yes, I was doing it in a programming language, but I was creating art essentially. And we would do little video games in flash or like it was basically a multimedia course. So we would do little things here and there. And I was in a pottery class. So it shouldn't have been a surprise to my family because half of my family are artists. My mom's side of the family, her sister's husband is a designer and a 3d artist. Her brother is a graphic designer. My dad's mom is a painter. It's not too far off from the rest of my family. It's just that wasn't a part of our culture growing up because my dad was in technology. So that's like what we assumed we all were going to do. And then now as an adult, I realize how much more art can be. So drag is a crazy art form. And so, I've done drag a couple of times just to kind of have fun with expression and honestly gender is art. And so even experimenting with how I present in gender has been really awesome to explore in the concept of art and what I can do with clothing and fashion and makeup and hair. I feel like honestly art can be anything that elicits a reaction out of another person. There's so much, I've been watching Glow Up on Netflix, which is a makeup artistry show. And one of the things that they talk about is, it makes us have different opinions, it's art, because it makes us have different opinions about it. And so I thought that was really cool. Gender and the exploration of gender has been around since the dawn of time. There have always been people who don't feel like they fit into the construct of gender. And that's proven with Native American two-spirit people, they literally have a word for it. And that was before colonizers came over and created the Americas. So I definitely do get a lot of heteronormative CIS people who are shocked or confused. And I think it's just because they don't necessarily understand the scope. They don't understand that kind of the lack of a binary. That's all they know life is, like black and white, man and woman, fire and ice. There's two opposite and opposing things. They don't realize it's on a spectrum and there's a lot in the middle too, and a lot on either side. So drag is an expression of hyper-femininity, and that's kind of why drag exists. This was an exploration of that. And then you have drag kings who are the opposite side of the spectrum, which is an exploration of hyper-masculinity. But then you also have men and women, and then you have kind of everything in between where as an assigned male at birth who leans towards a lot of traditionally more feminine things, I never fit into one or the other. I was always kind of somewhere in the middle. So the fact that I've been able to explore that and kind of interact with people in that way has been a lot, there've been definitely some instances where I'm afraid and then there are some instances where I feel really free. Now it's gotten to the point of kind of just being comfortable. So if I'm going out and I haven't shaved and I'm not wearing makeup but I want to wear a pair of heels and a dress, I don't feel weird because I used to feel like I had to present as feminine or masculine. Like those are the only two options, but surrounding myself with people who kind of break those norms has kind of allowed me to be comfortable and expressing that. So now I'm like, I kind of just do whatever the fuck I want. If I feel super feminine one day with my body, but not my face. I'm fine with that. If I want to just be scrubbing it in like a pair of sweats and a sweatshirt, but go full glam, I'll do that too. I think honestly, I kind of get joy now out of eliciting a reaction from people in whatever way it is, whether it's confused or excited or angry, because it starts a dialogue, it starts a conversation about it. I'm very passionate about helping people understand the dynamic of gender. When I'm wearing four-inch stilettos— because I'm already 6 feet tall—so when I wear stilettos I'm 6,4. So I'm this very, very tall, thin person walking around in the city and people are like, who's that? What's going on? Is something happening? But more so than anything, I think the biggest joy I experience when I present as more feminine or as confusing to people, is little kids. My favorite thing is when little kids come up and ask me, like, “are you a boy or a girl?” And I can have that conversation and say, neither, I don't feel one way or the other, or when a kid will ask their parents, and then it forces that parent to have that conversation. I've gotten to overhear some really, really nice conversations. There's been some that aren't so nice, but I've gotten to kind of hear the goodness of people through how parents explain to their kids the openness of gender. There was one conversation in particular. I was at work and I was wearing a dress and heels and makeup and this little kid asked their parent what gender I was essentially. And then the parent was like, why don't you go ask? So then th

