Drawing from personal source material of the mountains in Baluchistan (a region encompassing modern-day Iran, Afghanistan, and Pakistan), the leaning tower of Pisa, and the “haunting cry of trains leaving [the Okanagan Valley]”, Sveva portrays the loss of past realities, the possibilities they held, and the insurmountable distance of time between then and the present.
The human figure, Sveva herself, is left considering the journey to the unknown that her deceased loved ones have taken. It is an image that also appears to beckon the viewer to follow the narrative, as though boarding the train, and join the adventure to the unknown.
As an introduction to the journey that awaits, this work presents the personal, semi-autobiographical form that the series will take. While loosely based on Dante’s The Divine Comedy, Sveva plays with personal interpretations of the work, adding her own influences, memories, philosophies, and entirely new sections that transcend its original structure and portray her own spiritual and intellectual beliefs, much as Dante himself had done with the beliefs of his own time