Time and the Artist.

[...] the artist should not mistake her ego for the art, so when the catalysts and audience gets a glimpse of the flow of the divine which they refer to as art, there ought to be a moment of silence. We can sum up the relation of the artist to his art as follows; The artist, as a definite creative individual, uses the art-form that he finds 'ready' to his hand in order to express something personal; this "personal something" is somehow connected with the prevailing artistic or cultural ideology of the time and in the air; whether in parallel or in opposition, whether romantically or radically realistic, the taste of the age goes ahead of the artist, and the artist must be aware of this in order to have the required pull back when her work is being celebrated. It isn't your work that is being celebrated and you know it, it is the society that is celebrating herself, her advances, her taste for the exotic and most especially her sense of romance with the art.

The general ideology of culture, which determines tastes, morals, society, as well as its art and artistes, is an expression of the human types of the age, and of this the artist and the creative personality, generally are supposed to be the most definite crystallization of time. Whereby the artist is supposed to play a significant role in archiving and documenting time. A document which will tomorrow present itself as is, without judgement nor destination, everything the artist manage to produce or create will eventually be embedded in the long river time, which has been before, which was, which presently is and shall forever be.

Time is both the signifier and the witness of all human contracts and contacts from eternity till date. Time, not the material time that ticks over our wall clocks and moves us to roll over our calendars, as we mark our presence in festivals or art fairs or on Instagram, nor the apple wristwatch which beautifies our wrists as we jostle along the flow of time. Here I speak of Time, that enigma which scientifically accelerates with the speed of light, ahead of our cleverness, but light, which paces at 570 million miles per hour, way faster than we can formulate concepts and ideologies around art, which is devoid of all attributes.

It is within this concept that we must be humble, separate our ego from its twin reflection, separate essential self from its higher responsibility and look at Time, look at our engagements with art and its patrons, it's sponsors and catalyst, it's consumers and audiences, look at the thing we know, what we think we know and how that knowledge interacts with our desire to advance art and humanity, for its own sake.

To do differently, one must first know differently...