My interpretation of the death of mother nature is brought to life through the tension in the colour palette, painting her final, tormented, breath. Through this darkness, and malice, surrounded by a harrowing void, comes the inevitability of life in the great abyss.
When I first came across Journey 1, I felt this deep loneliness in the work—it brought with it a sense of hopelessness, exhaustion, and torment. The reds in the piece really show the struggle, while the greens carry this innocence that I really connected with. I tried to bring that out through the viola's character and the solos of the violin and cello. What really spoke to me about this work were the philosophical undertones I picked up on—the idea that there's beauty in the inevitability of death and how it shapes the world you leave behind. It made me think about how, depending on how true you were to your life's purpose and the choices you made, your wisdom and teachings can be something you pass on to the people you care about. That’s a comforting thought. And in the very last bar of music, after all the lamenting, agitation, struggle, and enduring, there’s a kind of peace in the stillness.