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In This World I Find Everything, Even Eternity

On October 05, 2018, in Leadership Plus, by Neculai Fantanaru

Try to give reality a voice through a work that finds its representation in an existence that is preserved in the memory of an ever-present time.

The contacts with the most dynamic arts in the visual world, which time itself made in the chase to a point without turning, made me believe that every artist is limited to certain themes, to certain ways of identifying models of inspiration among the many versions of works previously brought to their attention.

But always the art that drew my attention most is a kind of combination between the coloring of the canvas, increasing diversity and flexibility, and the light ray that passes through a prism in a dark room, decomposing into different colored rays, similar to the colors of the rainbow. Light dependence is an ideal of beauty springing out of the darkness of a century without a compass, the existence of a world without landmarks, or the soul of an artist who knows how to look at it with other eyes.

When I look at a painting by Christopher RW Nevinson, I feel as if I experience a hallucination, according to which I can perceive events or things that do not exist, satisfying a primordial impulse at the root of my existence built up by responding to the demands of an endless universe. The visible spectrum of the viewer for an immortal artist can be counted as a shadow of doubt in the focus of a mirror that reflects the parts of the court of a curved space-time following the imagination of a "beyond" empirical knowledge.

This artist, characterized by a sober realism, spent his hours of insomnia discussing with me plans that lightened his mood, as splendid guiding stars, whose success interested him more than the crumbs of existence that he would have acquired in addition if he would have painted through a gray cloth all the horrors of the war he had gone through.

Leadership: Are you able to capture the beginning of a world whose time accumulates in one place, but has ramifications in any future of any major event?

I did not agree with him about the meanings attributed to the image of a major event played by mirror and lens games, as was probably the violent collision of the Transatlantic with a dike. But Nevinson continued to claim that all the mysteries of art and all its subtleties are manifested first and foremost in the skill of gaining more space to explore, combining more functions into one and at the same time giving the feeling of fusion between several worlds.

Without further additions, but linked to a red thread of destiny, "The Arrival" captures the beginning of a world whose time accumulates in one place, but has ramifications in any future of any major event. It is not about a surprise trip in the wonderful world of fantasy, but about twisting a mirror towards a new beginning of the artistic universe.

The great artist was fascinated by the idea of ​​"simultaneity", drawing attention by the complexity of the hard to imagine details in an attempt to capture in one composition the many views and movements in one single moment.

In fact, his whole existence took into consideration the nature of a mirror that reveals only what is reflected in a time without language consciousness and death. Light composition, whose original properties are distinguished by colors born from refractions or reflections of natural bodies.

"The Arrival" is a kind of mirroring of a way to amplify events filled with the unexpected within a supernatural or metaphysical space. The image seems to be a means of expressing the true dimensions that the universe gives to the world in a short time of reality.

Thus, I began to think about myself what Nevinson himself believed about his art: it is made up of a materiality whose phenomenology can be understood only by the elaboration of a spatial chromatic system.

Leadership: Are you prepared to benefit from the accessibility of wider territories of content, revealed by the mysteries of a life lived by chance that envelops the destiny of a special relationship with the field of spatial representation?

In each conversation, with every representation of a pencil line, to the smallest details of the pictorial construction, I experienced with anticipation certain phases of my future understanding of the deep connection between spaces, times, events and the realities of the world. Because this is the standard artistic attitude of the one who wants to embody the infinite in a single place.

The mysteries of a life lived by chance, a rarity of great value for an optimal fictional mode of expression, are ensured by the testimony of my reincarnation in the obscurity of an endless night when the British painter finishes his painting, giving it the last brush stroke with a transparent varnish.

The artist most useful to the universe is the hero who follows the path of destiny with the inner necessity to provide proof of the immortality of his glory, living through all centuries only because of the overwhelming size of what he has left as an inheritance from a life dedicated to art beyond profit.

It can be seen from here how hard it is to apply an expressionist, reintegrating style of the "multiple in one", beyond the mirror of the Self, to capture a reality that must be experienced like an enigma that must be untangled. A spatial representation that makes room for subjectivity has the effect of a far-reaching exploration in the work of an artist who knows one thing: creativity is everywhere, in any format.

If you want to be accepted among your favorite images of the universe, in a night full of stars, accompanied only by the mild light of the moon, you have to treat this artist, no matter how many classes he has, as a superior being, a plan of the universe to give birth to the world in which YOU are unfathomable, having a hard mission where he works and lives.

And obviously no one understands him. Because he is a part of you, and you are that urge to the totality of existence, a forceful start to the absolute totality that is impossible to reconstitute in an empirical way, only spiritual.

Leadership: Are you enchanted by the creative spark of a definitively foreseen emotion to constitute yourself as a form of spirituality in a fundamental and causal pattern for all your manifestations of sensitivity and beauty?

I alone always believed Nevinson, precisely because he was confident in the trumps of a new spectacle of mirrors and reflections so well anchored in the majesty of his own being, as if he had something of the eloquent splendor of eternal life. I was tempted to believe that this man never sleeps, never eats, laughs and never jokes. But in him could be felt that experience that compensated for every worldly care, any lust, any fleeting necessity.

Whatever the case, you should not treat such an artist of the smallest detail as a man, but as a genie without a lamp, hidden in an art gallery full of the savor of the passion for timeless themes, in which there is no dampness, but only that indiscreet glint of the eyes that capture the mirage of atypical beauty.

If I had to constitute myself as a form of spirituality in a fundamental and causal pattern for all my sensibilities and beauty, as a road divided into several artistic directions, from banal to subliminal, I would actually program myself for a kind of understanding of the condensed universe in a heavy materiality of mystery, becoming less and less communicable and more and more fortified.

I will never forget that art is a drop of light, a drop of darkness, a drop of immortality. Each epoch still operates a sort of openness to every aspiration towards the high poetic of a blue perceived only by the whirlpool of a memorial carousel. In this world (of the futuristic painting) I find everything, even eternity, the infinity of matter, even if it walks disguised in a very old but always renewing spirit.

The beauty of a spatial representation encompasses the greatness of a life that reflects the endless prolongation of a constant called "memory".

In This World I Find Everything, Even Eternity, if I begin to think like a painter who knows how to develop a broad, colorful composition from a life experience that allows him to see the world through the mirror of an indestructible universe.

 


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