My name is Eden Bloom. I finally and officially came into being last year, in 2023. I have been a creator and have made art my entire life, but I have never been able to truly claim it because it was done in my father’s name; the name I was given at birth. Last year, a judge granted my family’s request to change our names.
The development of this page has been an act of reclaiming and realigning where my creative output is gathered and how it is identified. This is part of my healing from violence and addiction. I’m extremely grateful.
I came from a family of psychopomps, morticians and ministers, who have supported souls in transition between realms. They dealt in transitions, in in-between spaces, and in cutting through illusions. My work strives to carry that forward into meaningful creative and political action, to break spells, to interrupt illusions.
My work has always looked like a ceremony or ritual, because it is. I work with anything that I can find and in any medium that I can get a conversation with the unseen going in or on. In the recording studio or on the stage, I play found objects, guitar and sing. I craft some sounds and songs, but the majority of my work is emergent or comes from a no-mind or gnostic state.
I was and still am deeply influenced by the cut-up method of Brion Gysin as propagated by William S. Burroughs and the films of Kenneth Anger. Their influence has supported my manifestation of emergent powerful ceremonies that serve as both performance and practice, The conversation becomes the creation, the content.
I strive to respect influences, teachers, the people I live with, the spirits of the land we live on and the elemental forces I intuit. My creative life has been deeply anchored in sexual desire, resistance to religious dogma and the interruption of dominant narratives. Race and place are also prominent throughout my work. Raising a ‘white’ family in the largest Black city in the US has made issues that were once distant more personal.
It is vital to note that I work and live in majority Black spaces and tend to focus on anti-Blackness. This said, I recognize and strive to move in solidarity with all those who face oppression here and globally. I’m constantly learning and attempting to develop deeper relations.
We’re living on stolen land and in the context of Detroit’s engineered resurrection, it is land being stolen and resettled again. There is frustration at the left’s ideologically selective response to injustice and there is anger over the rise of fascistic, extractive policies and perspectives. Throughout my work there is an effort to interrupt the rise of authoritarianism and confront white supremacy.