Welcome all scaredy cats!

Brandi Rawluk will be showcasing work at the She Wolf Studio, second floor at 1861 Franklin st, Vancouver.

Brandi (SheWolf) Rawluk was born and resides on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. Brandi is a descendant of mixed settler heritage: Romani (Gypsy), Eastern European, Dutch and British decent. Her art draws inspiration from her ancestors’ journeys and the folklore gathered along the way. Brandi's fascination with the aging body as a conduit for power and magic is expressed through various interdisciplinary art practices. Through working with painting, drawing, tattooing, installation, storytelling, dance and textile media, she explores the darker side of beauty that is rarely exalted.

Brandi is the coordinator and co-creator of the Vancouver Witch Walk (the spooky side of the Culture Crawl). She has exhibited internationally, showcasing work in Canada, Mexico and India. Her installations have been a part of various community events in B.C.: Basecoast Festival, Parade of Lost Souls, Port Coquitlam Mural Festival, and the East Side Culture Crawl. Brandi's art work is known for being highly detailed and drawn from her relationship with witchcraft, feminism, nature and healing. Brandi holds a double Diploma of the Studio and Textile Arts program at Capilano University, as well as studies at Emily Carr University. Brandi has gone onto study Odissi Classical Dance in Rajasthan, India and at the Buhmi Dance Academy in Kingston, UK. Brandi is a graduate of Yogic Theory from VSOH and Sanskrit studies from Yogic Studies through Cambridge.

A visit to the SheWolf studio will have you on a dark visual journey, exploring the occult and navigating the woods where grandmothers and witches rule the landscape. Brandi's work hopes to challenge the viewer’s fear of mortality into a discovery of the deep connection of the aging body to the power of the Universe. It is also Brandi’s quest to smash the patriarchy’s view of the aging woman. Through archetypes, she replaces traditional characters of religious iconography with that of the visage of the Crone (or the Witch). There, the old woman reclaims her role as the center of creation. She is the end goal of the community, not a curse.

Brandi’s process begins with a story, a cultural lore, a connection to plants and elementals, or even just a feeling. That spark is then rendered into form and space, with the intention to send the viewer on an individual journey back to the place of the Creatrix…. which is of course, back to Grandmother’s house.