Gallery : the art magazine from Gallery Delta

24 Pages·1994·2 MB·English

by  Gallery Delta (Harare, Zimbabwe)

N
1
G168
AFA
No 6
Sponsoring artforZimbabwe
GalleryDelta,thepublisherandtheeditorgratefullyacknowledge
thefollowingsponsorswhohavecontributedtotheproduction
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asis
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APEXCOBPOBATIONOFZIMBABWEUMITED
JoergSorgenicht
allery
Contents
December1995
2 Africa'95:areviewbyMargaretGarlake
6 Inhopeofflight: painter-magician.RashidJogee
byAndrewWhaley
10 Waysofseeing:tworockpaintingsinZimbabwe
byPeterGarlake
14 Genesis:ZimbabweanandGermanartistscreatesparks
byDerekHugginsandothers
20 Reviewsofrecentworkandforthcoming
exhibitionsandevents
Cover: Sanrockpainting.Banket.180cmacross,fromatracing
byCourtneyYilk
Left: ArthurAzevedo. SecretaryBird,1995.approx30x38cm.
pen &ink.
©GalleryPublications
Publisher: DerekHuggins. Editor: BarbaraMurray. Design&typesetting:
MyrtleMallis. Origination;HPPStudios. Printing: A.W.Bardwell&Co.
Paper: ExpressfromGraphtecLtd.
ContentsarethecopyrightofGalleryPublicationsandmaynotbereproduced
inanymannerorformwithoutpermission.
Theviewsandopinionsexpressedinthismagazinearethoseofthewriters
themselvesandnotnecessarilythoseofGalleryDelta,
thepublisherortheeditor.
SubscriptionsfromGalleryPublications,c/oGalleryDelta.110
LivingstoneAvenue.P.O.BoxUA373.UnionAvenue,Harare.
Tel: [phone].
"Transformation is painful, exhilarating,
intellectually intractable and often
visually alienating,
but without its confrontations
there can be no cultural creativity.
To have ensured
the continuity of cultural collision
is not the least of the achievements
(0
of Africa '95."
MargaretGarlake reviews
"AfricaisnotanA^KoftheP^M Thiscommentbyacontributor WhiletheAcademyexhibitionwasunderdiscussion.RobertLoder.
totherecentSchoo^^||^^||^VAfricanStudiesconferenceon energeticfounderofartistsworkshopsinAfricaandbeyond,floated
teducationinAfriol^^^^^mmarisedtheimpetusbehindmany theideaofabroader'festival"ofAfricanarts. Delisswasinvitedto
ofthevisualartseventsofAfrica"95except,ofcourse,theRoyal formulateaconceptthatwould,crucially,involveartistsascurators,
Academy'sb^HbJ^^^^^^HRA'sexhibitionisundoubtedly inwhich"thefirstvoicewouldcomefromAfrica". Africa"95
thecentrepiet^Wt^^H^^^^^HprisesthatconstituteAfrica"95, presentsthechallengeofandtothecuratorialvoiceasitspredomi-
itstarts,asno-onet^t>ynowfailtobeawar—e,withhandaxesand nant,ifunenvisaged,theme,whilethecentralityoftheAfricanartist,
onlyjustmakesitin^|^twentiethcentury firmlysidestepping bothasoriginatorandmediatorofthework,isatitscore.
