A Stain Upon The Silence
A Stain Upon The Silence
Why blacken margins with more clattering theoretical gabble? Why pester senseless walls with further nails from which to hang more bloody pictures? Why perpetuate the beatification, and package another product under the name of a writer who is already an icon, a brand, if not an industry? Because Samuel Beckett’s specific nihilism contingent, funny and utterly bleak is immensely relevant to a certain loose grouping of exciting contemporary art which is sampled in this exhibition.
This relevance lies in the nagging existential questions which Beckett raised, which remain questions if mutated, after Dada, Modernism and Postmodernism that revolve around the possibility of knowledge, the Sisyphean will to create meaning (/art) and the enunciation of ‘the void’. Postmodernism, for one, could not erase the mortal concerns that Beckett brought to bear, alongside those of meaning and comprehension.
It is inappropriate, though, to impress such structured categories on Beckett’s oeuvre his works trade on uncertainty and failure. They eschew tidy meaning, while being inhabited by those that scrabble around for the very same. The artworks on display in A Stain Upon The Silence are as equally undesirous of strict interpretation, and are only provisionally here seen through a Beckettian prism. This introduction is offered, therefore, with these qualifications in mind.
In the landscape of extinction, precision is next to Godliness
Nihilism must begin with the more familiar existential questions that Nietzsche investigated and rebuked: if there is no external gauge for life’s meaning and all actions are therefore relative, why act? Beckett clearly did not accept Nietzsche’s ‘άbermensch’ or ‘Eternal Return’ as escape routes. Moving into far darker territory than Sartre or Camus, he depicted ‘characters’ (though such a label is often problematic) who find their only continuity in their pain, gradual decomposition and protracted (even eternal) quests for inertia or death.
However, the existential darkness is further troubled by more postmodern problems of meaning. Already in the first two books of Beckett’s Trilogy, the mortal concerns of the figures slip into the cracks of formal instability fragmentary and failing narratives, cannibalistic sentences and dissipating, referential subjectivity. Molloy’s eponymous journey is littered with ‘self’-proclaimed misinformation, owing to the narrators feeble mind; Malone Dies, is at once the story of a bedridden man mentally indexing his possessions while he awaits his long-desired death, and a patchwork of narratives and figures from other works by Beckett at times even a wholly opaque rearranging of literary ingredients.
Alex Ball’s diminutive paintings operate on similar levels. Aside from the aesthetic similarity to Beckett’s stage sets (theatrical, minimal, purgatorial), in them are the two major conceptual threads present in all is the existential drive towards/inevitability of inertia; and, looked at in series, the oblique rearranging of a charged, though illusive, inventory of signifiers. Equally Beckettian, Ball’s inventory is made up of objects and bodies that range from the colloquial to the portentous, from the obscure to the monstrous cigarette butts, cabinets, spheres, tentacles. Depicted in many are domestic burials a figure ‘lying’ with its head in an item of furniture, surrounded by objects that repeat and vary in the paintings around. Some are unpopulated, an object becoming the figure, while other signifiers substitute yet others. The paintings themselves are acts of considerable precision that amount to a complicated visual language laid over a deep, curious nihilism much like Beckett’s finely drawn texts.
If Ball’s slow-burning paintings can be related to Beckett’s prose, Ross Chisholm’s Discrepancy can be compared, at least in density of effect, to his shortest dramatic work Breath. This 35 second ‘play’ comprises a stage littered with rubbish, a dim light, the sound of a cry, one inhalation and one exhalation of breath, and another cry. Discrepancy depicts and destroys a suggestion of a bust of a Victorian woman in, as it were, a few painterly breaths. The highly referential nature of the assumed image, coupled with the simultaneous eradication poises the painting on the line between mortal and simulacral concerns.
Larry Clark’s photographs take this dark, double sided coin both closer to and further away from ‘the real’. The images are ‘real’ kids with a death-wish, living fast, injecting heroin into their attractive bodies. They are layered in stylization however, making them difficult to identify with. They are at once anthems for doomed youth and potential record sleeves to be sold back to the same demographic. Deeper still is the question of Clark’s role as photographer how staged the photographs are, and how genuine the acts on display. Either way, the nihilism of those photographed alongside the impenetrable surface of these images is deeply disturbing.
Who now?
