Murky Waters, 2020

5' x 30", oil on wood panel, acrylic on plastic sheet and insulation board displayed on ground,  

Eden uses a metaphor to describe their gender dysphoria as the monster hidden underneath murky water. The to life scale of the painting is displayed as three painted layers stack on top of one another, the oil painting of the body, the suspended plastic sheet with acrylic bubbles painted onto it, and then the painted wooden frame, all set on the floor. This presentation forces the viewer to look down at the painting and is intended to leave the impression of invading on a vulnerable moment the figure is experiencing. 

Abscission, 2019

24x30", oil on wood panel

This oil painting is a manifestation Rafuse puts out for the purpose of self understanding and acceptance.The still life painting is painted overtop masked lettering. The letters are a note written to Rafuse at a young age. The letter is in regards to Rafuse's expressed concerns of gender dysphoria before they had the language to express it. The green journal beneath the crystals features a majority of Rafuse's questioning and confusion of gender and sexuality as well as navigating emotionally abusive relationships. Each of the crystals have significant meaning: amethyst, smokey quartz and rose quartz. The dried and dyed rose with removed thorns representing a past attempt to alter themselves for the sake of someone else.

Pantone 1, 2018

12X12", acrylic on wood panel

Instagram Pantone Project. In reducing one of their instagram images to a singular pixel, Rafuse minimizes the images to a singular aesthetic. This reduction is taken further as caption is taken into account. An oscilloscope is used to turn the lyrics on the post into a tangible image. Each of these steps are then combined into a final painting. Rafuse analysis social media culture, criticizing the instant gratification and the value of aesthetic verses authentic representation. 

Be Mine, 2016

Acrylic on stretched canvas, 24x36"

“Be Mine”, an acrylic painting in response to Canada 150. Originally inspired by conversation hearts, Rafuse was deterred by the phrase “be mine” as is was a declaration of possession rather than respect. This phrase was then linked to Western Ideologies of property. Land, children and wives being part of a man's property. Rafuse attempts to confront these ideas of ownership and challenge Canadians in their acknowledgment to the colonial claiming of land. 

Left Unturned, 2019

4X4', Acrylic on stretched canvas

Based off the wiccan ideology of autumn being the time to reflect on your past and recognize what is no longer serving ones present. Rafuse creates a series of wreaths and out of willow branches and crochet's them together with yellow yarn. During the painting process Rafuse reflects on a difficult situation from their past with each individual leaf painted. The leaves left unturned are representations of parts of their past they're not ready to face yet, or perhaps not fully able to let go of.

Repossession, 2019

20x30". Acrylic on wood panel

Painting displays the narrative of a pirate who sent their life pillaging and plundering the sea, to try to gain fortunes and their fate, as their skull now lays at the bottom of the sea now reclaimed into it's ecosystem. 

Sparrow, 2014

acrylic on wood panel, 6x6"

An acrylic painting of the camp Rafuse attended, which evokes a specific type of belonging. The painting is small enough that it can be easily carried around. This is based off of the practice that many of the campers would bring photos of their families and houses to keep them from getting homesick. Rafuse found themselves often missing their camp, and so humorously reverses a practice to illustrate similar feelings.

Cycles 1, 2017. 12x12". Acrylic on canvas pasted to wooden panels.

Cycles 2, 2017. 12x12". Acrylic on canvas pasted to wooden panels

Cycles 3, 2017

12x12", acrylic on canvas pasted to wood panel.