"themanymodemil
Thisconfrontstheproblemof'whitegate-keepers",thoughtheir
Thebriefes onwithanyoftheoriginatorsofAfrica"95 presenceisnotnegatedbythesimpleactofexclusionsinceevento
revealsthat ndcontradictionsareeffectively expressthecoreconceptofanexhibitionistomediatethewayin
inherent. Whe" atedthetermsofitsexhibition, whichitwillberead. Atthesametime,patronsandthe'public'
ClementineDeliss edfortheijiclusionofcontemporaryart. ferociouslyguardtheirownperceptionsofthestatusandsignifi-
seekmgtomcorporateit emationaldebateonnewwork, canceofAfricanart. Noris"theAfricanartist"aunitarycategory,
Amongthereason; proposalsweretheimpossibility anymorethan'theEngl—ishartist",thoughthedistinctionbetween
ofestablishin incontemporaryartandthe "taught"and'unta—ught" andtheconcomitantWesternprivileging
widespreadd eliss,arousedbytherigiddidacti- oftheautodidact isrevealedassingularlyinapposite. Onthe
cismoftheexl loresorganisedintheUnitedStates otherhand,formalarteducationhasbeenandremainsahugely
andshownattheLiv 994. importantissue,whilethemodelsadoptedforitarevastlydivergent
acrossthecontinent. WhereascontemporaryNigerianartists Thequalityofaworkshopresidesinitsinternaldynamics;thatofa
maintainthattheirwortiemergesfromatraditionalframework, workofartisculturallyspecificandfrequentlynon-transferrablc. In
teachersattheMakerereartschoolmaintainthattheirartistsarethe selectingworkfortheBigCityexhibitionattheSerpentineGallery,
strongerforhavingnolong-standingvisualtraditionstosustain JuliaPeytonJoneswasmuchconcernedtoobservetherequirements
them. Thisissue,furiouslydebatedattheSOASconference,is ofquality. TheresultisverysimilartoVital,athree-artistexhibition
starklypresentedbytheworksthatmakeuptheWhitechapel attheLiverpoolTate. Bothshowsemphasisethespecialstatusof
Gallery'sSevenStoriesAboutModemAninAfrica. theself-taughtartist,privilegedanddefinedbythefactofbeing
unschooled,whichhasapotentappealforWesternersseekingthe
Delisshasbeenmostcloselyinvolvedwiththisexhibition,the "exotic',oriftheyarealittlemoresophisticated,the"other". An
counterparttotheRoyalAcademy'sshowandthemostintensively alienatingfactorinthisworkisitspotentialforprovidingsmart,
theoreticallyformulatedofalltheexhibitions. Itcontests,particu- showy,technicallyadeptdecor,likeCyprienTokoudagba'smuch
larly,thepremisesofthePompidouCentre'sexhibitionMagiciensdc reproducedwall-drawingsintheSerpentineGallery.
laTerreof1989. Deliss'co-euralorsaredistinguishedartistsand
academicswhoseparticipationdeterminedthefocusoftheexhibi- TheRoyalAcademy'sAfrica:TheArtofaContinentisarrangedby
tiononspecificareas. Eachispresentedasahistoricalcasestudy, regionsratherthancountries,whichdefusesthequestionofusing
withwidelydivergentemphaseswhichvariouslyaddresstheimpact oldcolonialboundariesbutappearssingularlyarbitrary. Itwas
offormalarteducation,artist-lediniatives,patronage,themoderni- selectedbytheartistTomPhillips,whohasalong-standingpassion
sationoftraditionand,always,theinflectionsofpolitics. Selected fortheartofsub-SaharanAfrica. Thisextraordinarycuratorial
asexegesesoftheir"stories',theworksreproducethevisual appointmentmaywellhavedeflectedcertainobjectionstotheinitial
cacophonyofaworkshop,effectivelyanechooftheintensive conceptoftheshowinsofarastheartistmaybeconsideredtoinhabit
processofformulatingtheexhibition. aprivilegedandnon-ideologicalintellectualspace.Theresultisan
(Left)JosephineAlacu(Uganda),
Legend,1980,122x163cm,oilon
board. Photocourtesyofthe
WhitechapelGallery.
(Farleft)PaulStopforth(South
Africa),Elegy,1980-81,149x
240cm.mixedmediaonboard.
CourtesyofDurbanArtGallery&
theWhitechapelGallery.