The line between Malone Dies and The Unnamable in Beckett’s Trilogy is where the notion of the subject becomes truly problematic. In one reading of the piece, Malone is refused the sweet conclusion of death, only to be stripped down, along with all of Beckett’s previous avatars, to an unnamable proto-narrator who is more an effect of writing than its cause a nebulous ‘will-to-write’ who exists only by virtue of the text. Though Beckett’s treatment of sex in his fiction is notable for its almost total absence, it is in this bridge where the notion of subjectivity becomes hopelessly cannibalistic that I would place Sam Jackson’s heavily pornographic paintings. More accurately, there are two strains to Jackson’s work the pornographic works, and the portraiture.
At first glance the two would appear to be foils for one another the portraits being the Mind (seen through the face) and the sexual works being the Body (human physicality in all its visceral glory). The former would be a force of individualization or self-creation, the latter a force of dissolution of the subject markers of a more general violence, sexuality and submission to power structures. However, the portraits are unspecific and unsettling plays on genre, referencing types of painting, face and cinematic aesthetics. These uncanny works dissolve individuality almost as much as the sexual works, though in a more complex manner. On the other side of the coin, it is hard not to read personal psychological impulses into the pornographic paintings. More, the material for both strands is taken from impersonal sources, mainly the internet, and so share in its curious dichotomy of familiarity and generality. The notion of subjectivity becomes murky and disturbing in Jackson’s hands.
We always find something to give us the impression that we exist
It is Beckett’s most famous play Waiting for Godot, written during the same period of intense creativity as his Trilogy (1947-49), in which his more Dada and carnivalesque sides become apparent. Relative to his other works, the play is a somewhat touching piece comprising two drawn out periods of Vladimir and Estragon waiting for the never revealed Godot (famously, ‘the play in which nothing happens, twice’). They struggle to fill the time between curtain up and curtain down, with moments of slapstick, silence, babble and abortive attempts at suicide. The ludicrously pompous Pozzo and the enslaved Lucky bring with them a sardonic appraisal of the arbitrary nature of power, and more time-wasting, vaudevillian buffoonery. In true Dada fashion, Beckett makes visible the inanity of entertaining the audience, while we all wait for God, or meaning, or death.
Ryan Mosley’s paintings not only relate aesthetically to Waiting for Godot in their carnivalesque theatricality, but also in the balancing of mood and the half-threatening, half idiotic air of the characters he creates. Pozzo and Lucky can be seen all over these unfamiliar landscapes in which one feels as lost as Vladimir and Estragon. Here, strange, ritualistic actions that seem to have no purpose beyond the acts themselves are performed. In his portraits, at once deathly and humorous, costumes that traditionally symbolize status are made to look arbitrary and obscene, while inane power structures can be gleaned from Mosley’s vignettes.
Daniel C Wallis’ lyrical contemporary Dadaism slyly points to the viewer in a way that is wholly equitable with the effects of Godot. His work has all the hoof-prints of art-work it is beautifully constructed and placed, intriguing in material, shape and tone and displayed in a way that suggests importance. It hardly requires close inspection, though, to discern that the elements are often mundane (a can of chopped tomatoes, breeze blocks), or completely inappropriate (the beautifully displayed grid of drawings are from a game of Pictionary). Wallis capitalizes on art’s positioning, that anything displayed in this way is a priori ‘art’, in order to create displays that are both intriguing and utterly cannibalistic. The viewer is left with the slight suspicion of being taken for a ride.
The apocalyptic prints of 19th century English artist, John Martin are hung as a foil to Wallis’ Dadaist objects. In their promise of afterlife, their reverence for the spiritual world that Beckett so totally rejects (and it is this unfulfillable promise that is the bedrock of Beckett’s bitterness), Martin’s prints are here posited as a kind of Godot to Wallis’ Vladimir and Estragon.
There! Not a soul in sight!
It is this pillar of Beckett’s drama, noted above, to which Charles Hugall’s sound pieces relate so closely that is, in drawing the audience, however unwillingly, into the goings on. The work featured in this exhibition, Purgatorio, is as paired down as any piece of Beckettian minimalism. Comprising nothing but a spotlight and some sound equipment set up to magnify any sound made in the area of the light, the effect is as disproportionately distressing as it is intriguing. The viewer becomes the character on the stage, and as confused as Beckett’s creations.
