Imagine, you set off to become an artist. You do your studies one way or the other and then get to work to do your x hours of practice, the given minimum standard for achieving a basic level of professionalism on anything. There you are, an artist, and like all those before you, your fellows ancestors, you work to find the something more, the beyond, that special area that includes the divine as part or head of the total. Whether the divine element is placed in the work or on you, as the observer/ creator ‘above all’, it makes no difference. The truth, God in a sense, is the quest.
The thought is not about religions nor of God-fearing people or dubious beliefs about our positioning towards the unknown. However, don’t we all do that; take parts in the question of the existence or not of God? Atheists, agnostics, materialists, believers or non-believers worldwide have looked for and some made a decision about the something more than what our eyes see and any relative authority.
For some professional fields, this quest is homonym or runs parallel to the object of the profession, even if only in periods. Whoever does a research in unknown paths or strives to break limits has already positioned themselves toward this question. It happens even in fields that would not come first to mind, where the boundary breaking strive is expressed as competition.
Think of the free divers and the most known among them, the pioneer Jacques Mayol. In the filming of his story and the rivalry with Enzo Maiorca, in Luc Besson’s Big Blue (1988), he as co-screenwriter narrates his own death: fished out from the depths of the sea; a heroic end for the visionary of Homo Delphinus (Homo Delphinus: The Dolphin Within Man). Here, art acts as buffer of reality; the film takes over the implicit feel of failure and gives it back in haunting aesthetics. Mayol’s underlying suggestion was real though. Competition won, fame secured, yet something screamed of failure. Mayol committed suicide at older age being depressed, feeling alone and not understood and most of all having not found the something more down in the deep.
Make a list of people that have touched the extreme, or should I say the edge of the probable, be it scientists, astronauts, athletes, thinkers or artists, and have fallen in depression after their achievements; or shortened their lives. And then balance it with the other list, of those that have relativized successes and failures and by decision have turned to the comfort of predictable returns.
Indeed, this is a story of compromise. For, how can you indefinitely live within a quest for God? Call it infinity too, the beyond, or that thing that justifies our existence; you dissolve in it or you touch it for a moment and then you retreat. To let yourself dissolve in it translates to slipping into insanity, giving away your individual identity, losing contact with the daily life. To let go of the quest and carry on in a normality, means that you accept the compromise; with full awareness of it. That calls for comfort food; a huge amount of it. In the arts, comfort food is to be found in the market; it is called the art market.
Along the way, we come across judgments about successful artists for or against them, that bluntly suggest that there are people that become artists with sole aim to get to this success. It is true that a specific ambition, a good pitch, and the way to go with people of power has a lot to do with an artist’s success, yet the first and most weighs on work. Much more work than any other professional field demands for it is work done in solitude, in no social status what so ever, and mostly often in poverty. To say that any individual sets off to become an artist with only goal to become rich and famous is as absurd as wanting to become an astronaut so that you can send a Skype message to your local radio station.
Further on, satisfaction brought by the acknowledgement of your peers and then maybe of an audience, may be a useful filling to your practice and a soother of your social self, but in the end it is irrelevant. The purpose of art is to make visible those links that cannot be seen or explained in any other way. If that cannot be acknowledged and embraced as what it is, then the market takes the lead and uses art as a commodity.
And this is what happened: the art world annihilated itself by wanting to be part of the trivial.
And this is what we have now: the arts have fallen under a ‘creative industry’ scheme, which feeds the market and the careers built within and around it.