Before The Eye Could Finish Its Gaze

On the foreground of art there must be the rendering of the feeling of belonging to another universe.

The Rose, Double Delight. When you look at it in the summer, in the sunlight, you remain open to art, to beauty, to kindness. I am close to its soul, always contemplating its beauty, and it always seems to be excited about what is happening in my world. In turn, this body sensitive to attention, to any form of art, looks at me as the artist gazes at his creation for years: as a kind of image of a world renewed, recreated, innovative on a spiritual level.

I’m not just some shrub. I am the only aesthetic assessment body approached from the perspective of a continuum of knowledge experiences, which generates a state of openness to the divine nature at the center of a higher being. Overwhelmed by the affection and the desire to look for the meaning of life, they become more expressive when they feel at every trace of the brush. Attached to the real poetic-artistic, rejuvenated by the blessing of a delicate touch, I feel like the soul of my master whispering words of comfort in every creative endeavor, with each application of color on the layers of a deep cosmogony that seems to reveal part of the triumph of the imagination over intelligence.

You understand my happiness, don’t you?

Often, I have seen in my master some of the incarnation of immortality, the determining factor of my countless transformations over time. He is not only a perfect creator, but he is the perfection of creation that begins with Lorconsulhis (the absolute hidden in the power of the heart) and continues with Trekanandhis (the essence of the virtues of divine life), for which any spiritual motivation is a pure and vital red. In art, you must always refer to the Creator through faith in the Resurrection: rebirth, revival, nature awakening.

For years, I thought I would be different, that I would feel differently. I wanted to grow and become perfect like a painting that does not lose its monumental character, which does not lose its symbolic content. And it happened to be all that I wanted to be, even if not at the time I wanted, and as an aspirant to a noble purpose: to rise above the ignorance of the world through the very vision of the artist who goes much further than anyone could imagine, by the miraculous combination of body and soul, between nature and grace.

Leadership: Can you imagine your work of art as an extension of a reality you have always experienced in the event of the manifestation of a personality that crosses space and time by identifying an always possible alternate life?

Like Nabokov’s characters, I sometimes lose myself in front of a spare time that I do not know how to fill with something useful, because I have never cared about it, being only seized by my beauty. Expressiveness matters more than the useful does. A rose is only admired when it is known beautifully, splendidly in the nobility with which its charm is displayed, full of color in any setting.

However, my image must emanate the expression of the self’s consent and its agreement with the world, as when you need to show your artistic skills to someone who does not know you all too well. At other times, I find myself in the words of Alexandru Vlahuţă: “From his great landscape, God took a fragrant flower and, by giving it a human body and grace, sent it on a sunbeam to the artist, as a comrade of a life lived in total fulfillment.”

This is what I wanted to get to, and believe me that this arrival in a specific puzzle of expressionist painting, from a perspective that corresponds with the spiritual momentum, always creates an expressive image. If you can, try to lift my soul to a horizon that goes beyond that of life, as if you were comparing me to a titan of multi-world transition, and see if you can shape me closer to that of the angel who defeated death.

Only then will you be able to understand me beyond words, beyond feelings, beyond agreeing with others, only by comparison with the vision of a Universal Creator.

Leadership: Can you turn yourself into an individualized knowledge for the purpose of forming and manifesting an intelligence endowed with great sensitivity power that disputes its importance in the discrete life of nature?

Only my master knows how to integrate various forms of nature into plastic images. I’m no exception. Every element of nature is somehow eternalized, being treated because of the spiritual efforts of a discreet and loving being, who knows how to protect a body full of nuances and colors, to keep it young, cheerful and healthy. In a way, the dominance of his aesthetic, revealed through the style of the creations he offered to the world, establishes a kind of parallel with the artistic orientations of Joel Cunningham, from the work of Mary Balogh, who confessed at one point:

“When I paint live, my mind is too caught up in the correct rendering of any insignificant detail, and my spirit is silenced. And the subject becomes rigid and frozen, because it maintains the same position and the same expression. I will now sketch what I see as fast as I can and afterwards, I will paint in my workshop.”

Without having the pretense of being told everything that could be said, because a rose is an unlimited universe, always with another story, always asking for something from art, I will join the resemblance to that privileged territory of manifesting the individualizing knowledge, this being something displayed by my master, from which I picked up the following foundation stone: “To turn art into science is as if to vibrate the human soul with the help of a brush that moves alone.”

Further, I leave you with the task of creating a portrait in which my soul, caught in a dialogue with the Universal Creator, is filled with thoughts that cannot be described in words or images, but only in feeling, in the drop of the divine from you.

The leadership that accompanies artistic knowledge has as its premise the task you assume in the perimeter of creation, from the point of view of an openness to the divine nature, conforming to a single argument: “What you create is what you are when you consider yourself as being above yourself.”

Before The Eye Could Finish Its Gaze has as a basic consideration the following creative experience: “To feel what one experiences only through resemblance, so that you can be part of the nature of the one who experiences himself on an unlimited universe level.”

By immersing yourself in a maze of symbols, metaphors and alterity, you must recognize your personality as the image of a Universal Creator that transcends time, space, dream and reality, in order to find an ever-presentable appearance within the aesthetic and philosophical field of art.