Richard James studied sculpture at Central Saint Martins in London, became a Zen monk for seven years, then taught children, and later transitioned to psychology. He now works as a counsellor and artist.

‍

Jean Laplanche, the French author and psychoanalyst, laid the foundations for what might be called—and become—“Affect Therapy” [1][2][3], where he coined the term the enigmatic message. This message is unconsciously communicated to the child by caregivers and remains hidden: unseen by both them and the child, yet profoundly influential in their lives.

‍

A parallel can be drawn to the inherent implantation of the Unborn/Sunyata in Buddhist psychology [4][5][6]. To completely comprehend the “enigmatic message” or the “Unborn” is not possible.

‍

Fortunately, it will remain uncolonised, unpoliced, and resistant to pathology: a mystery. Yielding only occasionally to one who waits with humility and patience.

‍

As John Keats wrote, a negative capability is necessary: the ability to resist explaining away what we do not understand [7].

‍

It will be felt as an affect—played out pre-cognitively on the skin and in the heart—only later, perhaps, to be known and held gently as compassionate wisdom [8].

‍

Laplanche, and ultimately Buddhist practice, encourage us to turn this sense into a creative act: to perceive it non-cognitively and to follow it [1][4][6]. The artist, the meditator, is not the prime mover.

‍

In this work, there is an attempt to follow the affect: an opening, a doorway, an invitation. A willingness to sit with suffering and vulnerability, and its inherent invitation to closeness [9].

‍

There is, at times, a surge and upwelling of power in the body.

‍

I can only bow.

‍