Formidablepsychologicalbarriersareroutinelyraisedagainstthe extremelyidiosyncraticexhibitionrepletewithsuperblylit,totally
assimilationofunfamiliarimagery. (IntheSerpentineGallery,I decontextualisedobjects:onepasses,withabsurdlyminimal
overheardawomanremarktohercompanion,indismay,ifnotwith guidance,fromspectacul—arcentralAfricanfetishestoanexquisite
accuracy; "It'sthesortofthingyouseeintheTate."") Theproblem terracotta—headfromIfe unfortunatelyverylittleofthissculpture
iscompoundedattheWhitechapelbytheintellectualambitionsof isshown fromanimpracticalEthiopianvelvet-coveredshieldtoa
theshow,informativelydiscussedinaninvaluablecatalogue,andits portableslabofSanrockart.fromatinygoldweighttoavast
denselypackedhang,indefianceofthearchitecture. Nodoubt minbar.
DavidKoloane"sSouthAfricansectionwillbeseenasthemost
accessiblebutitwillbeunfortunateifitdivertsattentionfromthe What,wemayask,holdsitalltogether? Itisveryapparentthat
restofthisvisuallyintractablebutfascinatingshow. northAfricaandEthiopiaaredistinclythinwhileWestAfricais
magnificientbutpatchy. Intermsofmedia,textiles,basketryand
ArtistsfrommanyAfricancountriestookpartinareportedlyhighly ceramicsappearonlyastokensinanexhibitioncentrallydevotedto
successfulworkshopattheYorkshireSculptureParkinSeptember. thetraditionofone-piecewoodcarvin—gandespeciallythataspectof
"Reportedly"becauseaworkshopIsad>namicprocessnotthesum itthathasentrancedEuropeanartists transformationsofthe
ofitsproductswhich.exhibitedaftertheparticipantshadleft,were humanbody.
profoundlydispiriting.Yetthedemocracyoftheworkshopisnot
unqualified: MagdalenaOdundu.potterandartistofintemalional BoihtheselectionoftheRoyalAcademy'sshowanditshighly
staturewhoseworkisondispla\intheMuseumofMankind,has theatricalpresentation,designedtoproduceromantictexturaleffects,
beenexcludedfromtheLoder-inspiredworkshopsonthegrounds einphasisethatthisisananexhibition,formulatedb>anacuteh
thatsheisa craftswoman'. honedEuropeansensibility. Q
(Right)Yoruba,Ekiti,
Nigeria,early20thcentury,
106X26X28cm,cloth,
basketry,beads,fibre.
Photocourtesyofthe
BritishMuseum.
(Farright)Detailofamixed
mediainstallationbyartists
fromtheLaboratoire
Agit-Art,Senegal.
Objectsshownmade
byIssaSamb.
Photocourtesyofthe
WhitechapelGallery.
ThereisadisjunctionbetweendisplayandsciioiarshipattheRoyal culturalgroups". ExtendingfromPaulStopforthtoBillAinslie,this
Academy;thecatalogueisamassiveandindispensablesourceof isarigorouslythematicbuthardlyanarrowselection,yetthe
informationwhichcontextualisestheobjectsphysicallyand exhibitionasawholehasbeencriticisedforignoringthe'best"
ideologically,butitsmessagehasbeenfirmlyexcludedfromthe worksofmanyoftheparticipants.
galleries. Thesewoul—dhavebeenmuchenhancedbydetailedmaps,
wallb—oardsandeven thedesignerswouldpresumablyratherhave ArtistsfromZimbabwe,AngolaandMozambiqueareamongthose
died photographsofthegreatarchitecturalsitestowhichmany whomaywellfeeltheyhavebeenrelegatedtomarginalstatusbythe
objectsarerelated. emphasisonSouthAfrica,onworkwhichsitsonapoliticalor
didacticcusp. Thesearetermsthatareculturallytransferrable;they
Muchcontextualenlightenmentistobefoundinthetextile representanideologicalframeworkwithinwhichagroupofworks
exhibitionattheBarbican,aminglingofthemundaneandthe maybeassimilatedbypublicsunfamiliarwiththeoriginating
magnificientwhichrevealsnotonlyahistoryoftrade,colonial cultures. Withoutsuchaframework,giventhehazardousnatureof
relationsandinternalpoliticsbuttheminutiaeofpithyvernacular quality',thereislittlescopeforassessing,letaloneunderstanding
cultures. contemporaryAfricanart. Muchofit,itmustbesaid,doesnot
travelwell;worklikeNormanCatherine'sinstallationatDelfina
AttheMuseumofMankind,adisplayofobjectspresentedbythe wouldprobablybemorereadilyassimilatedinSarajevothanin
NationalArtCollectionsFundtoBritishmuseumsneatlysumma- London. Againstit.BerryBickle'sinstallationofcharredboatsis
risesthequestionofartversusartefact. Herealso,SokariDouglas cool,elegantandinternational.
