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A Symptomatology Of Aesthetic Experiences

On July 06, 2018, in Human Resources, by Neculai Fantanaru

In the work you see must be felt the science and personality of the one who made it.

I strive to define some kind of oscillation between the initiative of interpreting an artistic composition and fidelity to the message placed at the forefront of awareness of the creative act. The world I live in, a key component of the opportunity to develop my general knowledge of life, of beauty and good, seems to have a lasting correspondence in a parallel universe. In a resemblance to the curving line of a dream limiting to the abstract and with the seemingly right line of the drawing, the right color found, that open access to a fundamental value of art called freedom of expression.

The very essence of this freedom, which is one with the service of God, having an openness to the logic and the value of life, marks a change in the composition and origin of a point of view already strongly supported by the space of an inverse mimesis. Aesthetic principle, developed especially in antiquity, according to which art is the imitation of the real.

Here I have to admit a second thing, just as primordial in the satisfaction of an objective vision as the supreme angle of view that allowed me to know the world as a mystery and to attribute symbolic meanings to it. He shares, like the old teaching books, the urge to find a mutation from art to science based on the continuity of a permanent transformation of a conceptual nature.

Every stage, every aspect, every area of ​​life shares something from inside an enigma, possible search cycles, identity grits, spiritual struggles, accumulation of meanings within a huge maze, colored with that hue of pink blending with gray, habits and expressions characteristic of style controlled by a reason that always lends an ear to the heart. Not for nothing, when I try to express my artistic potential, to visualize a new horizon, I feel close to a Don Quixote, transplanted into a seemingly unchangeable world, crafted under seemingly mysterious laws, made to fine or delight its makers as is just.

What is imagined as absolute as a supreme mystery in my art, falls into the extreme of a compromise between sincerity and the high degree of flexibility in defining a new profile of the architect of the world, in a modulated style of affective and overlapped labyrinths of the characters of my own Ego, my own traits and constructive deeds.

Leadership: Can you extend the reference frames of your imaginary representations with conceptual determinations in which personal experience is integrated?

A riddle inside an enigma is like a painting forged from the spontaneous gesture of delicacy, practiced for prolonged periods as a result of a close dialogue with the eye that anticipates a new direction of composition and responds faster than the hand. Once again, I am aligning my ways of experiencing a meta-esthetic in the course of my life, subjected to some quantitative or qualitative transformation.

Investing color with the radiant energy of the inner life, the magic eye of the opportunity to know how much I lie or how much I remain authentic in the psychology of the creator, akin to artistic experience, serving as a spiritual guide, with the great picturesque experience of a divinity that puts a common conscience in all people.

With great curiosity I observe the immense diversity of life forms and their apparent perfection, like a geneticist studying molecules, and is much more able to interpret the information gathered, trying to figure out what Jacques Ruffié called "one of the most mysterious frontiers of knowledge".

Undoubtedly, I have to reconfigure an overall picture satisfying to evolution. But not a total picture. Like a classical essay, it contains two major components: an informational one with cultural and perceptual determinations targeting the totality of imaginary representations grouped around a lax nucleus of ideas.

In the evolution of leadership, I legitimate myself as an outstanding exponent of scientific art. The first concept I summarize when writing, looking around, is this: "Observe Intelligently !"

The testimony of a work as admirable as inaccessible is the expression of the association of colors and the mysterious depth of what you discover through everything you express.

Every painted work is an oversimplification of my intellectual property assets, which color is contained in its autonomous quality, touching hope, gentleness, attraction. How can you not see the green buds of the trees, the fresh green grass, the pigeon’s graceful flight in the artist’s painting universe that works only with the pencil, the paper sheet, and with established word combinations, with the means of expression of a knowledge that can only be borrowed, but without granting anyone the right to possess it?

In the book "How to Enjoy a Painting", writer Victor Ieronim Stoichiţă tries to give an explanation to the painting called The Calling of Saint Matthew, made in 1661 by Juan de Pareja. To emphasize the importance of his experience, Pareja resorted to a figure of speech known as the author’s metalepsis, representing the left side of the canvas, under the traits of a secondary character, but important though by its function: in his hand he holds a note that reads: "Juan de Parefa 1661".

The picture could (at the limit) operate without this character, which is an optional addition, without being meaningless however.

This is, in fact, the quality of a work that looks at its artist from the perspective of a fine observer and a sensitive eyewitness. But I do not want to stretch this subject too much, introducing other lines of force, contours of typical shapes for a work that portrays, in a general way, the portrait of an artist’s individuality. I would just mention:

The only way to dialogue with the diversity of a vast world, with the help of the concept of totality, to replace the reality of life with the science that you have, is to place yourself in the work you are making.

A Symptomatology Of Aesthetic Experiences requires the exploration of frames full of mystery, short but content dialogues in an art of comparisons between personal experience and information perceived by language or image in the virtual "display" represented by consciousness.

An aesthetic experience is an increase in awareness of your reaction to what you are transmitting.

 


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