Gaze Upon Me Without Straining Your Eyes

The perspective from which you look at an image without a defined human outline, forms your perception of what it means to be in fact an artistic person.

An ant. All I have in front of my eyes is an ant, a trivial moving point in which all the attention of my eyes is fixed, but it is a unit of measure that triggers creation. And how could I look at this ant with the eyes of an artist who knows for sure one thing: creativity is everywhere, especially in the sense of fulfilling the condition of novelty. For the ant does not know that they are watching it intently, its gaze being directed to the bag of sugar on the table, hoping that perhaps no one will detect its presence. I don’t know if it’s just a delight for eyes that hide their gaze…

All-knowing and wise, focusing on meticulous work that requires a lot of patience, the ant doesn’t even think that someone has already thought about translating it into a single image, an image that can generate new angles of analysis of symbols that may be included in the element of “novelty”, additional awareness or mechanisms for identifying the causes for which there is a certain preference for figurative art.

In particular: from any angle I would look at a small creature, an image of sensitivity in fine art, un sistema de reflexión sobre la realidad y fijación de ideas, thegaze still does not forget that small sphere of existence that becomes precious through the very journey it’s on, crossing the space before my eyes with the same discretion with which the artist constructs his stylistic profile from kaleidoscopic fragments.

There is no doubt about it. The perspective from which you look at the photographed subject, immortalized in a glance that lasts only a few seconds, changes according to the ideal pattern towards which the artist tends all his life: a persistent background in his visual memory.

Can the angle of a single frame of reference provide you with a persistent background in the visual memory of an artist who reveals multiple ways of receiving his Creation?

If you are wondering what is wrong with this ant, being an unpredictable detail that is born randomly from the manifestation of one’s own individuality with the encounter of an admiring look directed at a random and symbolic target, find out that everything depends on the perspective from which you look at a work of art. Also, if a vivid image is viewed for a long time, when the gaze moves over a dark surface, the same image will be seen as a strangeness, a personal transgression, something intrusive or offensive, and consequently it won’t be too funny.

Hyper-realism plays on the line between reality and art. For this reason, thanks to a renewed look at the ant, being also an important link in the ecological chain, a very prudent creature, the artist will try to imitate nature, taking naturalism to the extreme. The ant will necessarily appear transformed into something else, namely, a being.

Therefore, the reception of my creation at the thematic level can be determined by two variants: by an image that tells a story, and by a personification that masters the narrative techniques. It takes artistic education to understand this.

Can you show that the means of validating your creation depends on the appreciation of a fixed or moving point, from which the essence of a deeply figurative vision is fed?

I try to emphasize that personification becomes obligatory, the artist cutting out from reality those parts that he finds interesting and reproducing them with the utmost meticulousness in a creation whose universe intertwines with that of Thales who, in order to discover the properties to any isosceles triangle, does not follow step by step what he sees, but tries to construct the isosceles triangle in a general sense.

Indeed, the successor of a number is also a number, and the degree of originality of a creation is given by the distance between the gaze of ordinary eyes and the gaze of eyes illuminated by representations of art – accessible in the version of a smaller world, represented by irregular and vulnerable patterns. It is equally certain that the symbol of diligence and perseverance, which resolutely overcomes all obstacles, is a work of nature framed in the coordinates of a vision of strong originality, recognized as the only form necessary for art, since it cannot be invented by man through art, because nature is a creature long before man.

The ant is not a deviation that reduces the power of a penetrating gaze, making from the discretion with which it crosses the artistic world a formidable reflection in the mirror of the world of the ordinary man, a reflection in an allegorical sense, of course. Rather, it is the particular form established by individuality through which the essence of a deeply figurative vision is manifested, the particular existing only to assimilate the whole range of elements seen up close that have in contrast the broad perspectives, comprised at a glance.

Can you guide the reception of your creation to an unparalleled Creator level by combining two comparative notions into a single body?

In this ant, the particular must always be objectified, giving precedence, as solid as possible for the analysis of artistic creation, to the uninterrupted movement of an inferior organism which is quite imposing as a weight of concept and conception, but evolving from a thematic area standpoint approached by the art of painting.

The ant has only itself in all its forms of manifestation and existence, constituting itself as the subject of creation – not through an incarnation of force combined with meekness, but combining in a single organism two comparative notions: man and nature.

It can be objectified as an original idea of ​​creation only insofar as it is embodied (as a sensational factor) both in words and in images, movements and moving moments, to outline a future surrealism. In a single moment, the ant can be reflected in the microscopic dimension of an emerging world, as a particular unit of form and content, as a unit of observation of reality through a gaze that can only be observed in a state in which only an artist can capture in a detailed image.

And from the point of view of the concept of “nothing is ever too much for making an impression of reality in painting”, I think the ant would have something important to say : “If I do an impression of being someone special, you will imitate and reproduce my actions with spatially congruent body parts, in art.”

Leadership is the result of the comparison that the subject makes between himself and other elements around him, so that the image that will reach the viewer is identical to the one that came from content creators.

Gaze Upon Me Without Straining Your Eyes, the ant told me as I hurriedly watched it walk toward the sugar bag on the table. And when its words penetrated the depths of my mind, as a kind of conditioning that became a conviction, I realized for the first time that what an artist needs to highlight through his creation is the projected image, point by point, on the appearance of the one standing in front of him.