Autumn rarely arrives all at once. September is more subtle than that. The trees have not necessarily surrendered their leaves, nor has the landscape become the fiery spectacle we now associate with the season. Instead, something happens to the light. Greens become duller. Fields dry into ochre and gold. Shadows lengthen. The same landscape that appeared almost endless in July suddenly seems aware of time. For painters working outdoors in the nineteenth and early twentieth centuries, these changes were not merely seasonal decoration. They were problems of color, atmosphere, light and perception. And for women artists, landscape could offer something else: access to a world beyond the portrait, drawing room and domestic interior to which women were so often culturally associated.

Above Milan, Elisa Seitzinger’s Sole in Virgo brings astrology, tarot, sacred iconography, and contemporary illustration into conversation with the historic Galleria Vittorio Emanuele II.

In our previous issue of Bruja Magazine, we explored the enchanting world of Ana María Gómez López and her project, Serecho a Mano. Through handcrafted sculptures inspired by folklore, memory, and imagination, her work reminds us that art has the power to resurrect wonder in a world that too often forgets how to dream.

Through vibrant color, dimensional mixed media, and symbolic storytelling, Selahmon Risingsun transforms canvas into immersive portals of healing and transformation. Her work explores grief, resilience, spiritual awakening, and the ongoing journey of becoming unbound.

Yule has always been a threshold season. A turning of the wheel where warmth becomes a prayer and the forest becomes a cathedral of shadow and spark. It is a time of lanterns, antlers, evergreen crowns, and the ancient promise that light will return even when the world feels sunless. It is in that sacred in-between where Pamela Salerno’s photography feels most at home.

Article Written by Epifania Arriagada Photographer by Pamela Salerno