A Musician’s Creative Hunger

“I’m hungry and I’m going to eat the world, and I think we should all want to eat the world.”

— revengeivy

Hidden in Florida is the musician revengeivy, a genre-defying rapper and songwriter whose creative talents stretch far beyond music. On Cypress Beach, surrounded by the frequent roar of planes flying in and out of Tampa International Airport, revengeivy explained his process—as both an artist and an outcast.

Growing up in Tampa, revengeivy was always drawn to music, spending hours after school listening to new songs and curating playlists. But it wasn’t until a high school assignment forced him to write poetry that he began putting his thoughts on paper. That simple assignment opened the floodgates and led him down the path of musical composition. Soon, he was writing lyrics, and a few months later, he created the works for his first album, D.E.A.D—merging his love for punk with his passion for rap. Each of his albums blends these two genres, along with elements of indie, hip-hop, and alternative music. “I pull inspiration from different genres you couldn’t even tell in the music I make. You couldn’t tell I like Björk or Machine Girl off listening to my music.”

With each album and EP, he has developed new techniques and refined his personal brand. His latest project, Faux Girl (pronounced “fake girl”), builds on that growth and artistic vision. Across his discography, he explores themes like navigating life as a loner, learning to maintain romantic relationships, and overcoming life’s challenges. When asked about the idea of Faux Girl, revengeivy described it as a term he coined to capture the kind of doomed relationships many of us find ourselves in. “To me I see it as the destructive force of a person. I call it Faux Girl, but it truly has no gender identity behind. I think of it as being someone who is very broken as a person, so much so that you tear into other people.” The artist is currently working on a new EP titled Eat me, Agatha, expected to be released on all streaming platforms later this year.

With so many creative outlets and constant content flooding in from around the world, it can be hard for any artist to stay focused. But when asked what grounds him, revengeivy always mentions his connection to those living outside the norm. Florida’s art community is often centered around South Florida, leaving many creatives elsewhere in the state without footholds or support—especially musicians. Growing up as a creative in Tampa, he struggled to fit in and lacked access to the resources needed to build a career. Instead, he taught himself to create his own community and carve out his own opportunities within the city.

While music is what revengeivy is best known for, what makes him stand out is his creative ambidexterity. He not only makes music but also plays guitar, records and edits his own music videos, experiments with photography, and continues to write poetry. One notable project is Dog Days, a short film he co-directed that centers around themes of shifting identities and the contradictory personas each of us carries.

Each of his creative pursuits underscores the thoughts and experiences of people who feel lost in society. But rather than shy away from this, revengeivy leans in. His music stands as a testament to the power of being an outsider. “I think that I instinctively am an outlier in my own life... that’s why I don’t judge my music even if it’s got an edge to it or sounds different. I think it’s who I am.” He views music as a lifeline, a way of processing internal conflict and turning it into something bigger than himself. “There’s certain shit that I struggled and dealt with during certain points in my life that I have ended up creating a project out of… I channel it into my art; that’s my coping mechanism, truthfully.”

Using music as a form of catharsis, revengeivy represents the kind of artist who turns pain into connection. While his goal is to one day achieve the means and success to support his friends and family, his deeper mission is to build a platform for people who see themselves on the outside. By fusing punk, rap, hip-hop, and more, revengeivy doesn’t just blur the boundaries between genres—he creates a space where misfits, loners, and outsiders can feel heard. After listening to his work, one finds not just an artist, but a mirror—reflecting the struggle, complexity, and beauty of those who live beyond the margins.

Widen the Lens: A Night at Nightjar

Ian Jackson

If you attended the Widen the Lens Art Exhibition on May 31st, your first impression might’ve been of the space itself—cozy, unassuming, tucked beside the House of Yin and just down the road from Curia on the Drag. More love nest than gallery, the room set the tone for a powerful evening. Last May, Nightjar hosted what may have been its debut exhibition, a celebration of creative expression from Gainesville’s artists. While many local spaces share a similar mission, what set Widen the Lens apart was its focus on the dynamism, struggle, and humanity of women. Throughout the evening, the room—packed with people from all walks of life—became a tribute to the strength and versatility of those perspectives.