Anne Hardy’s photographs are less minimal than Hugall’s, but at their core is also an investigation of the theatrical. The process of realization is as important to the reading of Hardy’s work as the final image she painstakingly creates the sets over long periods of time, photographs them and then destroys them. The constructions are cinematic, disorienting in their physical ambiguity, empty despite the level of detail and eerily unpopulated. The beautiful photographs and destruction of the sets unnervingly reflect the process of the Hollywood dream machine. Art becomes implicated in the hollow enterprise of myth-making, while, or perhaps because, the images are so seductive.
I can’t go on, I’ll go on (whatever)
It is in the works of Tom Badley and Clunie Reid that the step is made towards The Unnamable and to Beckett’s late minimalist works, such as Play, Come and Go and Not I. In this latter piece (a brilliant black and white version of which, starring Billie Whitelaw, is appropriately available on YouTube) a disembodied mouth is set upstage babbling psychopathically, even before the curtain rises (and after it falls), apparently judged by a sexless, silent, hooded figure downstage named the Auditor. The rant appears to be the fragmented memories of a troubled girl, punctuated by hysterical laughs and screams, but the mouth seems terrified whenever close to self-identification, repeating the line: “what?...who?...no!...she!”
Tom Badley’s video work collates images or streams of video from the likes of Google Image Search and YouTube to create fragmentary narratives and abstract by-products. In the work …via mouse via cat via dog via… thousands of images of different specimens of these creatures, in and out of surgery, are put into a sequence that animates the splaying out and reforming of a mouse, then a cat, then a dog, then a mouse and so on.
In the work We are witnessing our willing reactivation of things that would otherwise be dead, seen through a broken screen are home videos from YouTube of different people breaking glass with their voices. These are spliced together erratically at first, slowly and agonizingly reaching a crescendo of pure, grating sound, then music, finally feeding back into the original sounds of the people breaking glass with their voices. These are not so much narratives as fragmentary circularities with odd side-effects that combine elements of kitsch with gothic undertones, a worrying familiarity which, as with Jackson’s work, capitalizes on the internet’s intimate/general dichotomy. This circularity is writ large in Badley’s sculptural piece a full scale, one-key piano that, when pressed, simply says the word One.
It is Play that is surely Beckett’s bleakest, most concise, and most self-defeating dramatic work. The three figures the term ‘characters’ is inapplicable M, W1 and W2, are entombed, neck-high in urns, forced to regurgitate the tail of their dull love triangle by the menacing and inattentive spotlight, often cutting them off mid-sentence, presumably forever (the second act is merely this: REPEAT). This harrowing piece of anti-theatre posits the literary creations as morbidly enslaved to the performance, destined to exist sporadically as an effect of a greedy audience and a weak script of monotonous titillation.
Clunie Reid’s work is a kind of culmination of the darker elements in Beckett that have been discussed so far. Dark Exploded Whatever, as the title suggests, combines a mass of imagery, including the trashy, gothic and pornographic, with a black Dada nonchalance, is savagely ‘anti-aesthetic’ (if this phrase retains any currency) with its star spangled fades and flashes, and totally damming of the whole whiz-bang enterprise. The work aborts meaning the moment it is created. The fascinating thing about Reid’s work is the tension between nihilism and the necessity to create wanting to cut straight to ‘the void’, but having instead to create layers of aesthetics that act as signposts.
The End, Thank Fuck
It is this tension that applies, at least partially, to all of the works on display in A Stain Upon The Silence and most certainly to Beckett. Paradoxically, any artistic enunciation of death, or inertia, or the void, involves its opposite creation. This must be, ironically, the product of what Freud termed the ‘Life Drive’.
An aesthetic, or system of aesthetics, must come into being in order to act as a signpost even if where it points is straight down. Any new aesthetic must then point to many other things, not least to the history of aesthetics up to that point, the social structures in place and so on. Indeed it is arguable that any system of aesthetics that attempts enunciation of the void, creates it instead. This line of thought ends in epistemological concerns are concepts such as ‘the void’ wholly circular, pointing actually to nothing but themselves?
Such challenges would only have been more grist for Beckett’s endlessly grinding mill, chronically chasing the futile, the irreconcilable. Indeed, it is this utterly circular ‘will-to-mean’ that was his finest illumination.
The artists in A Stain Upon The Silence, in their individual and fascinating ways, pursue the articulation of the unsayable trying to, as Beckett said, ‘eff’ the ineffable.