CamphasinstalledherreinterpretationofKalaharimasquera—de.
Herinstallationraisesimportantissuesofwomen'spractice Theimplicationsoftheprocessofassimilationoutoflocalcontexts
particularlypertinentinacultural—contextinwhichtheyare intotheinternationalmeltingpotareparticularlypressingfor
forbiddentomakehumanimages andauthenticity. southernAfricanartists. InZimbabwetheyarecomplicatedbythe
reverencewhichsurroundsShonastonesculptureasan'authentic'
Inevitably,SouthAfricapresentsitselfasaspecialcase,arousing culturalexpression. Carefullylitandelegantlydisplayedina
specialexpectations. TheBernardJacobsenGallery,locusof Londongalleryitreadilybecomes,fortheWesterncollector,a
Englishlandscapepainting,hasassembledaslicksellingshowof signifierofpan-Africannessstunninglyatoddswithitsoriginating
SouthAfricanartists,instigatedandintroducedbyDavidBowie. mipulse. TocoincidewithAfrica'95,ArtforMayfairisshowing
SomeofthesameartistsarealsotobeseenattheDelfinaStudio ShonasculptureandpaintingswithsomesmallpiecesfromFrank
Gallery. TocomparethesetwoshowswiththeSouthAfrican McEwen'spersonalcollection. AtatimewhenMcEwen'sroleis
sectioninSevenStoriesattheWhitechapel.uiideriinestheprob- disputedor,indeed,frequentlydenied,thedocumentationofhis
lemsfacingthecuratorofanexhibitionofcontemporarySouth yearsspentpromotingAfricanartisawelcomecorrectiveand.
Africanart. Koloane'sselectiondemonstrates"howtheapartheid incidentally,onethatsitswellwithinthearteducationdebatethat
ideologyinterruptedthespontaneousexistencewithinthediverse runsthroughthewholeevent.
(Top)Nkisinkondi(Kozo),Kongo,Cabinda,before
1900,h.67.5cm,wood,iron. Photocourtesyofthe
MuseeBarbier-Mueller,Geneva.
(Below)BruceOnabrakpeya(Nigeria),detailof
ShrineSet,sculpturalinstallationwithhanging
andfree-standingelements,madefromplastocast,
plastograph,copperfoil,bronze,stainlesssteel
andplywood. Photocourtesy
oftheWhitechapelGallery.
Ithasfrequentlybeenaskedwh_\
Africa'95didnottakeplacein
Africa. Why.thequestion
implies,dowepresumetohold
ithere? Resources,money,
desirearereasonableresponses,
possessionofobjectsisamoic
delicatequestionwhichwill
continuetobehotlydebated
Theusethatismadeofthose
objectscanbemoreusefully
discussed. Theexhibitionsthat
contributetoAfrica'95displav
everynuanceofcuratorial
inflectionfromoutrageous
commercialisationtoDeliss"
desiretoelucidate"thecondi-
tionsinwhichtraditions
transf
Transformationispainful,
exhilarating,intellectually
intractableandoftenvisualh
alienating,butwithoutits
confrontationstherecanbeno
culturalcreativity. Tohave
ensuredthecontinuityofcultur;
collisionisnottheleastofthe
achievementsofAfrica"95.
