In "Trio", three wooden cut-outs are stuck in an endless loop, each equally hopeless. The figures are mid-run, and two are secured to a wooden pole by ropes. The rope crisscrosses around the central figure’s torso forming an “x” shape, indicating the figure’s ultimate end.
The third figure, in the right-hand corner, appears attached to the surface of the wood by four nails. Although the way in which he was captured is different than the other two, his fate remains the same.
Each wooden cut-out lacks agency, as they are subjected to the outward forces of the landscape. The figures are stripped of both humanity and wholeness, there fragmented bodies are a solemn reminder of who they once were.
Despite feelings of brokenness, there is also a sense of connection between the figures based upon mutual suffering. The cut-outs form a circular loop in which each figure reaches forward, despite being stuck in place. How can they break the cycle of suffering? Is history bound to repeat itself?
Lilly Harvey (Guest writer)
BAK a Day, April 19, 2023
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Listening to a Dvorak trio one thinks of the melody being shared from one instrument to the other and the harmonies that emerge.
Glorious cooperation that produces almost heavenly sounds.
And then there is Bak’s trio of suspended and trapped characters. Dangling from three impossible poles with little sense of cohesion and cooperation. Each figure for himself. Is this how one survives the reality of death.
The three poles are embedded in the cliff above the abyss. There is no escape. The trio of suspended death. Who knows?
As refugees flee from Ukraine or as they fled from Syria. Where will they land?
The trio of tragedy.
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