Neculai Fantanaru

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Everything Has A More Expressive Secret Of Its Own

On July 12, 2022
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Leadership sX-Experience by Neculai Fantanaru

A path to beauty can only be carved through an inner look, identifying what is external to us with the help of a pre-existing archetype in our interiority.

I’m sitting on a bench in a big garden full of flowers. But I’m not completely alone. Because I am spiritually related to the matter of nature, I have at my disposal the sight of what is truly above all that is, so I am inextricably bound to my power of relating to art. The art of enlivening the wood from which the bench is made, of giving it shapes with the help of thought and artistic procedures.

I finally found something I like at the moment, even if my interest is just a childish whim.

And if the wood from which the bench is made is a little rotten in places, it can be seen that it is still quite resistant, it has kept its sanctity intact. And even if the paint that covers the wood is erased by the passage of time, making a great effort in kneading the pictorial matter, I could still present the wood in all its brilliance, in a picture with thousands of colors, all put together, or in the pages of a biographical book.

Let me, therefore, leave this consideration of seeing being sight, and walk on the thin thread of some double possibilities of reflection, because the artistic sense will guide my steps. I wonder, however, if the perceptions of some character in my life story have been affected by the presence of this attractive, living material, in vital communion with the environment, from which the bench is made.

Leadership: Can you make a subjective observation near the place that invites you to introspect, so that the image you project on your own being is a vision of what you are in relation to the outside?

Wood is truth and mercy, in the space of the transition from an objective empirical understanding of the human realm, to one that emphasizes subjectivity and the interpretation of aesthetic models, such as those from Romanticism to the Avant-Garde, in a Mannerist century that proved, beyond restrictions and fears, a real stylistic, visionary, creative success.

And how do you think I look at this wooden bench? Not with a distant view of the world, not as a sacrifice of my time dedicated to my passion, but as a being enlivened by the spirit of beauty and the joy of freedom, the field of painting being conceived as an intensive exploration of blue-green colors.

As such, I feel how the wood vibrates in turn, and if this subtle, evocative vibration, raised in the sphere of poetry, has attached a deep feeling charged with a sincere experience, then the recipient of this vibration, the graceful artist, dramatist, prose writer and painter, a sense unaltered by time, by the dawn of a world in transformation. Yes, I feel the wood as a personality that wants to impose itself, causing me heightened feelings of emotionality and awareness of the finesse present in every surrounding element. Obviously, the book of my life imagines its characters before giving them life.

That’s the way things are. The wood does not let me lose the thread of the story in which a painter, sitting down on the bench after a careful observation of the surrounding things, tries to create a painting by increasing gestural freedom in the treatment of the pictorial matter, but with all that it cannot achieve itself in painting. Because that would mean passing twice through the experience of the Self that could manifest itself externally, in the visible and in the invisible at the same time, proving to be more than an “intermediario nella connexione tra due persone” – haunted by elective associations between various styles (romanticism, symbolism, realism, expressionism, etc.).

Leadership: Can you register its presence in the place of observation, so as to establish a proper relationship between the object of perception and the visual acuity that is activated from a certain distance?

In relation to the outside, so face to face with the wooden bench, I am like an artist experiencing otherness, while my painting is preparing to gradually become a symbol full of deep meaning.

In addition, at the moment when I sit on the bench, I realize with great emotion that I have configured an impressive leap towards another level of plastic language (creatively translated into a small work of art). This fact appears as a transition to an artistic expression (Antraghosys – the emotion of a plastically expressed thought) which I do not perceive very clearly yet, but which implicitly has the character of imminence of the feeling of unity, a fact that leads me to talk about it.

Also, the wood the bench is made of has witnessed a lot of events that relative to a fixed reference event, is simultaneous.

And even now, when I sit on the bench and reflect on various ways of creating images, so understanding exactly that painting offers much more freedom than photography, I think that wood has kept its personality unchanged, recognizing as if a priori, with much emotion, all the aesthetic interventions that will be done to him over time, by numerous other artists. In the eyes of wood, I am a stranger, but I don’t even think that it would look at me as a stranger if it could better regulate its vision by freeing feeling from the leash of reason.

Behold then, the wood and the bench can acquire human features. They can acquire the faculties of the senses and the imagination to fully capture and eternalize the miracles of creation, as long as the artist displays his excellence in a technique or artistic mastery that indicates a message: “A path to beauty can only be made through an inner look, identifying what is external to us with the help of a pre-existing archetype in our interiority.”

The visual acuity that the artist activates from a certain distance refers to the impact that other surrounding elements have on the object of study (perceived as an independent power, or as a structure abstracted by sensations).

Everything Has A More Expressive Secret Of Its Own if we consider the fact that a wooden bench can denote a “void” populated in a balanced way with fullness. This, if the unitary message of its image keeps close to the flexible vision of a reality ignored by all the others. As such, the wooden bench sends me a single message: “Never deny your eye the pleasure of creating another reality from what surrounds you, simultaneously with the experiences you associate your person with.”

As can be seen, the preexisting archetype in my interiority is the tendency to represent a reality that transcends what is transient.

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