Describing—that is the last ambition of an absurd thought. Science likewise, having reached the end of its paradoxes, ceases to propound and stops to contemplate and sketch the ever virgin landscape of phenomena. The heart learns thus that the emotion delighting us when we see the world’s aspects comes to us not from its depth but from their diversity. Explanation is useless, but the sensation remains and, with it, the constant attractions of a universe inexhaustible in quantity. The place of the work of art can be understood at this point.
— Camus, A.,p87. The Myth of Sisyphus. Penguin Classics.
For an absurd work of art to be possible, thought in its most lucid form must be involved in it. But at the same time thought must not be apparent except as the regulating intelligence. This paradox can be explained according to the absurd. The work of art is born of the intelligence’s refusal to reason the concrete. It marks the triumph of the carnal. It is lucid thought that provokes it, but in that very act that thought repudiates itself. It will not yield to the temptation of adding to what is described a deeper meaning that it knows to be illegitimate. The work of art embodies a drama of the intelligence, but it proves this only indirectly. The absurd work requires an artist conscious of these limitations and an art in which the concrete signifies nothing more than itself. It cannot be the end, the meaning, and the consolation of a life. Creating or not creating changes nothing. The absurd creator does not prize his work. He could repudiate it. He does sometimes repudiate it. An Abyssinia suffices for this, as in the case of Rimbaud.
— Camus, A.,pp89, The Myth of Sisyphus. Penguin Classics.