Note:Thisisaslightlyexpanded
versionofanarticlealsopublished
inAnMonthly.London,Nov.1995
Jogee
shid
(Opposite)RashidatPachipamwe
Workshop,1993
Rashidisraving. It'snoon,timeformad previousnight'smonologue,lettingthe famous,trulyindigenousOtisWaygood
dogsandEnglishmen,butRashidstalksthe voicesrallyandvolley. Heperformsashe BluesBand,andvisitsfromHolyBlack.
gardenatGalleryDelta,stoopedslightly, paints. Heandhispaintingsplaytothe Thesewerethelandmarksofhummingrock
paintbrusharmpokingforwardmalevo-— gallery. thatguidedtheyoungRashidthrougha
lentlytowardstwolarge,wetcanvas—es RhodesiadividedintoWhites.Coloureds
oneagainstatree,theotherbeyond Todayheextolsthepleasuresofpainting andAsians,andBla—cks. Rashidwas.ashe
eyeingonewithdeepsuspicionand outside,playingsportand"sunnystadi- says,"orientalised byafactofnature,by
imminentrapture. Aportraitoftheartist ums". Rashidhasbecomeanapostleofthe accident."
loiteringwithintent. Hecircles,muttering, greatoutdoors. Hereinthegallerygarden
doingaverygoodimpressionofavaliant heisunabashedlythefocalexhibit. Itsuits "Wewereintheworldfamily.Wewere
knightweighingupcontestwithaninvisible himtomeldinbecauseithasn'talways exposedtomanytrends. Rock.Elvis.The
dragon. Heunexpectedlyma—kesacoupleof beensosunny. gapbetweenyouthandadults.Theroaring
mockcharges,buthesitates inan 60s!"hesays.
adversarialsortofway. Then,courage Rashidoncetoldineafteraboutof
comes,certaintyinflameshim,andhe — depressionthatpaintingwaslike"f>nihhin^ AndthentherewasBobDylanwhosevoice
lungesforwardwithpainte—r'slanceand attotems." Justwhenyouthinkyou've andlyricsendowedRashidwithalife-long
witha"Ha!"and"Hon!" makescontact graspedthemeaning,itdesertsyou.Yougo loveaffair. Hehascollectedtapesand
withcanvas. Ahit! Averitablehit. He frombeautytohorror,fromfullnessto recordsthatgobacktoBootlegandthe
hovers,confusedbycloseness. Hecan vacuuni,andfromtheedgeoftheabyssyou Basement. Thelivingroomfloorofthe
smellthebeast. Yes.paint! Hislipscurl clawback. Onceyouhavethemeaning,it houseat144FortStreet,bequeathedtohim
withdisapprovingpleasure. makesnosense. byhisfatherontheupperedgeoftheCBD,
isaclutterofpaper,painter'sparaphernalia
1approachwithcaution. Butit'stoolate. Sunnyorovercast.Rashidisfugitivefrom andvinylDylan. Thescratchyguruplays
He'salreadyseenme. HeknowsI'vebeen thepettyordealsoftheworld. Butwhere andreplaysanall-nightvigilthrough
watchingandnowhelaughsmanicallyand mostartistsfindtheirrhythmatawalking smoke,indignation,mysticaldreams,flights
shoutsoutmy(corrupted)name: pace.Rashidhu—rlshimselfforwardinthe ofrawpoetryandbustspeakers. Inthe
"MacWhaley!" ThisisdefinitelyAsterix... hopeofflying Icarusrisingtowardsthe repeatingDylanlitanyandthediminterior,
1canseeitallincartoontechnicolour sunormothflappingabouttheflame. thereisnoreferencetotonality. Rashid
Flightisthestrivingoftheidealistaswell imbibesmind-openingpoetrythroughthe
Welcometothebewilderingworldof asescapefromterror. haze.
RashidJogee,painter-magician.