Small groups gathered around standout works like Elmira Yousefi’s You Can’t Just Leave a Mountain Behind, a sculpture featuring an iPad nestled inside a jagged rock. Across its screen, a text exchange played on loop between a mountain and her obsessive admirer. Nearby, Autumn Rose Barksdale’s Notes on Trans Women—a love poem projected on one wall—filled the room with vivid language and emotional force, a reminder of the power in unapologetic expression. The show also introduced new voices, like Alanis Gonzalez, whose Oops I lost my head! Sorry I spilled my guts :( depicted a disemboweled self-portrait, reinforcing the night’s themes of endurance and emotional survival. Pieces by other local artists—including Jessica Clermont, Maxine Worthy, and L.A.-based artist Kait Hartman, along with Puerto Rico-based artist Arlene Morillo—deepened the show’s narrative.

The energy of the evening shifted as the night unfolded. Things began with a performance by Women of Porch Swing, an all-woman trio breathing new life into the songs of Nina Simone and Ella Fitzgerald. Later, the room turned electric with performances by local musicians Fluteity, HelDog, and Madame Rius. By the end of the night, a latecomer might have been surprised to find furniture shoved aside and a makeshift DJ booth assembled for the ever-popular Crisca. More surprising still: the impromptu dance floor, now full of bodies moving freely to the beat. But for those who were there from the start, it felt inevitable—an evening rooted in artistic freedom, ending in unrestrained celebration. What began with wine and soft conversation closed with sweat, laughter, and movement—guests shedding their stress and simply dancing, in gratitude for the artists who made Widen the Lens possible.

Below is a short Q&A with Diana Diaz (@feral_ursa), one of Nightjar’s board members and the curator for Widen the Lens:

Q: What initially inspired you to create the Widen the Lens art exhibition?

A: I am currently a second-year doctoral student with a focus on social justice in education. As I attempted to grapple with the theoretical aspects of the program and find ways to bring them into the world, I realized that art is a powerful vehicle for making sense of current issues and enables us to continue impacting one another in hopes of a better, more just society. More specifically, the latest show, Widen the Lens, was inspired by (decolonial) feminist theory and my own identity as a woman. Both avenues of inspiration emboldened me to create the potential for the community to consider the ways in which women are dynamic as individuals and as a group, as well as how we can reimagine liberation for women on a global scale. I would like to add that women are not the only group deserving of center stage, as we encompass a broad spectrum of gender identities. However, I did not feel it was appropriate to conceptualize a show centering gender identities of which I have no lived experiences. Alternatively, I invite anyone who would like support in curating and conceptualizing a similar show centered on other groups to contact me, and I would be honored to assist them in this endeavor. I think it is crucial that everyone is included, and their voices are heard.

Q: Can you share the story behind Nightjar and your role within the organization?

A: Nightjar’s story began when the board members individually and eventually collectively realized that we needed more community spaces that focused on education, art, and music. We all play supportive roles and lend a hand wherever needed, but I tend to focus on public relations and art curation, and sometimes I am the Nightjar mom. I think of myself as a flexible part of a bigger puzzle, because we all contribute to the space and adhere to the idea that the whole is greater than the sum of our parts.

Q: How did you discover/select the artists featured in the exhibition?

A: I typically scan profiles on social media because I'm chronically online, lol. Additionally, I have fostered connections with artists and educators by attending local events and through my personal project, Good Neighbor GNV. Additionally, my team has its own network of artists, contributing to a vibrant web of creativity. We plan to incorporate other modes of selecting and discovering artists, such as posting open calls for submissions.

Q: In what ways do you see Nightjar influencing the local art scene and the broader

community?

