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Only in a discreet setting do similar spirits meet and complete each other, those of great subtlety and originality.
The magician once told me a secret about God, in an intimacy where no one and nothing was in its place, because this was provided in the scenario of the performance of the show. Everything had to betray an increased mystery in the presence of lights ready to go out. Curiosity and horror targeted me in an unlimited powerlessness, in a state of tension in which I grudgingly accepted the conditions of an image of falsehood.
As if God were, in turn, a mysterious magician, whom the effects of magic could not substitute within a reasonable time, had transformed him into a fiction of Kafkian perception that could only become reality in an outstanding art form. Finding this, this well-kept secret, I was already feeling above the rest of the world.
And yet, I continued to feel cloistered in a dark space, away from any trace of feeling, close to a gloomy mysticism from which truths can hardly find their way. What could the world be mad at if it knows less than I do, especially since so many times I have relied, patiently, with interest, honestly on the nature of simple things, that everything is as it should be, not as it seems.
Even the weakest gaze has its inside, even the most unfamiliar view has its specificity.
The truth was beyond my comprehension. I had entered into an emptiness, an extension in the exuberance of the subjective wilderness, on the edge of the bottomless abyss of silent and tense silence. Somehow, I felt unnecessary, like a painter who can’t find his inspiration when he has to mix the simplest colors. Comfortingly, humbly, by a simplifying intuition, I imagined God as an invisible voice, the echo of a perfect creation in the rising tension of an expectation that will never end.
Leadership: Can you simplify the visual information in front of you and translate it into a suggestive image, prolonged by compositional continuity in favor of an original art that is not subject to the usual patterns of reality reception?
The feeling of a mystical expectation lingered in the air. God amused himself secretly, behind the tall, imposing curtain, while the magician surrounded me with wills and woes about the clandestine piling up of all the temptations to which magic is subjected. I did not want to face the truth, nor the falsehood, but I had to let myself be led by the work of a fascinating image, as when the painter shows his spirit of observation, the power of conviction, the talent of artistic transfiguration of the stages of the creative process – in an irredeemable attraction.
That’s just to immortalize the moment of tension. And because I didn’t want to be that way, it just happened to be the opposite of how I wanted it to be.
A place foreign to my being, but close to art. Here, a magician and a God gave me all the ideas regarding the articulations of the theory of creation of eternal truths, not being in their parabolic substance, of perspective, but a mere natural circumstance of the very human, but also so imperative vital impulse to dominate reality at a time when my words were constantly “I can’t, I don’t understand anything”.
Leadership: Are you beginning to realize that visual information means being one step ahead of the actual experience of reality, considering that the purpose of a creation is to induce a state of fullness that belongs to alterity?
After a while everything was silent, a suspension of the freedom to understand reality, an intrigue worthy of a novel with upsets. The magician became unseen behind the curtain. And God finally came out, taking a sober and distant air, as in a dynamic picture whose construction suffered some logic errors. I was guessing that everything is a well-played farce, a forgery of an older faith by playing a story that has the sudden appearance of a spark of inspiration.
And yet, feeling overwhelmed by an invisible tremor, I learned how to help build the memory of other fictional characters I often identified with. Each construction captured by me, being categorically analyzed with an artist’s eye, becomes a fundamental landmark for the opening of other artistic horizons. And the same landmark that can be wrapped in an unusual magic, so cleverly tricked, it fulfills a universal function, and a particular one, especially if I make an act of creation that has in its composition the bent temptation of secrecy and its accessibility. God, as well as the persistence of the one who unites with Him.
A magician is a God because he knows how to tell about God as a magician hiding behind an impenetrable curtain, designating a metaphor in a play of compositions, where only God can see and understand it through a secret whose decryption key no one can find. The whole mystical painting was outlined by a spontaneous artist, who is not a brilliant artist but by the act of concretizing the reality that will remain for years and years in the memory he placed in the deepest place in the soul of the other magicians, who aspire to be Gods.
Leadership: Does the variety of meanings you attribute to reality betray a simplified vision of the purpose of your creation, a fact that indicates the disposition of art towards opening a long-term perspective?
The lights went out slowly, as time goes by when you look at it in a painting by Salvador Dali, but in the darkness, one could distinguish the faint glow of a simultaneity and resonance of the kind of soul that longs to be truly creative. I ventured into the darkness, which became darker and darker as I tried to bring my creation to the level of magic, with superhuman efforts. But I felt far more enchanted by magic, as the very creation, hidden beneath dozens of masks, drew me closer to God, inviting me to understand art in a dual world. Everything is a picture. A show. Art. Magic.
Visual information refers to the way of describing a high contrast image, anchored to a certain reality, to a certain landmark, to a certain situation. It is what you capture in reality in the form of an image that claims to be important and positive for the realization of the idea of “miraculous” in the vital space of creation.
And if I stop here, to not liven up hazy gazes too much, it is because I want the end of the novel “The Name of the Rose”, by Umberto Eco, to make you understand magic, even if few of you are prepared to understand it from a visual information perspective:
“I will quickly plunge into that wilderness, perfectly smooth and unobtrusive, in which the soul ends truly happy. I will plunge into the darkness of God, in silent silence and ineffable merging, and in this plunge all equality and inequality will be lost, and in that void my spirit will lose itself, and will no longer know neither equal nor unequal, and nothing else: and all differences will be forgotten. I will be in the simple foundation, in the quiet desert where the differences are never seen, in the intimacy where no one is in his particular place. I will fall into silent and uninhabited divinity, where there is no work or image.”
The long-term perspective that influences (high-level) leadership is the product of the merging of two distinct entities: a magician and a god, a theme that wants to materialize in a world of the miraculous and a vision that is intended to be achieved exclusively by nurturing faith in a transcendent world.
An Eye To See And A Mind To Understand are two distinct entities of an authority called “Creator” whose images mirror each other, overlapping only by reflection in a plane of evidence and a plane of discretion.
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