De Stellis Infinnio
„The artist must know how to bring to the surface the being within matter and be the tool that reveals its very higher essence, in a truly visible existence.”
The perspective of the concept of creation has always been the main landmark of how I should work in the artistic field, so as to obtain through the means of a refined, deeper, more nuanced view, the amazing idea of a double finitude: between possible and real, between temporal and eternal. It wasn’t easy, it wasn’t hard, it wasn’t chaos, it wasn’t pointless direction. Surprisingly, an unknown force, seen as a symbol of freedom, being explained by an intention doubled by a pronounced and unparalleled attachment to diversity, somehow forced me to place my compositions within the consolidation perimeter of a double of mine.
As a prophetic call, in the highest sense, something urged me to bow diligently to those who do not fall into the normal order of the path taken by others, such a wandering path that somewhat resembles winding, dead-end labyrinths, or too imaginative, created by Simone Noseda Pinto. „Forbidden access” I wrote on these labyrinths, a push towards what is unknown being my right guide, a unique path is obligatory imposed by God,provided that what I express through creation is directly proportional to my intuitive and emotionally open nature to multiple spiritual valences.
I felt, I saw, I heard, I could discern between what is banal and spectacular, between false memory and dream, finally succeeding (on the way to the habit of an inner view that precedes the outer view) to become the partisan of obtaining the everyday superlative. The labyrinths of artistic confrontations contained in this kind of consensus, as well as my contribution to the subject of an experience of rivalry with that oppressive, cold and insensitive monopoly of academism that regards reality as something unchanging, have not even been projected into the temporal realm of my brain, but they fit into an Arethesintesha(an adjustable design for multiple directions of illumination).
Can your creation make it possible to define an image capable of joining a view that includes the „measure of the superlative” and the promise of a revelation that transcends the appearance of things, including evaluative impressions of the world?
And contrary to expectations, leaving aside the underdogs that can only be discussed and approved by the false specialists of perspective, thieves full of subterfuges and false identities, I have slowly moved away from those that do not conform to the real state. I knowingly indulged in all the trifles and miscelanea of life from which, with the thought of a half-alchemist archaeologist, I extracted the opaque root of similar things and the spatio-temporal substance of distinct things. In the same way, I managed to create other completely different things from one thing, from a single composition of my own, with truly expressionist valences.
He who contemplates reality can transcend the appearances of things and can see their hidden side. In accordance with this aspect, and taking into account everything that happens around me, I defined my work as a form made up of disparate parts, but put together in an image close to the way the ancient Conquerors looked at the distant horizon. I called it simply: „De Stellis Infinnio”, which can be translated as „the divine superlative extracted from all the splendor of simple things.”
Above all, I shone in humility, with the chosen thoughts that know how to choose a middle ground between attractiveness and completeness, without being deceived by passing and innocuous shadows, the chiaroscuro of futility in recognizing a work of art worthless or a meaningless existence. Contrary to expectations, I was able to tell a story that makes it unique, a light and warm wavelength, a certain literary and artistic form in accordance with the nature and occupation of subtle, metaphysical, seductive thinking, fantasies and beautiful ideas about life and art.
Can you produce with the help of vision a liberating inner transformation, provided you are accountable to the consciousness of a metaphysician who ensures the expansion of your being in a cause of the „FRAGILE” type?
For this, and only for this, I have been worthy to carry in my arms the source of an art as old as the world itself, called Kabbalah, but at the same time I have demonstrated a complex artistic psychology by choosing a harmony analogous to proportions, textures and colors not only within the same layer, but in the context of the whole image resulting from the overlapping of lines, symbols, themes, motifs, and touches of color that produce certain sensations.
Without reproducing any masterpiece, art has helped me to attach myself to a fragile existence that is preserved in the memory of an ever-present time.
What Simona Popescu wrote in the novel „Exuvii” comes as a kind of complement to this art admitted in terms of confissão de confissõesof which, even now, I feel guilty that I did not take it to that level of perfection in which the critique becomes an impiety, but where the good soul becomes the bearer of artistic qualities: expressiveness, depth and sensitivity.
„I feel the world around me: transparencies, flickers of color, ambiguities, interpenetrations, oscillations, multiple, diffuse sound, rich clutter, a jumble of shapes and materials, iridescence, perfumes coming from everywhere and out of nowhere, overwhelming. A vague, fluid world, in the natural extension of my being, of my living, thinking body. All these things have not been lost and do not belong to the past, to the irreversible past, to... childhood memories. They remained in me, in my concrete simultaneity.”
In art, the measure of the superlative is the only degree of comparison (between vision and perception, between things and situations) that falls within the sphere of telling an original reality meant to transcend what is transient, and can only be known through the soul.
De Stellis Infinnio symbolizes the development of my art seen from the perspective of a creation arising from the union of the soul with all surrounding things, under the brilliance of an existence that can be drawn in every way, but less as a trivial one. Here, too, it is worth paraphrasing Constantin Brâncuşi: „The artist must know how to bring to the surface the being within matter and be a tool that reveals its very superior essence, in a truly visible existence.”