A: Nightjar will aim to contribute to the local art scene by building upon the amazing work that has already been done, such as the efforts put in by Moisturizer Gallery, How Bazar, Portal 4, Squared Wave, Pulp Arts, Music GNV, The Ox, The Sl8, Heartwood, Old Head, and many others. We aim to inspire the broader community by fostering connections and giving a bit of respect to everyone, to keep up the good fight.

Q: Are there any future projects or initiatives you’re currently thinking about/planning?

A: We have many future projects in mind, but as working-class, full-time employees, the ideas tend to simmer in a slow cooker; they will be ready, it just takes some time. However, we plan to incorporate more educational activities, such as one-day workshops, teach-ins, talks, and panels. We also aim to create a multi-purpose, low-cost center for anyone who needs to rent temporary or long-term space for offices or an art studio. Nightjar is also available for various types of events, like birthdays or office parties.  Mostly, we do not want to limit ourselves, because Nightjar is geared towards meeting the community’s needs; we are merely the facilitators, the community is the genius behind it all.

Totem & Taboo: A Solo Show

Ian Jackson

What first strikes you upon entering Totem & Taboo, Nicole Beaufrand’s debut solo show, is a sense of wonder and transformation. Stepping into the GFAA Gallery last month, visitors were greeted by an immersive display, complete with tree branches and crystals suspended from the ceiling, transforming the space into a forested dreamscape. Beaufrand’s paintings lined the walls like spiritual guardians, guiding attendees deeper into this surreal realm. The show, ran from June 11th to 14th, held its opening reception on Friday the 13th—an auspicious date, perfect for a spiritual awakening.

The centerpiece of the show, Ecstatic Dance, stared out at guests with wild abandon, inviting them to question the often-blurred lines between love and lust. When asked about the show’s title, Beaufrand explained that Totem & Taboo represents the singularity between reverence and abhorrence, “The things we, as a society, idolize and keep sacred often converge with the things that repel us." That convergence formed the heartbeat of the exhibit. Each painting explored the human form in its most spiritual state—vibrant bodies rendered in deep reds, brilliant blues, and radiant yellows, each one fully exposed, both literally and emotionally. Scenes of tenderness, eroticism, and exultant movement flowed through the gallery space. And at the center of it all stood Beaufrand herself—radiant, animated, and eager to engage in conversation about her work and process. She gravitates toward the subjects society often finds uncomfortable, one example being the female form. “The fem body is one of those things where people both idolize it and also criticize it and tear it apart,” she noted. In this show, she confronted those contradictions directly, inviting viewers to examine the very things we label as sacred or profane.

Collected over the past several years, the works in Totem & Taboo mark a clear evolution in Beaufrand’s artistic voice. Among the most notable were two paintings from her Purpose of Pain series—Transformation and Compassion—which helped structure the emotional arc of the exhibit. At the front of the gallery, Ecstatic Dance took center stage, framed by branches foraged from the Alachua Trail. The piece depicts woodland spirits circling a fire—both wild and reverent—a fitting visual to unite the show’s themes. It also serves as the representation for Beaufrand’s forthcoming music album, a project she has been developing in parallel with her visual work.

Much of Beaufrand’s time in Gainesville was shaped by her education. Beginning at Santa Fe College before transferring to the University of Florida to pursue a Bachelor of Fine Arts, she used those years to hone her practice and vision. Totem & Taboo marked a culmination of that journey—a launch point into her professional career and a farewell to her chapter as a student. “I feel a closure of a certain stage in my life,” she reflected, already looking ahead to further experiments in painting and music.

For those who missed the show, you can follow Beaufrand’s work and future exhibitions through her Instagram account: @nbeauf. Totem & Taboo marks Nicole Beaufrand’s emergence as a bold and spiritual force in the art world—unafraid to touch the sacred and the profane, and unafraid to make them dance together.