Banshee returned and set up a workshop, continuing to offer his services as a gunsmith to the Guardians and aiding them in upgrading their weapons. ![]() ![]() The Vanguard was able to liberate the Last City and set up a new command center at the New Tower. With the bow in hand, Banshee successfully evacuated from the Tower as it fell to the Cabal. He recovered Leviathan's Breath from the Psion's body, recognizing the weapon from numerous legends he had heard of in his occupation as a gunsmith. When the Red Legion assaulted the Last City at the dawn of the Red War, Banshee-44 came across the body of Voyc, Shadow of the Wilds, who had perished in an attempt to assassinate Dominus Ghaul during the assault at the behest of Emperor Calus. Although Cayde broke both his legs, he won the bet, and Banshee gave him some loot in exchange. He and Cayde-6 became bored during the long ceremony and he bet that Cayde could not make several risky jumps on the nearby mesas. īanshee-44 attended the funeral of the Warlock Albios on the moon of Io following the Guardian's last stand. At some point he was an active duty soldier, and saw action in the Twilight Gap. Following reactivation, Banshee-44 made his way to the Last City, setting up a shop selling guns and ammo synthesis packs to Tower Guardians. Still, he has some faint recollections of his past. In fact, he may have had his memory wiped multiple times, more than forty by his own reckoning and according to the suffix of his name. ![]() To further accomplish this, he requested that Elsie replace the name in his imprint with a nickname he received, "Banshee."Īs with all Exos, Banshee-44 has no recollection of his former functional purpose. After a number of resets well beyond the recommended limit, Elsie began to accept that Clovis-43 had changed for the better, only for him to request another reset at the end of their war, so that he would finally be free of the atrocities he committed as a human. Clovis-1 came to despise his former self, and joined his granddaughter in going to war against the Vex unleashed by Clovis I's research. After his torture at the hands of Maya Sundaresh, Clovis I chose to upload his mind into two units: A copy with his memories intact became the controlling AI of the Deep Stone Crypt, while his assistant became Clovis-1, imprinted with his personality but reset per normal Exo protocol. His body was originally constructed as a personal assistant to Bray with high-spec components that drastically increase his strength, agility, and durability over other Exos. Despite this fact, or, perhaps, because of it, Wulff’s clown, menaced by his own shadow, may understand an absurdity that is both deeper and more transcendently comic than mere appearances can convey.Banshee-44 is the Exo form of Clovis Bray I. But it is a resolution that will be eternally deferred, trapped, as he is, in the absurdity of the role assigned to him. Wulff’s clown, like those of Rouault and Picasso before him, may also be seeking a kind of resolution. Or, such answers would be too profound to be comprehensible to the questioner. Perhaps any attempt at an answer would be insufficient to the presumption of such a bold and reductive question. ![]() The exhibition’s title thus becomes as much an imprecation as a rhetorical question. Wulff’s clown is, at once, old friend, old nemesis, and alter ego, frozen in highly specific moments, yet also imbued with an intense kinetic potential as he fixes his gaze on the indeterminate distance just beyond the frame of the image. Yet to refer to the works of Wo soll das noch hinführen as strictly “biographical” is to subordinate them to a narrative imperative that belies their openness, omnivorous points of reference, as well as the gestures toward universality with which Wulff seeks to infuse his compositions. The grounds of the new works contrast sharply with the smooth, monochrome backdrops that characterize much of Wulff’s recent period of abstraction, suggesting a greater formal and psychic tension informs the paintings. The works of Wo soll das noch hinführen position this figure against a stylized, magnified shadow of himself which evokes the rich intellectual and emotional dynamics of Wulff’s own engagement with the character. Having recently reintroduced figuration to his work after a period of delicately rendered abstract painting, Wulff also reengages with a clown-like figure who originally appeared on his canvases during his earlier figurative period.
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