Having learned that nothing on earth stays absolutely still, including our concepts of time, space, history and personal identity, one cannot easily escape the objection that “there is no state of mind, however simple, that does not change every moment.” If, as Bergson points out in the above passage, there is no real “state of mind” to go to, no “thing-in-itself”, and consequently no boundaries to actual space, it may be the case that there are no actual “states” in existence, that reality exists outside of “states” only. To talk about reality outside of “states” requires a stretch of the imagination and a leap into the unknown. Be that as it may, to advance the claim that there are no “states” is to open up the possibility of accessing the between-state essence of reality, and to achieve a stateless, unframed, borderless artistic vision.
To capture this between-state relational reality, the artist, like Kierkegaard's knight of faith, makes a “leap of faith” in the face of the most absurd consequences, teleologically suspending the normal boundaries and conditions of reality. Art exposes this inner space.
Upon making such a leap, the artist miraculously finds himself arrived at the promised AND of Milk and Honey, where borders, certainties and all known entities suddenly disappear into thin air. One's very hands, formerly relied upon to perform routine tasks, all at once become a vehicle for the universal AND to express the invisible relational reality of in-between-space and time. The subject of art has become AND itself: a land called AND.
AND is the analogy, the relation, everything that has ever happened, the infinite activity, being as becoming, eternal becoming. A promised land for artists. The place that is not a place. A place featuring boundless, border-less freedom, taken up with processes, organic transformations, creative flow.
The very idea of a physical homeland reveals itself to be no more than a reification of an infinite flow of conjunctions bound together by the hand of man.
The elevating force within the creative act replaces all forms of slavery to enforced conceptions of land, space, and personal identity, expressing the imaginative possibility of taking flight without wings; locating the universal conjunctive concept within the hand of the artist. Up until now the human hand has been concerned with creating borders around its land. In becoming the subject of art, AND revolutionizes the boundaries of human identity. My interest lies in how the subject of art is the manifest process of this journey, and in the inherent motivations at work in this process. The result of my inquiry has led me to believe that the ecstasy of freedom experienced by the artist in the process of his creative work, may be viewed as a flight from oneness into multiplicity, in conjunction with the reciprocal movement of multiplicity towards oneness.
Above all else, the purpose of art is to inspire and illuminate, recover meaning, purpose, beauty - and above all, love. To make suffering meaningful, to connect pain with deliverance, salvation with memory. Let the hand discover its own land! Hand the and the hand!