I Am Not For The Finite, I Am For The Infinite

You must push the study of every part of the science of life, every fragment, beyond trivial observation, until the greatness of life emerges.

I watch the sea churn. Her waves have colossal strength. Looking at them with an artist’s eye, I would say that they do not know at all or at least harmony in art, that principle of design that gives the work a sense of coherence or cohesion. And their forms, in the endless expanses of the sea, especially when the sun rises, can be put in relation to various external things, insofar as they are viewed on the real side of the phenomena that make up nature, the “Great Whole”. Always after sunrise the painting acquires a lighter tone.

There is something else. The very waves make all my creations, in terms of art, as well as the similar creations of nature, fit into the picture of a synthesis look, as separate elements of the whole that takes possession of the mirage of a desolate world, a tireless chase after illusions. I don’t know yet if my eyes will ever understand the difference between another facet of reality and the form of knowledge specific to the beauty of a summer sunrise that stubbornly doesn’t offer many chances to reflect the sunset in the water.

This should not be misunderstood. I do not seek in the waves, in the force exerted by their power, the pure form of any freedom of expression, or the pure form of the relationship between the significant and the insignificant. But the form of their movements, the pure form, freed from object or matter, gives that art which completely renounces corporeality, representing the form of regulating the relationship between sight and hearing, to obtain a knowledge which is at the same time external and internal.

Can you glimpse a world that truly expands beyond the scope of mundane observation, provided you respect the distance of grasping an ideal vision?

Nature and art are a unitary whole, if only in that the waves, linked to the ratio of transparent bodies, cannot be contradicted by the superior perspective of the gaze focused on the search for horizon openings (offered by the way waves scatter at sea). And to the extent that the waves, seen as an adaptation of form to new external realities, separate themselves from the totality of the sea, just as the things captured by the gaze are separated, so to the extent that any difference is instituted by light, then the purpose of my art is to awaken the feeling of deja-vu, a need for reflection, creating an image that will never be erased from the visual memory of the one who looks at my creation.

Alas, how difficult the waves are to be understood, and how altered they reach the eyes of the beholder who does not know that they produce a music in the mind of the sonata composer. Somehow, the external environment that waves need to become music or artistic vision, constitutes the way of material things to be like ideas. Only now can we think of waves as the first and pure forms of universal movement, raised on the wings of a music in which the sounds, speaking a secret, unintelligible language, seem to reproduce directly parts of the science of life.

This is where the advice of the Romanian doctor Grigore T Popa best fits: “ You have to push the study of every part of the science of life, every fragment, beyond the banal observation, until the greatness of life emerges.”

This is even more meaningfully expressed in art through the opposition between harmony, proportion and balance, as it manifests itself in the close-up view of the waves. Their rhythm is alert and incomprehensible, like a kind of double of my nature, their movements being a pure melody from the picture of a dreaming man, or, why not, denoting a simple harmonic wandering with no final destination, passing and reappearing.

Only the brilliant artist manages to transform a sound or a perspective from the outside into an entire eternity, to redirect the spectrum of harmonics of a fundamental sound on his interior, in a masterpiece full of the beauty of waves, with many symbolic properties. Even this fact alone conveys a strong and new emotion.

Can you change the way you look, look for visual information, select and interpret it, looking not so much for the flashy effects that swallow the present moment, but the essence of the image that lasts over time?

In night 272 of the book “One Thousand and One Nights”, it is told that a long time ago there was a castle in the border of the Andalusians, the gate of which was made to be fortified. One day, a curious and capable man wanted to investigate what was in that castle. He picked the locks of each room, all of which had a magical and religious aspect. But in the fifth room he found a circular mirror, the work of Soliman, the son of David, whose price was unfathomable, for he who looked into its water saw the faces of fathers and sons, from the first Adam and even those who will hear the last Trumpet.

He understood then that the greatest treasure of the world is the subconscious replication of fragments of life that he swallows in the present moment, so that later they emerge in all their brilliance, full of meaning that has been lost sight of for a long time.

Likewise, the outer universe (the sea, with its sparkling waves), is not pushed somewhere on the periphery of my inner immensity, but is itself transformed into inner fluidity, into soul substance. And if each wave is just a lock that I have to open to understand its secrets, using artistic procedures (such as hatching and brushwork), then maybe one day I will understand that what is incomprehensible is my very soul, decanted of any physical incarnation.

The sea taught me to mirror myself in an already lived existence, being the indefinite expansion of the movement of being in an integrative harmony with the Logos (the simulacrum of reality). Surprisingly, listening to the music of the waves induced and transformed me into the perpetual living of other lives, in an eternal movement in the orbit of a single, uninterrupted present. And the incessant visualization of its waves represents an art that combines imagination with spatiality and abstract logos. They develop the story of my duality by searching for a universal language, without words.

In leadership, a vision is ideal if the being lives in an inner duality: one half feels, acts, the other sees itself acting.

I Am Not For The Finite, I Am For The Infinite, because I have learned to know the sea, its sparkling waves, the sand, the seagulls, the shells, and each of them knows my thoughts and my soul, without saying a word. They are fragments of existence that follow each other, and in which I find myself under a different appearance. And, the more impressive these fragments of existence are, the more the traces of my steps, which they carry with them, are still indelible. I think this is, in fact, the greatness of life…

Someone said well: “Perhaps at a subtle level matter interferes with the logos, giving birth to a connection that is difficult for the human mind to conceive. To understand this, you must have something of the majesty of the divine in you.”