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AT FIRST, when Aspen stormed out of her bedroom, insisting that Stiles did not follow her—she wasn't all that sure of where she was headed. She knew she just needed to prove that the men in the masks were real—for her own sanity, she had to know they were real and that she didn't just imagine their existence.
And then she started to think, where to go, what to look for. One thing led to another and now she found herself standing in the middle of a deceased girl's bedroom with a heavy feeling in her heart.
Tracy's room was taped up with yellow crime-scene tape everywhere. Around the bed, the door, her drawers and her desk. But that's not what drew Aspen's attention the most. What Aspen couldn't stop staring at—were the drawings all over the walls. Some of them were beautiful, naturalistic coloured drawings of things like flowers and butterflies, they brought a weak smile to Aspen's lips as she just admired the beauty within the nature.
But some of the other drawings—were dark. Not an ounce of colour, harsh strong lines of black chalk and ink. Some of the pieces of art were almost disturbing— ghost like faces, demonic symbols hidden within the art. Aspen was fascinated by the two contrasting subject matters—how Tracy could create art that was so dainty, bright and beautiful— but also produce drawings as disturbing and dark as the ones in front of her right now.
Aspen was fascinated— because she understood it.
The bright, beautiful flowers and butterflies—that's what everyone wants to see. Those are the kind of things that make people smile, they don't make anyone uncomfortable when they look at it. It's the impression that humans want to be perceived like by those around them. It's more of an empty shell of a person's soul, than the soul itself.
But the dark, disturbing, blackened drawings of the demons and monsters—that's what makes people uncomfortable. People don't want to look at things that bring them that kind of feeling, which means that often the beauty in those kinds of art can be dismissed and ignored, all because no one bothers to look further, past and beyond the disturbing exterior.
Tracy's drawings represented pure chaos. It's what had caught Aspen's eye—the sheer chaos that must have went into them. Aspen began to wonder what Tracy was thinking of when she made these drawings, whether it was a similar feeling that Aspen got by looking at them. The pretty flowers, the colourful butterflies—that's how Aspen wanted to be seen. She wanted people to feel comfortable at the sight of her—she wanted to bring people that kind of comfort. She wanted to be an oasis of calmness and comforting beauty, where all her loved ones could flee to when the chaos became too much.
But the reality was that Aspen wasn't that oasis of calmness and comforting beauty, she wasn't a safe place to her friends to flee to once the chaos got too much— becauseshe was the chaos itself.
