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Learn to be a fruitful spirit in the reflection of the close connection between the idea of imitation of nature and the way of perceiving art as a form of visual communication.
The rose on my right, so calm, free, tender, stares at me like a witness to a life story that will survive all the events from now on, especially through the inexhaustible possibilities of the game called “longevity through culture”. It seems to know in advance the answers to existential dilemmas, from the height of an alleged absolute knowledge, framed in a well-organized content of thought, as if it itself would like to be part of the life of a writer who reconstructs only harmonious word, humbly said, the film of a life viewed in its flow, in the overall perspective of a “compendium” type synthesis.
Is its gaze in the direction dictated by my thoughts full of the candor of art and beauty? Perhaps the rose also grew in the climate of respectful bending over art, through the divine power of the ingenious word Arusnieshtu, meaning the expression of an act of aesthetic valorization in noticing a work of art explained by an approach to the pulsation of existence based on unique feelings and sensations.
The whole art of expressionists takes place in a quasi-figurative context.
This is how beautiful memories are built, from the words that nature gives you, in exchange for listening to and beautifying it with the means and artifices of art, with its intensity, with its analogies. And you love so much a warm, colorful, nostalgic memory, how much you love the presence of a metaphysical being of nature in the visual, suggestive picture of the feelings shared from artist to observer, between the affirmation of a painting of symbolist inspiration and the affirmation of an image of the surrounding reality.
Leadership: Can your art give expression to a moment of “contact improvisation”, in order to produce an advance towards the understanding of the duality of the symbol in a richer configuration called “composition of living through gazes”?
Visual communication contains aspects of an image that can be interpreted subjectively from the perspective of a sensitive narrator, supported by an orderly spirit, meaning through the relationship between the vibration of experience that permeates writing and the freshness of experience that conquers the viewer permanently.
Neither the rose nor the artist will fully enjoy their purpose in this world until they feel the closeness between the beautiful and the subtle of a sensitivity of the soul, which makes possible the expression of emotional or mood states in the act of creation. The very sense of purity and the sacred, flowing through the veins of both of them, clothed with the horizons of a gaze that retains its expressiveness, can undermine a subsequent harmonization with the vibration of nature, with its greatness, with its calm tranquility, caught here in short, extremely suggestive notations.
After all, this is also a confirmation of the possibility of giving expression to a moment of “contact improvisation”, a place where someone, flipping through the book of my being, could have the impetus and courage to learn to with the “close” look of a simple elegance, full of good taste, full of discretion, full of naturalness. What pleases the eye are the knowing eyes that know how to appreciate art according to the openings of sensitivity, the specifics of thinking through the interception of unique images, but especially according to the intensity of living through poetic values.
Believe me, the artist’s eye refuses to adapt to a world of patterns and mass production, he seeks rather to recognize himself as a mirror of the creator in the soul of nature, because he must constantly experience divinity, the feeling of subjective self and of the deeper purpose in life. Perhaps the literary critic Vasile Lovinescu said it better than I did: “To live the world symbolically means to recognize it as an analogical mirror of a higher plane.”
No wonder that in the face of the delicacy and refinement of my rose, without exhausting color and line in the reins of the faithful representation of reality, I feel as if in the presence of an overwhelming power, because it always exists as a completely fresh and innovative way to paint any shape, texture, being.
Leadership: Can the reality on which you base your creation be perceived as something new integrated in the bosom of nature, able to exist by itself and having as a point of support a spiritual follow-up?
I will not stop here, because art is completed by the continuity with which the painter nourishes his feeling of soul fulfillment, of inner peace, the rare intuition to generate new fields of coexistence in a fragmented landscape. In this regard, the artist encounters the splendor of the rose in a monologue from the “New York Trilogy”, written by Paul Auster, when the main character tries to relate to the material world, with the support of a spiritual follow-up:
“You see, the world is made of pieces. Not only have we lost our sense of purpose, but we have also lost the language through which we can express it. The premise of the premises is just this, the method of operation. No doubt these are spiritual matters, but they find their counterpart in the material world. I had the brilliant idea to limit myself to the level of physical things, to the area of the immediate and the tangible. My reasons are noble, but my work takes place in everyday space. That’s why I’m misunderstood so often. But it does not matter. I learned not to pay attention to these things.”
What happens in the soul of the rose, looking at it with the lucidity that retrospection and introspection give? Well, if I tried to answer this question, with a lot of artistic pretension, I would feel as if I were creating a story inside an image printed on a simple paper: I will have to turn into a literary character who expresses truthfully the essence of reality.
A spiritual follow-up is an additional examination or observation of the artist’s intervention in the purity of nature, on the territory of a reality that always escapes our fingers: every reflection in the soul of nature is the result of a thought that ensures the evolution of art.
Experience Me Through You So That I Will Always Experience You The Same. Only in this way will you be able to perceive reality, through a synthesis of the sensitive content that you want to render in art. The simplicity of an artist of the literary genre, whose interior is close to the soul of nature, is the most important premise of his transformation into an imaginative character: it must be truthful, to express a certain artistic pretension, to exist indefinitely.
The rose continues to exist through the trace imprinted over generations of what the artist thinks, feels and does.
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