Everyone Sees What They Want To See

If you do not see yourself in what you are looking at, it means that you are looking without seeing.

Before my eyes suddenly appeared several television sets, arranged in parallel, where the images were repeated chaotically through the complete rotation of a cycle of dilations and compressions of time. A parallel time, of forgetting and finding, of memory and eternal silences, which no longer had the patience to deepen the secrets of my “impenetrable”. Moreover, no other view in the world, even humanized according to the images shown by any of the televisions, could have conditioned the perception of the succession of colors and shapes that inoculated in my mind the idea of the simultaneity of small events taking place.

And, as the gaze tried to focus on only one television, by devising some methods of slowing down the image detected by the grace of the eye to create side lighting, or by a process extrinsic to the eye, I was able to divert my thoughts from to their natural course and not to lose myself among enigmatic whispers, among realities that I do not understand. Now, just as in art one should not look for the imitation of things, but rather the way they are represented, in the same way my vision should not focus too much on a means of psychological “pressure”, but should re-edit my thoughts, feelings, impressions, so as to operate an emotional-imaginative transposition.

Only in this way, looking at an image with light-colored eyes, without synchronizing the television screen with the optical path of my subjectivism, could I have modified the image of time that becomes relentless and intolerant? And if my vision was simply distorted by the distorted images of the television, taking the form of an illogical inverted yield curve, beyond what is seen, wouldn’t my eye need a little distance from reality to penetrate into the world of a utopia called “Odyssey of the Despairing Mind”?

That’s when I understood the true purpose of televisions that scroll images without any apparent connection to the realm of the real or the existent: that what I see keeps changing and, in many cases, doesn’t stop generating virtual reality experiences.

Can you conceive your self-image according to an object proposed to be observed, extending the duration of the observation to the level of an experience that is not consumed?

The adventure in the “connected tv devices” room is not over yet. My eyes, full of curiosity, sensitive to the presence of mystery in everything, open to the enigmatic dimension of every situation, still wanted to find a wider meaning to what was seen, under the cover of a fiction to be taken as reality, one that goes beyond the natural framework of things. I could choose to experience this fiction as a kind of continuous state of mind, and combine it with the abstract art of the painter Gianfranco Chiavacci who also approaches optical art and kinetic art, still having the freedom to leave it at any time.

So I went back to the same dark room, devoid of natural light, where the televisions continued to rapidly scroll color images, but without meaning. The visuals felt like a geometry-based puzzle game that had me tapping all sorts of squares and other geometric shapes on the screen to fill in numerous areas of color. Slowly, but surely, I realized that each image of each television provided a sequence from the traps of the mind, from the exile of my heart from a “repeated forgetfulness” in living, as in a nostalgic look at the past, recovering fragments of time and memory capable of giving me back a part of my twisted destiny, worthy of a thriller.

In this way, a permanent connection was made between what is known and unknown, by introducing my mind into a space of encounters with otherness, where I myself became the image of another image whose perception depended on the direction of the gaze. Yes, that’s right, the televisions seemed to assault my mind with images in rapid succession, full of movement and intense action, as if I myself existed in a moving picture painting that seemed to come out of the screen, and the painting seemed to be smarter than me, as it reproduced my reality with excellent chromatic color accuracy.

Can you consider “osmosis” as characteristic of your inner world, through the interpenetration of those real images that have the quality of transcendence and timelessness?

In the end, to explain an abstract, symbolic, surrealist art, I have to declare that I have observed myself in some images that seem very real, but do not correspond to anything in reality, being a kind of strange hallucinations, random reconstructions of the cortex. Like some dreams dreamed before, linked in time and spent in the same space. In this context, only the artist manages to create a series of images, of situations that can bring a person to a certain state or to a certain gesture, and I think that the three-dimensional images of the television were themselves projections of ideas projected by my mind outwardly. Projections of a self-seeking mind.

Compared to these means of projecting increasingly schematized images, tending towards symbols, signs and mathematical forms, with which I was trying to familiarize myself, I found myself permanently between knowledge and ignorance, because beyond what I directly observed was a series full of unknown properties and relationships, and not understood by me.

This is included in the accounts of the famous psychologist Paul Popescu Neveanu, who once said: “Osmosis, the interpenetration of images of various kinds, is characteristic of the artist’s imaginative inner world. Every artist has developed the gift of synesthesia to a high degree. He translates into its specific language of visual, auditory, kinesthetic, verbal values impressions of another kind. In connection with this one speaks of a colored audition or of sound colors, of strident movements, of moving sounds or of strange images full of high contrasts, thus amplifying the feeling of repetition.”

Leadership is oriented towards the essence of two images observed in a dual plane: a real one that best describes you, and another (biased towards differentiation) that suggests that part of you that comes to the surface only through an imaginary projection externalized in creation.

Everyone Sees What They Want To See in the things around them, especially if they are a pure projection of the mind. It goes without saying that an incursion into the space of a setting full of obscurity, assaulted by a particular game of lights, can only take possession of fragments, snapshots of a reality more suspected and intuited than concrete and palpable.

Reality that, however, harbors the traces of a metaphorical destiny with immense potential for transcendence towards another self-image that gives the impression, for a few moments, that there are no boundaries between me and reality, but only a figment of the artist’s mind.