Return to previous page
Why blacken margins with more clattering theoretical gabble? Why pester senseless walls with further nails from which to hang more bloody pictures? Why perpetuate the beatification, and package another product under the name of a writer who is already an icon, a brand, if not an industry? Because Samuel Beckett’s specific nihilism contingent, funny and utterly bleak is immensely relevant to a certain loose grouping of exciting contemporary art which is sampled in this exhibition.
This relevance lies in the nagging existential questions which Beckett raised, which remain questions if mutated, after Dada, Modernism and Postmodernism that revolve around the possibility of knowledge, the Sisyphean will to create meaning (/art) and the enunciation of ‘the void’. Postmodernism, for one, could not erase the mortal concerns that Beckett brought to bear, alongside those of meaning and comprehension.
It is inappropriate, though, to impress such structured categories on Beckett’s oeuvre his works trade on uncertainty and failure. They eschew tidy meaning, while being inhabited by those that scrabble around for the very same. The artworks on display in A Stain Upon The Silence are as equally undesirous of strict interpretation, and are only provisionally here seen through a Beckettian prism. This introduction is offered, therefore, with these qualifications in mind.
In the landscape of extinction, precision is next to Godliness
Nihilism must begin with the more familiar existential questions that Nietzsche investigated and rebuked: if there is no external gauge for life’s meaning and all actions are therefore relative, why act? Beckett clearly did not accept Nietzsche’s ‘άbermensch’ or ‘Eternal Return’ as escape routes. Moving into far darker territory than Sartre or Camus, he depicted ‘characters’ (though such a label is often problematic) who find their only continuity in their pain, gradual decomposition and protracted (even eternal) quests for inertia or death.
However, the existential darkness is further troubled by more postmodern problems of meaning. Already in the first two books of Beckett’s Trilogy, the mortal concerns of the figures slip into the cracks of formal instability fragmentary and failing narratives, cannibalistic sentences and dissipating, referential subjectivity. Molloy’s eponymous journey is littered with ‘self’-proclaimed misinformation, owing to the narrators feeble mind; Malone Dies, is at once the story of a bedridden man mentally indexing his possessions while he awaits his long-desired death, and a patchwork of narratives and figures from other works by Beckett at times even a wholly opaque rearranging of literary ingredients.
Alex Ball’s diminutive paintings operate on similar levels. Aside from the aesthetic similarity to Beckett’s stage sets (theatrical, minimal, purgatorial), in them are the two major conceptual threads present in all is the existential drive towards/inevitability of inertia; and, looked at in series, the oblique rearranging of a charged, though illusive, inventory of signifiers. Equally Beckettian, Ball’s inventory is made up of objects and bodies that range from the colloquial to the portentous, from the obscure to the monstrous cigarette butts, cabinets, spheres, tentacles. Depicted in many are domestic burials a figure ‘lying’ with its head in an item of furniture, surrounded by objects that repeat and vary in the paintings around. Some are unpopulated, an object becoming the figure, while other signifiers substitute yet others. The paintings themselves are acts of considerable precision that amount to a complicated visual language laid over a deep, curious nihilism much like Beckett’s finely drawn texts.
If Ball’s slow-burning paintings can be related to Beckett’s prose, Ross Chisholm’s Discrepancy can be compared, at least in density of effect, to his shortest dramatic work Breath. This 35 second ‘play’ comprises a stage littered with rubbish, a dim light, the sound of a cry, one inhalation and one exhalation of breath, and another cry. Discrepancy depicts and destroys a suggestion of a bust of a Victorian woman in, as it were, a few painterly breaths. The highly referential nature of the assumed image, coupled with the simultaneous eradication poises the painting on the line between mortal and simulacral concerns.
Larry Clark’s photographs take this dark, double sided coin both closer to and further away from ‘the real’. The images are ‘real’ kids with a death-wish, living fast, injecting heroin into their attractive bodies. They are layered in stylization however, making them difficult to identify with. They are at once anthems for doomed youth and potential record sleeves to be sold back to the same demographic. Deeper still is the question of Clark’s role as photographer how staged the photographs are, and how genuine the acts on display. Either way, the nihilism of those photographed alongside the impenetrable surface of these images is deeply disturbing.
Who now?
