I Paint Only In Words

A writing following the twists and turns of the soul is the movement of a brush on a canvas of a subject caught between two similar worlds.

What provides my understanding with all the materials of the highest thought, from which the plans of the universe make up most of my belief in the concepts of superiority, is the care of my creator essence according to an exceptional artistic destiny. The understanding of the generating mechanism of authenticity, referring to the visual density of the images meant to constitute a revealing event, was obtained by a correlation of the symbols arranged in an extension of the holy things attached to human existence, but also for a stricter incarnation in the rules of science.

Symbols are produced under a modeling influence of a being which in itself carries the reason for the meaning of an existence detached from the horizon of timelessness, extracted from the greasy machinery of an “eternal” world so different from the narrow and vapid mundane. The aesthetic resorts used to vibrate the human soul with symbols are the pure color of turquoise, in the case of painting, and in the case of a writing of great finesse, a connection is made with the expressions of wide circulation in the literary space of pleasant secrets (metaphors, personifications, epithets, associations, analogies).

Authentic leadership involves the ability to combine seemingly disparate elements, creating a harmonious composition from different themes and perspectives.

Not even now do I recognize my hypostases, I do not know what I have metamorphosed into over time, but I feel caught between the quicksilver of the highest knowledge and the broad universe of meanings of spiritual retrieval.

The painting is similar to writing as nature resonates with the visual function, as the soul resonates with what the eyes observe in a deterministic system. The expressiveness, finesse of execution and the brightness of the color resonate with the depth of thought in defining the concepts of identity, alterity and artistic and cultural diversity from the necessity of the relational perspective in the study of social phenomena.

Thus, I am entitled to consider myself more than a painter who oscillates between erudition and the brush, but as an entire universe of artistic expressions involved in the writing act.

Can you make permanent proof of an aesthetic superiority describing the psychological experience of attachment to an image that even if it is directly related to the characteristics of your personality, has an unmistakable existence and destiny?

When I relate in an innovative way to the act of painting about the way I have to convey an emotion, I remember what literary critic Hippolyte Taine said about the French writer La Fontaine who felt and immortalized everything in true images:

“He not only describes the passions of the soul, but feels that man’s imagination is organic, that in order to understand the diversity of feelings, the diversity of gestures and attitudes must be observed. That we see the spirit only through the body. He describes in the same way he narrates, visualizing and in detail: for to describe means to narrate, and the only difference is that in the second case the details succeed one another, while in the first case they are together.”

The first provision in the act of writing, as in the case of painting, is the richness of details and the search for particular traits meant to trigger certain emotions. Something urges me to imagine my life in the mirror of things around me, to organize the whole space of the painting, the play of rediscovered representations and the possibility of looking at things from the perspective of a dream, a poetic delusion, a flashback as a revelation of an absolute reality or as a thought about what I want to do for God.

From a psychological point of view, the artist is attached to a picture of reality by considering the study of man in all his hypostases (both that of a creator and that of a muse), interpreting his destiny, his consequences and his role in society, depending on the visual impression of the (chromatic) details that would be beneficial to a collective memory. The unmistakable destiny of man has to go through the famous metaphor of the statue that comes to life thanks to the love of the Creator for art.

Can you treat the subject of a painting from the point of view of a dominant idea that goes through the beautiful metaphor of a territory where you can coexist for a long time through the role of Alter-Ego?

A writing following the twists and turns of the soul is the movement of a brush on a canvas of a subject caught between two similar worlds: the symbol of a divine creation given to man with a high sensitivity coefficient and the symbol of a spiritual resurrection. Here we are dealing with a reality seen from the perspective of a way of confronting the being with limits, with destiny, but also with the image of an idyllic world on the line of capitalizing the elements of language assimilated for the consolidation of improvisational skills.

This is true literary improvisation: to think of the fine brush movement that triggers a whole range of extraordinary feelings in the viewer’s soul. The visual density of the information I provide through a balanced color matching is therefore the point of strength in creativity that does not hesitate to qualify as an exceptional art-appealing artistic environment for the image of a symbolic reality, updated by the message of emotional thinking of great beauty.

An autonomous agreement in the big orchestra. Before you come to the intrinsic content of each color and theme, you must explain a revelation that cancels the theories of the classics, just as an excellent anatomist explains the human body springs from its own experience of a good observer of isolated facts and a profound analyst of various, mysterious phenomena.

A revelation can be illustrated by the intimate dialogue of: what you are when you are tracing on the canvas the features of the reinvented model of memory strategies and what you are when you finish the painting, seeing yourself as the model. It is here that the Alter-Ego comes in, “the stranger with whom the creator makes a provisional peace”, only to make a new variant of his personality.

Can you perfect your art of maintaining your authenticity using the “symbol-meaning” ensemble from which to translate the image of a reality that is more than the sum of its components?

In the face of a mixture of bright and bold colors, the proportions of the essential and objective determinations of the present, in the case of an authentic artist, nuance the magic of the fantastic, and can return with heart and mind in the world of tales and mystical substrates in which the “body of Christ” or “the Elixir of Youth” are viewed from surprising angles. One is to order the whole semantic of a symbolic universe, and something else entirely to express the “height of a sky that has never been the same” within the depths of space.

A way to achieve a writing full of spirit by using the “symbol-meaning” ensemble is to explore the necessity of renewing art from the awareness of the specific properties of each color (emanates heat, attracts attention, stimulates nerves) and their spiritual correspondence. The impasse that occurs in this case, in addition to the fact that it is necessary to explore the “ineffable”, between figurative and abstract, is to define a space of reality that inspires a story.

In concepts related to aesthetic superiority, consisting in the decomposition of ideas into units and in reducing sensations and reflections, dominates the cross effect: attention, understanding, expressiveness and erudition are rendered by metaphors such as: “a comforting touch of galaxies”, “the sun of righteousness”, “mercury womb”, “a death that is not the end”, etc.

The qualitative change of the whole image, which can produce dependence on a succession of facts and events, gives me for analysis the experience of a painting that comes to life, aging while the owner keeps their youth. A simple contour line that in terms of classical art is an elemental category of plastic syntax.

An image of reality can mean more than the sum of its component parts when it is based on the metaphorical instinct, on the non-perceptive resources of imagination that possesses the freedom to combine perspectives, forms, elements, entirely different themes of art, from compositions with characters, with abstract compositions.

I Paint Only In Words whenever I want to control the feelings of the image that I have formed about reality. This title is a suitable metaphor for a conversation with myself, like a spring landscape painting, where the mountains stretch out in many ways, melting into the sky, where only one color catches my eye: azure, a color of nostalgia or infinity.