"Every day we descend a step further toward Hell,
Without horror, through gloom that stinks."
(Charles Baudelaire, Flowers of Evil)
Art itself is the main creative field that has the power to save us from the claws of the truth which has anchored itself in the history of humanity. Mysterious and evil roads must be taken in order to arrive here. An artist can take this road only if he can direct destructiveness (devastation) towards his own nature and self. He has to destroy everything and then reconstruct it all again and again. So the artist who descends on earth and pursues his desires fans the flames of hell which is full of sinners instead of soothing in cold rivers his anger towards truth and falsehood. It is Dionysos' music that seduces him. Just like Thomas Mann's cursed composer and Doctor Faustus' main character Adrian Leverkühn who intentionally sleeps with a prostitute to catch syphilis, an illness which gradually decays his brain, and makes a deal with the devil in order to create "wonderful and magical musical images." Only this extremism could separate the 1
soul from the body, health from disease, and good from evil. The more the artist stays close to 2 evil and destruction, the more he would be able to move this corrupt world.
In this sense, the "heart of darkness" which Sadık Arı has created within contemporary art, converts us to an audience of tragedy which could see the terrifying mysteries of the world - faustian pact emerges as a condition of the affirmation of life- within the obligation it imposes. The moment a member of the audience sets a foot on Along the Wave, the agreement of this pact becomes inevitable.