The line between Malone Dies and The Unnamable in Beckett’s Trilogy is where the notion of the subject becomes truly problematic. In one reading of the piece, Malone is refused the sweet conclusion of death, only to be stripped down, along with all of Beckett’s previous avatars, to an unnamable proto-narrator who is more an effect of writing than its cause a nebulous ‘will-to-write’ who exists only by virtue of the text. Though Beckett’s treatment of sex in his fiction is notable for its almost total absence, it is in this bridge where the notion of subjectivity becomes hopelessly cannibalistic that I would place Sam Jackson’s heavily pornographic paintings. More accurately, there are two strains to Jackson’s work the pornographic works, and the portraiture.
At first glance the two would appear to be foils for one another the portraits being the Mind (seen through the face) and the sexual works being the Body (human physicality in all its visceral glory). The former would be a force of individualization or self-creation, the latter a force of dissolution of the subject markers of a more general violence, sexuality and submission to power structures. However, the portraits are unspecific and unsettling plays on genre, referencing types of painting, face and cinematic aesthetics. These uncanny works dissolve individuality almost as much as the sexual works, though in a more complex manner. On the other side of the coin, it is hard not to read personal psychological impulses into the pornographic paintings. More, the material for both strands is taken from impersonal sources, mainly the internet, and so share in its curious dichotomy of familiarity and generality. The notion of subjectivity becomes murky and disturbing in Jackson’s hands.
We always find something to give us the impression that we exist
It is Beckett’s most famous play Waiting for Godot, written during the same period of intense creativity as his Trilogy (1947-49), in which his more Dada and carnivalesque sides become apparent. Relative to his other works, the play is a somewhat touching piece comprising two drawn out periods of Vladimir and Estragon waiting for the never revealed Godot (famously, ‘the play in which nothing happens, twice’). They struggle to fill the time between curtain up and curtain down, with moments of slapstick, silence, babble and abortive attempts at suicide. The ludicrously pompous Pozzo and the enslaved Lucky bring with them a sardonic appraisal of the arbitrary nature of power, and more time-wasting, vaudevillian buffoonery. In true Dada fashion, Beckett makes visible the inanity of entertaining the audience, while we all wait for God, or meaning, or death.
Ryan Mosley’s paintings not only relate aesthetically to Waiting for Godot in their carnivalesque theatricality, but also in the balancing of mood and the half-threatening, half idiotic air of the characters he creates. Pozzo and Lucky can be seen all over these unfamiliar landscapes in which one feels as lost as Vladimir and Estragon. Here, strange, ritualistic actions that seem to have no purpose beyond the acts themselves are performed. In his portraits, at once deathly and humorous, costumes that traditionally symbolize status are made to look arbitrary and obscene, while inane power structures can be gleaned from Mosley’s vignettes.
Daniel C Wallis’ lyrical contemporary Dadaism slyly points to the viewer in a way that is wholly equitable with the effects of Godot. His work has all the hoof-prints of art-work it is beautifully constructed and placed, intriguing in material, shape and tone and displayed in a way that suggests importance. It hardly requires close inspection, though, to discern that the elements are often mundane (a can of chopped tomatoes, breeze blocks), or completely inappropriate (the beautifully displayed grid of drawings are from a game of Pictionary). Wallis capitalizes on art’s positioning, that anything displayed in this way is a priori ‘art’, in order to create displays that are both intriguing and utterly cannibalistic. The viewer is left with the slight suspicion of being taken for a ride.
The apocalyptic prints of 19th century English artist, John Martin are hung as a foil to Wallis’ Dadaist objects. In their promise of afterlife, their reverence for the spiritual world that Beckett so totally rejects (and it is this unfulfillable promise that is the bedrock of Beckett’s bitterness), Martin’s prints are here posited as a kind of Godot to Wallis’ Vladimir and Estragon.
There! Not a soul in sight!
It is this pillar of Beckett’s drama, noted above, to which Charles Hugall’s sound pieces relate so closely that is, in drawing the audience, however unwillingly, into the goings on. The work featured in this exhibition, Purgatorio, is as paired down as any piece of Beckettian minimalism. Comprising nothing but a spotlight and some sound equipment set up to magnify any sound made in the area of the light, the effect is as disproportionately distressing as it is intriguing. The viewer becomes the character on the stage, and as confused as Beckett’s creations.
