Welcome, Sarah Salcedo, artist of “A Witch, a Wakening” in The Future Fire #68, to our micro-interviews series!
TFF: How did you go about illustrating “A Witch, a Wakening”?
Sarah Salcedo: I read the story and thought about the kind of cabins I tend to see while hiking: the type of forgotten home that seems always on the verge of being reclaimed by the woods. I dream about those from time to time, and it seemed a fitting image for the piece.
TFF: Have you ever tried to paint or write one of your own dreams?
SS: I haven’t ever tried to draw a dream, but I have written many of them down. Especially the surreal ones. They're fun to chase, to try and stay creatively in that liminal space between a critical waking mind and the abstract freedom that dreams afford.
TFF: If you could shut down the power so we all just have to stare at the night, would you?
SS: Probably not, but I’d definitely like to write a story about someone who would and the consequences that would follow, but for better and worse.
TFF: Tell us about an artist whose work you're particularly enjoying at the moment?
SS: A visual artist I love, not only in the moment but for always, is Anselm Kiefer. His work has been amongst my favorite since I was really young and I'm excited to see the newest documentary featuring his work by Wim Wenders. I've also been revisiting Jean Giraud aka Mœbius’s The World of Edena lately, another artist I find constantly inspiring.
Aside from those two, a new artist I’m absolutely in love with is Dianna Settles. Her work is vibrant not only with color but collectivism. Her work makes me feel deeply about community, and finding joy in these uncertain times. I cannot state how big a fan I am of hers.
TFF: What is your favourite example of hopeful, cosy or low-stakes SFF or horror?
SS: I haven't read anything cosy or low-stakes in a while, but a friend just lent me Legends & Lattes by Travis Baldree and pitched to me as exactly that.
TFF: What else are you working on now?
SS: I am currently in the midst of two documentaries, a screenplay, and preparing to send my novel out to friends and colleagues for one final revision pass before it goes on submission. I miss short fiction, though (the work that initially brought me to the digital pages of The Future Fire) and hope that this year I get to focus more on that. The last year has just been devoted to lengthy works, and there isn’t an end to that, but I'm eager to carve out some time for the more dreamlike prose you get to play with when you're working in shorter forms.
Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/01/new-issue-202468.html.
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