I Will Continue To Always Be My Own Creation

Try to accomplish a special artistic task in such a way that the truly superior science you demonstrate is the testimony of the artist that contains the signature of your own personality and authentic style.

In my hermetic writings on science, in which science is often seen as an unexpected encounter with a star whose formation cycle has become essential in the record of mythical time, I have tried to stand horizontally: between the secret of a great work of art and that epic of matter and spirit integrated into a vast and powerful “Star Trilogy” that knows no programming of the unpredictable.

In particular, everything seems to be different from what it really is. Nothing is more misleading, just as nothing is more tempting in a transient conjuncture than finding refuge in the midst of an encouraging but ambiguous present that can lead to the formation of a boundless horizon called the Universe. Here is the brilliant artist, the sculptor in light, the imitator of the appearances of the real world, who can transform into any character, without stopping to live when he encounters an “Eternal Darkness”.

I have to admit one more thing: during the process of reorienting science towards an innovative representation of reality, finding myself in all seven parts or genres of harmonious and semantically consistent coloring, I was prepared to experience the matrix of all the main characters in a fantastic trilogy of self-search and universal meaning. I could not have been an imitator of the appearances of the real world, without capturing the essence of an “unexpected” or an “unusual”.

Leadership: Are you able to perceive yourself as a result of the expression “I am a hero of another time”, which can also be applied to an art form meant to describe the origins of a sustainable creation?

In a literary or pictorial work, comparison is a means of artistic expression that helps to improve the meaning of an action, an object, or an event. You have to be an artist to make the parts of a painting or other work of art hang together – as a whole – through unique visual relationships in the realm of science, at different levels of complexity, as in the case of Gilgamesh’s Epic.

In the Epic of Gilgamesh, in this epic poem from ancient Mesopotamia, there is the story of a journey to another world, attributed to a very gifted mortal. In other words, in the well-known story of Gilgamesh – considered “the one who saw everything” (Sha Naqba Imuru), the historical account of the failure of the first mortal who aspired to obtain immortality is followed. Even if no evidence of this has been found, nor in previous cases, one thing remains certain: the work of creation can be imposed as both abstract-geometric and emotionally-fascinating only by gaining a greater reputation for wisdom.

Especially the artist, in order to be able to sign his writings under the pseudonym “The King of Heroes”, so obviously oriented under such a mentality, he must demonstrate his ability to successfully use science and consciousness at the same time, under the same sky and in a constant, two-dimensional frame. It relates to spiritual reality due to unimaginable circumstances that can tear down the whole ideological and artistic scaffolding built over the centuries. And he, the artist consecrated by the Byzantine mosaics, can reach permanence only if he is mediated by the gods and only after passing through various initiation stages.

Leadership: Can your creation follow its natural path in the continuity of a vision whose ideational support is directed towards the acquisition of a true image that is perpetuated between parallel planes?

An artist who metamorphoses into substantial pictorial compositions, epidemically conquering the whole universe through his ideas, becomes a symbol of Creation. The same is true for an artist of words who metamorphoses into images of higher forms of existence, or of completing unrealistic options by making unexpected encounters with deeply spiritual beings.

In both cases, the artist does not make a law of hiding any of the real purposes in which he conducts his experiences of traversing time in relation to an allegory or fictional story that may take on the proportions of an archetypal metaphor, or the proportions of a struggle between Good and Evil in the “most ontological” sense.

But, without a doubt, the artist follows a contrary maxim, well integrated in the result of a prudent realism that supports the guiding idea of his entire work in a world where nothing is a certainty. This maxim says that “those who follow false flashes may discover important truths, and that you may often come across one thing while actually looking for another.”

Here comes the measure of my creation, stating the hypothesis that the existence of a spatial horizon of the Self must be involved in the formation of a double positive, as an effect of an alterity that must be, in turn, external to the subject that generated art. And here, without saying it out loud, I secretly confess that this is the measure of my creation: to make accessible to me the mirroring of life in fabulous ways about an identity that is based on unique and unrepeatable symbols.

Understanding a work of art involves both recognizing the resemblance between the creator and the character in which it is metamorphosed, and understanding the convention between what you know you are in reality and what you feel others see in you.

I Will Continue To Always Be My Own Creation whenever I build a character after my own likeness, knowing that what defines me completely is a permanent assimilation of reality through knowledge. This is not because what I call creation is in fact an encounter of the intellect with the imagination, but because by reflecting on how to create a single whole from disparate elements, I am perfecting my functions of synthetic and analytical thinking.