It is a crime that so much of a certain kind of thinking demonizes hallucinations as somehow unreal or not important. Mallarmé’s white void of the writing paper – every painter also confronts this chasm, then a stroke of a brush, a smudge or a mark sufficient to animate the entire field and set forming into motion. Does this really come from the painter, which is to say, is this thing really just a composition entirely initiated by the subject? Doesn’t it come more from a kind of sense-awareness? The hallucination is this material reality itself. Every painter hallucinates like God itself who is its own hallucination.