LadiesandGentlemen,pleasetakeyour R1a95s.h^idinJBougleaewwaayso.btohmeoonnly11soFneborfutahreylate "isPanionttimnugs.i"c,saIymsaRkaeshiitdu.p"iinsmauyrahle.adI.f"there
seats. Theperformanceisabouttobegin. MohamedJogee.astorekeeperonRailway "l^usic."Rashidtellsme."allowsmanto
Andrew Whaley attempts to
unravel the painterly
expressionism
of a unique Zimbabwean artist
"I'manactionpainter."hedeclaresatone Avenue,andhismotherAishaJassatfroma transcend!' Headds:"Ofcoursethere',
pointintheinterview. Invisibleheadsnod well-knownbusinessfamilyinBulawayo. levelsofmusic- thestrainingofthe
allround. RashidJogeehasachievedfame HewasraisedaMuslimbutlongbeforethe symph(my.itsgreatwingsandamis..!'
andnotorietNamongstfellowartistsforhis Koranbecamehiscompassforartistic
adlibperformancesatPachipamwe flight.Rashidhadbeentemptedbythe— Musicre himtopaint. Paintingi
workshopsinMurewa.Cyrene.Marondera Westerniconsofthelate50sand60s makingi
orinBotswanaatThapong:hecursesand Elvis.CliffRichard.TheBeatles.The
cusses,helaughsdevilishly,hebehaves RollingStone—s. AtBulawayo'sFounders Hisacculturationintopaintfollowsthe
verybadly. HighSchool— segregatedforColoureds stagesofhistory,atleastfromthebegin-
andAsians hediscoveredadelightin ningsofmodernism. Headmiredthemood
Todayhe'sgotaninnerdialoguegoingwith language,inplaysand.mosttellingly,inArt ofImpressionism,fellinlovewiththe
woodsculptorGerryDixonwho.heclaims, Appreciation. Extra-murally.histastefor romanceofVincentVanGogh.
keptathimallnighttalkingrubbish. rock'nroll,andthethingsthatwentwithit. v\ascharmedbytheSurrealistsanddazzled
Rashidisonplayback,answeringthe wassharpenedatlivegigsbythebriefly byCubism. ButAbstractExpressionism
coincidedwithhisphaseasanangryyoung preparedhimpsychologically. Paintings Thementalgymnasticsarenothinglessthan
man. AndforRashidithasforeverbeen —fromthattimearedarkdocumentsofpain thequestforidentity. "Intheunconscious,
associatedwithalife-affirmingsearchfor almostimpenetrablecolour,densereds werevealthetruth'' It'saone-on-one
identity. AbstractExpressionismwasthe andblackslikecongealedblood,andthe battlewithlifeandmeaning,between
quantumleapofthecentury,theculmina- shadowofweaponrylurkinginsidethem. contestinghistoricalforces. Islamand
tionofanarthistoricalprocessthat Thepaintingsthemselveswerepaintedand Christianity. Black,WhiteandBrown. War
explodedfinallyoutofthechemistryof re-paintedonthesamecanvasesuntilthey andPeace. Rashidtriestotlndharmonyin
SurrealismandCubism. "Evcniliiiigwas becamesolidarmour.Eachnewcoatre- thedisparate,dispersed,forgotten. Through
settoexplode.Itwasanaturalplatform." openedoldwoundsthroughathickscab. paintinghetherapeuticallydreamsupthe
wholeself,andeachattemptis"arebirth."
Closertohome,hefoundpractitionersin SoIndependencewasarelief. Whenhe
MarshallBaron("agreatadorerofthe says,"/canpaintverywellinZimbabwe," Rashidaims,inaself-ironic,almostself-
classics."Rashidintonesinapukkaaccent) heisgivingthanksthatagreatburdenwas dramatisingway,atwhathecalls"posture
andStephenWilliams. Duringmuchofthe lifted. ofmind'. Ifthe"posture"isafragileand
war-torn70shefeltisolatedandalone. He incompleteangleonthedepthandinfinity
sawWilliams"onceinabluemoon'' He Towardstheendofthewar,hecameunder ofthemind,onesuspectsthatmuchof
shiedawayfromparties. "/wantedtoget SteveWilliams"wing. Butitwasreally Rashid'sworkassumesthefutilityoftotal
intomyflat,gethighandpaint.Marshall afterIndependencethatRashidJogee expressionevenasittriestoencompassit.
