Light on loss in new works by Paul Emmanuel

Abstract

Veil 1954 and Carbon Dad 2017, two new works from South African artist Paul Emmanuel's most recent exhibition Substance of Shadows (2021), are examined as depicting rites of passage of memory and mourning, following the recent loss of both Emmanuel's parents. They are discussed in dialogue with the five untitled incised drawings from Emmanuel's 2008 Transitions exhibition, which addressed significant male rites of passage that were also liminal moments in male lives. In rites of passage, the citations, quotations and traces that form a subject's socially constituted body are undone and rearranged. Transitions (5), however, represents the quotidian liminality of commuting and while it is fruitfully interpreted as a metaphor for death, a deeper exploration of this particular rite of passage is held over, this article argues, until Veil 1954 and Carbon Dad 2017. These two works are therefore examined as a continuation of the works of Transitions. Crucially, however, it is proposed that Emmanuel's principal memory engagement in these two works is enacted materially, through his medium of obsolete carbon paper, rather than the exposed photographic paper of Transitions. The ways in which Emmanuel works with carbon paper allows a sensitive embodied exploration of aging and frailty to emerge.