We live in a two dimensional society: there is length and width but no height or depth. Our world is a flat plane, a cartoon reality replete with caricatures. Lacking is the third dimension that will pull us out of the flatness and allow us to properly see things for what they are, by allowing us to perceive things from all angles. The artist knows that depth is achieved by adding perspective, by understanding illumination and being able to master the shadows cast by the impenetrable and opaque. Depth is added by knowing and only by mastering shadow and perspective can liberation from the monotonous flatness of our two-dimensionality begin. Only when we have depth because we have been able to pull the flatness up will we know what to do.
The tautological knowledge creates knowing is profound. Knowing is a continual process of becoming, it is the process of unveiling, which in turn is a process of pulling forth, lifting up, stretching out, moving around, flying over and crawling under … All the things which we cannot do on the flat plane unless we know how to manipulate the art of generating perspective.
This is not a concern confined to the present: historical and futurological perspectives must also be deepened. Objectification is also required: an artist’s ability to step outside of the paradigm that is being described and lived – to stand at a point outside of the space, and outside of time, in order to perceive everything that has been hidden and understand real necessity. Objectification is needed to be able to stand over the current of the river of time in order to understand where the continuum has been flowing from. In order to perceive the reasons and mistakes that have determined certain courses of history; in order to redirect rivers, ensuring cleaner, more transparent waters that are capable of irrigating the possibilities of our optimistic futurologies. Muddy rivers will only give us a muddy, carp-full ocean of little future hope.
And so we have two tasks to concentrate on: a) the act of discovering perspective and uncovering depth, and b) that of eradicating the factors that cloud our rivers and have been pushing the historical continuum to a false inevitability for centuries.
The answer to the question must ultimately lie between what ought to be done and what has seduced our attention away from the goal. The utopia is No-Place because we are not going there. We will never get to Timbuktu if we are walking across the Americas, but that does not mean that Timbuktu cannot be reached. Maps must be drawn so that we can see why we are trapped in the maze, but in order to draw such maps we must achieve altitude and be able to stand over the labyrinth. It is a contradiction that turns the path back in on itself and to understand the labyrinthine nature of the system we must reveal the tremendous contradictions which work in its favour.