  3. 22/01/2021

    Dyesha Belhumeur—Defying Stereotypes & Living Undefined

    Listen above, on Spotify or Apple Podcasts. Transcript: ALEXA ASHLEY: This is Alexa Ashley with Eyes Wide. In this conversation, I get to sit down with Dyesha Belhumeur to talk about her experience growing up as a gay black woman in America, and how she's found confidence in her identity, despite societal barriers and is working to give others the same. Dyesha is a graduate from the University Of Washington's foster school of business, and is the founder of Undefined, a clothing line designed to encourage the black community, people of color, members of the LGBTQ community and women to live outside of the box society has placed them in and empower those who wear it to express the most important aspects of their identity, culture, and beliefs. ALEXA ASHLEY: What was it like growing up as Dyesha Belhumeur? DYESHA BELHUMEUR: Well, I was born in Harlan, Oregon to a single parent. And shortly after that, we moved to Federal Way, Washington, where I lived for 13 years. I went to Federal Way High School which is one of the most diverse public school systems in the nation. So I was always a part of this melting pot culture and then I went on to college at the University Of Washington and went for a business degree with the foster school of business. The feel of growing up for me, it was always very family-oriented. I grew up with actually a lot of my cousins, very close cousins that were more like my brothers growing up and then childhood friends that I grew up with became close to me, close enough for me to call them my cousins. As much as I liked to play and enjoy the same things that other children did, I also had to grow up a lot faster. Being the child of a single parent and being an African-American woman, all of those just meant that I had to grow up a lot faster than a lot of my other counterparts. Things like learning how to take care of yourself as soon as you get off from school, being able to walk yourself home from the bus stop knowing that you have to do your homework and be able to cook yourself a snack and do all those things before you're able to go outside, which could mean that you're doing all those things before your mom even gets home. Learning how to prep dinner at a young age that it's easier for your mom to be able to make dinner when she comes home. Just learning how to take a lot more of an active role in the household at a very young age. Growing up as Dyesha was, I think it was fun, but it was also knowing that you had to have a lot more of an adult-like life. So when I was younger, being raised by my mom, she really didn't raise me trying to teach me the differences of black and white. I wasn't raised automatically from kindergarten up just knowing that I was different because of the color of my skin. And so the realizing point that I noticed, like, okay, I'm different was that point when I actually looked up the definitions of white and black and in the dictionary. And part of that was because it was black history month at my school and like every other elementary school you learn about the Civil Rights Movement and Martin Luther King Jr. and Rosa parks. Being an African American child, I think a lot of teachers don't really realize that maybe as a child, you don't really realize that you're African-American. And so there came a point where it was kind of like them asking, like, “what was your take? How do you think it would feel to be this color during that time?” And I felt like they kind of had a habit of asking people of color that question rather than just anybody and everybody, because at that age you really don't know. I kind of looked at it like, why are you asking me this question? You know, why am I supposed to know the answer to that question? And so I went home, and I had this conversation with my mom about what is black, what is white? What do these things actually mean? And what does it mean for me to be black? And that's when I actually looked that up in the dictionary and I actually still own that dictionary to this day, the Webster's dictionary. I can remember what my room looked like when I looked it up. I can remember exactly where I was sitting when I looked at that in the dictionary. And at that age as a child, I think that really, I just knew what I processed at that time...it was one, I was different and two, that my difference was looked down upon. It wasn't something that was good and so from that point, that's how I started to move through life was just understanding that I'm looked down upon generally, because I have this color skin because I am labeled as a black person—as being black. And so knowing that, it just changed the way that I navigated through the world. I think it almost kind of like removed my innocence as a child because it's like, as a child, you have an innocent happiness about you and I think that it kind of just removed that innocence and it was like, at that point I had to be automatically conscious of everything I did. Because I had to understand what story that told to other people out in the public eye. I think really from that point it's almost like in my mind, there was just a dichotomy, you know, like there were only two worlds. There was the white world, there was the black world. And if you didn't fall into the white world, you automatically fell into the black world. If you didn't fall into the black world, you automatically fell into the white world. So there was no way to kind of straddle in between. So was that just kind of the lens that I looked at everything through. So for me, everything was either a black or white issue at that point. So I looked at economics, like how much money do you have? At least what does it look like you have based on your appearance, you know? And so I started to kind of figure out, okay, generally, you know, those who are labeled as white and dress, maybe a little bit better, have less hand-me-downs, have cleaner clothes, but then those who are black, maybe not so much, you know? And so I think I just started to move through life, really labeling things as, if it was white, it meant this. And if it was black, it meant this. And then as I got older, I started to see those things in education. You see white school districts versus African-American or people of color or minority school districts, and you see how things are treated differently. You see the differences and the amount of money that's granted to each of those schools. You see differences in the conditions of their gyms, in the conditions of their schools, in the people that actually go to those schools. So I think from that point, it automatically changed the way that I was even able to view the world. So I automatically started looking at everything through the lens: what is black and what is white? ALEXA ASHLEY: It seems like you move fast when you want to do something like start Undefined. Where does your drive come? DYESHA BELHUMEUR: I think for me, really it was my mom. I saw the way that my mom struggled being a single parent, getting no help from what should have been my father. And you know that caused her to have to drop out of college cause she got pregnant with me while being in college. And I saw just the way that all of that really just affected her, going forward, affected her ability to raise me. It affected her ability to be as present as she would have liked to be in my life. Because you have to sacrifice making money or being a whole part of your child's life when you're a single parent, putting food on the table or being present at a basketball game. So you've got those two weights. And so I think that really what it came down to was it's like, I'm not doing this really for myself, I'm doing it for my mom. I'm doing it so that when she hits 60 years old, she's not worried...when I was told growing up that I should be retired by 65 years old. And realistically, that's just not a retiring age now. And so really my drive came from feeling like I needed to be that counterpart for my mom because she didn't have that. So I think for other people who are looking for a drive it's really just finding your why, like, why is it that you get up and do what you do every morning? Because I think if it's just to make money, that's not going to be a big enough reason why, and you're never going to really have the drive to really do what you want to do. Your reason has to go a lot beyond that. For my reason, it's to make sure that my mom is taken care of and she doesn't have to want. It's to make sure that my grandma's able to go comfortably because at the age that she's at, it's only a matter of time before she reaches that point. And there's so many things that she still hasn't seen as an 80-year-old African American woman who went through the Civil Rights Movement who actually fought in a court of law for her equal rights to be able to live in an apartment complex when a white man refused to rent to her and my grandfather, who was white...I have a purpose that's a lot bigger than me. I feel like I'm striving also, not just to put myself into a position of success, but also to help bring other people who are African-American, who are people of color, who are LGBTQ, who are from marginalized minority communities and help bring them over the fence so that they can do the same thing. Because if we don't have enough of us who are willing to help each other get a leg up then we're going to continue to just struggle as whole groups. Throughout the rest of our lives. So I think it's really just about finding a why and finding a reason or a purpose tha

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Eyes Wide is a community exploration in what it means to live consciously and free.

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