I Look At Myself Without Stopping To Look At The Target

Self-image is not only a means of artistic expression; it also expresses a point of view of the compromise made between what is seen and what is not seen.

Art is a world in which imaginary aspects predominate. Or the conceptual renewal of the content of images that seem to be detached from another world presupposes, in the case of my creation, a synchronization with the embodiment of a character on a larger scale, placed between what is revealed to be real, powerful, rich and significant, and which turns out to be imaginary, where I myself am added as an honorary member of a holographic universe.

In a way that only creation glorifies and materializes, I have managed to introduce myself as an invisible instance into a reality that speaks of the need to render a new representation of this world – as an ambivalent one, in the relationship between its outward and inner face, in the form of a fairytale composition, organic, cohesive, daemonic, which makes the connection between the divine and the human.

Take for example the character Prospero, from the play “The Tempest” written by Shakespeare. Although he is exiled to an island for 12 years, he manages to turn his exile into a kingdom of God on earth through magical powers and esoteric teachings. But here too there are inherent ambiguities. For it is not about exile in a purgatory that makes you judge yourself harshly and realize the value of what you no longer have, but it is the exile of an artist in a macrocosm made up of many autonomous worlds, managing to encompass the whole existential human space.

And this artist, instead of a brush or chisel, has at his disposal a multitude of scenarios with various appearances, which are more and more impossible to comprehend with the mind.

Can you lay the groundwork for a vision that inspires your inner transformation, provided you are accountable to the consciousness of a metaphysician who ensures the expansion of your being into an effect of chiaroscuro effects?

In general, art has a magnitude of magical content that, taken as such, seems to be supported by the satisfaction that imagination gives in terms of the consecutive representation of an illustration in a literary work that transposes you into other worlds and that also makes you reflect on the events that take place in secret, without the eye being forced by circumstances to see a scene that you do not want.

Let me be clear. I am an artist because I know how to borrow the most conquering charm of the spiritual vision, completely original, from a painting that could easily be classified as the setting of an inner world lived to the absolute superlative. Then, to meet myself in a visual pictorial complementarity, soothing and disturbing at the same time.

Let’s be honest. In the representations of the great masters of universal painting, the chiaroscuro of the enigma predominates, glimpsed through the veil of a unitary spatial-temporal duality, in which the miracle has its part, turning ordinary reality into another face of the world: the World of God. Is it not so that art, as in Ovid’s “Metamorphoses”, contains a mixture of the most heterogeneous elements of decoration, but also endless disparate comparisons?

Not in vain does the whole set of features of my creation give the impression of representing an articulated narrative scene, being supported by the science of physics and natural phenomena meant to prove abundantly, veiled, imperceptible, the incomparable value of a superior power which, in a certain gallery of paintings, could be composed of disparate fragments, converted into symbolic information.

Do you focus on completing a larger area of representation of the “power of being high above” by adapting your boundaries to a context in which the ideal vision of you follows multiple directions of interpretation of a mythical image?

The artist in me demands the authority to master the art of magic, despite his intention to place the research of magic in a scientific direction. In this sense, my creation is also manifested around the vision that makes the given objects look like human silhouettes whose outline is symbolically outlined on the canvas of events, with the most unimaginable shapes. They are like shadows looming against the background wall of strange images. Or, they are seen as spirits working through supernatural matters to protect me from all evil.

Ultimately, a creator does not stop at a single creation, but continues to create other refined models for applying comparisons between two or more distinct entities, and yet in a relationship of organic unity.

And if I ever feed my soul with the idea that no creator will be considered brilliant if he does not create his own “Absolute”, then maybe, just maybe, I will admit my guilt of being strong, protected, ancestral and immortal. Slowly, slowly, I will camouflage my power in the immortal entity of a spirit that binds them all, by which every created thing is a partaker of the order of the world.

Then I’ll let my character speak for himself. Like Prospero, I will bury my books of secret teachings deep in the ground, I will bury the magic wand, and I am determined never to use magic again. I will embark on another pleasant journey, to the natural and worldly, under the watchful eye of the good spirit, Ariel, who is also one of my creations…

The ideal vision I have of myself, in the perimeter of leadership, has as a point of tangency the characterization algorithm of a character who has the courage to proclaim the arbitrariness of the individual will to self-transcend, but without being a product of the will of egocentric sovereignty.

I Look At Myself Without Stopping To Look At The Target when I manage to be a double of mine: first an artist, then a magician. And no magician can call himself an artist without his art encompassing both painting and that little dose of madness that transforms him from a universal creator into an immanentist God.