hadhismusic. Iwantedmine." emergedpainfullyfromthepupaofAbstract
toearnhisExpressionistwings. Hebegan HerocksdramaticallybetweenWestern,
Rashidparodiesthetimelikeafaraway toexhibit. Hefoundcompa—nywiththe individuatedperspectives,whichbroadly
genteelepochindulcettones:"/rwasatime emergentBulawayoartists Williams, embodyhisarttraining,andthepoetic
torunaroundinEnglishMiniCoopers,find BerryBickle,PaulGoodwin,Reuben raptureanddistilledtruthhefindsinthe
Englishdamesandfindourselves. We Crowe,VotiThebeandtheMzilikaziset, Koran. Westernexpressionismoverwhelms
.morenevertobelikeourfathers. Andthe AdamMadebe,DavidNdlovu,SamSongo, him;Islampossesseshim. Thesearethe
Englishwere,ofcourse,nippingoverto CharlesMsimanga.TomiNdebele. wildhorsesthattearhimapart.Butbeyond
India."(hilariouslaughter) thispainthereistheraptureoflosingbody
Healsodiscoveredthemunificenceof andgainingmind.
Infact,duringthe70s,Rashidwasa Islam. Thiswassuchanimportantturning
conscriptinawhiteman'swar. Itrippedhis pointhecanbeflippantaboutitnow. He Interestingly.Rashidsays"mindis.soul."
mindapart. Asaparamedic,hedressedthe remembersthinking:"Yippee!1amgoingin Heutterstheequationwithalmostmath-
wounded,thenearly-deadwiththeirchests anEasternveinV ematicalcertainty. Butforallitssimplicity,
blownopenandtheirlimbsshotout. He arrivingatacompleteexpressionofsoul
pumpedthemwithplasmaandsalinedrips Hewasmovingclosertoanidentity. He canmakeyoumad,especiallyifyouarein
and,asifhewereCasualty,triedtomake quotesHansHoffman,inadidacticvoice: twominds. Howtofusethem,howto
themwholeagain. Rashidrelatesthis "Artprimarilyandinevitablyisaspiritual harmonise.'
catastrophicepisodeofhishistorywith process!' Andthenquietly,introspectively,
frenziedpacingandhalf-chokedsobs. (Do "Itisaself-searchingprocess. Ane.xperi- Musicistheobviouscarrierofthesoul. For
youunderstandthepain? Itisraw,tangible, mentindepth." Rashid therealisationofthepossibilityof
telescoped.) Hisaccentrevertstothe harmonycomeswhenheassociates
colouredlingoofthetime. "Eh,cat, Rashidnegotiatesthisprocesslikean visualitywithmusic. Whenvisuality
Iwasash<ishaatputtingdrips. Thatwas acrobatindimensionswheretherungsof becomesmusicalormusicvisualyouhave
mHeyy,jobI.pulIl\e\da\thaatjticiathtiitllhrsotuagrha!t"it. Awizard! htiosgteotrhye,r.be"lSipeafcaendispmerysjounnaglleexgpeyrmie—ncelinreu,n tEhxeprbersisdigoenhiesamd.thSattratavkiensskyyoulititnhteoAwbasyt.ract
— formandtechnicolour Youspanthetaleof EpsteinandBartok,forRashid,carry
R—ashidstates crushinglyandtragically civilisation." Spacetofallorfly. Hetells expressionintotherealmsofsoul,ormind.
thatnothinghasevercomeclosetothe melater:"/havetoapplysomuchmental
'highs'hefeltduringwar. Nothing gymna.sticsotherwiseI'llgocuckoo." Butthisharmonyofmindiselusivebecause