The design draws inspiration from both American and Japanese symbolism and folklore, reflecting my dual heritage.

In Buddhist scripture, spider lilies are said to bloom in the afterlife, guiding spirits toward Samsara, the cycle of life and death. In Japan they are known as Higanbana, meaning “flowers of the other shore.” Much like in other mythologies, Japanese folklore often describes the journey to the afterlife as a crossing over a great river.

Beyond mythology, spider lilies also have a practical history. Their toxic properties made them useful as natural pest deterrents, and they were commonly planted around rice fields to protect crops. As harbingers of death for the small animals that threatened life-giving grain, they further reinforce their association with the delicate balance between life and death.

In the Americas, coyotes are frequently considered pests in suburban environments. Yet they are also enduring symbols of the wild landscapes of the American West—creatures that thrive in harsh, unforgiving environments. Unlike many predators of similar size that rely primarily on hunting, coyotes are just as likely to scavenge, playing an important role in completing the cycle of life and death.

The third major element of the design is the snake. Snakes and the shedding of their skin are long associated with renewal and transformation, again reflecting the cycle of life and death. In some Japanese folklore, snakes are depicted as envoys of the gods and are regarded as wise and benevolent beings—quite different from the more villainous roles they often occupy in Western traditions.

Together, these three elements embody the interconnectedness of life and death, as well as the misunderstood nature of the creatures that represent it.