Anne Hardy’s photographs are less minimal than Hugall’s, but at their core is also an investigation of the theatrical. The process of realization is as important to the reading of Hardy’s work as the final image she painstakingly creates the sets over long periods of time, photographs them and then destroys them. The constructions are cinematic, disorienting in their physical ambiguity, empty despite the level of detail and eerily unpopulated. The beautiful photographs and destruction of the sets unnervingly reflect the process of the Hollywood dream machine. Art becomes implicated in the hollow enterprise of myth-making, while, or perhaps because, the images are so seductive.
I can’t go on, I’ll go on (whatever)
It is in the works of Tom Badley and Clunie Reid that the step is made towards The Unnamable and to Beckett’s late minimalist works, such as Play, Come and Go and Not I. In this latter piece (a brilliant black and white version of which, starring Billie Whitelaw, is appropriately available on YouTube) a disembodied mouth is set upstage babbling psychopathically, even before the curtain rises (and after it falls), apparently judged by a sexless, silent, hooded figure downstage named the Auditor. The rant appears to be the fragmented memories of a troubled girl, punctuated by hysterical laughs and screams, but the mouth seems terrified whenever close to self-identification, repeating the line: “what?...who?...no!...she!”
Tom Badley’s video work collates images or streams of video from the likes of Google Image Search and YouTube to create fragmentary narratives and abstract by-products. In the work …via mouse via cat via dog via… thousands of images of different specimens of these creatures, in and out of surgery, are put into a sequence that animates the splaying out and reforming of a mouse, then a cat, then a dog, then a mouse and so on.
In the work We are witnessing our willing reactivation of things that would otherwise be dead, seen through a broken screen are home videos from YouTube of different people breaking glass with their voices. These are spliced together erratically at first, slowly and agonizingly reaching a crescendo of pure, grating sound, then music, finally feeding back into the original sounds of the people breaking glass with their voices. These are not so much narratives as fragmentary circularities with odd side-effects that combine elements of kitsch with gothic undertones, a worrying familiarity which, as with Jackson’s work, capitalizes on the internet’s intimate/general dichotomy. This circularity is writ large in Badley’s sculptural piece a full scale, one-key piano that, when pressed, simply says the word One.
It is Play that is surely Beckett’s bleakest, most concise, and most self-defeating dramatic work. The three figures the term ‘characters’ is inapplicable M, W1 and W2, are entombed, neck-high in urns, forced to regurgitate the tail of their dull love triangle by the menacing and inattentive spotlight, often cutting them off mid-sentence, presumably forever (the second act is merely this: REPEAT). This harrowing piece of anti-theatre posits the literary creations as morbidly enslaved to the performance, destined to exist sporadically as an effect of a greedy audience and a weak script of monotonous titillation.
Clunie Reid’s work is a kind of culmination of the darker elements in Beckett that have been discussed so far. Dark Exploded Whatever, as the title suggests, combines a mass of imagery, including the trashy, gothic and pornographic, with a black Dada nonchalance, is savagely ‘anti-aesthetic’ (if this phrase retains any currency) with its star spangled fades and flashes, and totally damming of the whole whiz-bang enterprise. The work aborts meaning the moment it is created. The fascinating thing about Reid’s work is the tension between nihilism and the necessity to create wanting to cut straight to ‘the void’, but having instead to create layers of aesthetics that act as signposts.
The End, Thank Fuck
It is this tension that applies, at least partially, to all of the works on display in A Stain Upon The Silence and most certainly to Beckett. Paradoxically, any artistic enunciation of death, or inertia, or the void, involves its opposite creation. This must be, ironically, the product of what Freud termed the ‘Life Drive’.
An aesthetic, or system of aesthetics, must come into being in order to act as a signpost even if where it points is straight down. Any new aesthetic must then point to many other things, not least to the history of aesthetics up to that point, the social structures in place and so on. Indeed it is arguable that any system of aesthetics that attempts enunciation of the void, creates it instead. This line of thought ends in epistemological concerns are concepts such as ‘the void’ wholly circular, pointing actually to nothing but themselves?
Such challenges would only have been more grist for Beckett’s endlessly grinding mill, chronically chasing the futile, the irreconcilable. Indeed, it is this utterly circular ‘will-to-mean’ that was his finest illumination.
The artists in A Stain Upon The Silence, in their individual and fascinating ways, pursue the articulation of the unsayable trying to, as Beckett said, ‘eff’ the ineffable.
Return to previous page
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