Innuendo (II)

Resort to new forms of artistic expression through the contact between creation, manifestations, theories, experiments, so as to efficiently validate the final image of what you’ve come to be.

I think up ever more pronounced understandings of my separation from the world, tirelessly, prey to the diversity of creations, manifestations, theories, experiments – first and foremost, those that harmonize with the specific of a pure mystery, produced under the action of the forces of oscillation of the mind that cannot live in the present, but rather always runs back and forth, as a fraction of universality. In a way, the image of my life resembles the description of a picture represented by a harmony given by bright colors, the nuances, tones being perfectly harmonized, which highlights the sensitive side of an artist who knows one thing: creativity is everywhere.

It is what moves my curiosity along the invisible outline of a "superstition, false religion". Slowly and steadily, my mind enters the imprisonment of a possessive convention with an unclean spirit, between dances, broken rhythms, syncopated and songs with engaging tempos. The starting point of a new artistic thinking relates to the description I give to my forms of expression: the imagination, the intellect and the intuition of obtaining “perpetuum mobile” structures as an expression of the whole, so as to give a certainty to the events experienced at a given moment and at a certain intensity.

But, such is born the sensation of supreme living, whose laws of tolerance, concocted in the way an artist stays connected to the elements readily arranged by nature, make the object of precise notes arranged in a stormy chord: "You can be anything you want to be / Just turn yourself into anything you think that you could ever be." Who dares hum my delirium?

Leadership: Can you reinvent yourself during your experience of receiving and analyzing the artistic dimension so that you get a subtle argument for the definition of “being one with everything”?

I would compare the isolation of the genius with an eternal depth where silently and without a trace sink all the feelings with which he is greeted by a world fragile in the face of the unknown. Or, rather, as a deep ocean that covers no man’s land. Permanently, exists around him a coldness, but at the same time, a particular form of validating the rule: "Show yourself – destroy your fears – release your mask". Something moves within me when I thoroughly search what I do not know about this artistic spirit, in relation with the circumstances of a specific case.

Once again, Freddie Mercury delights through another creative attribute that is not really in anyone’s grasp: the amazing ability to reinvent one’s self through a new vision, through a new range of perspectives, color abundance, stage costumes, pantomime improvisations on given themes to explore and cultivate the imagination of an artist who can ask for the elements of decoration and stage motion to conform to him.

The artistic dimension of his personality finds a correspondent in a plane of depth of spirit, the depth of penetration of the world through an association of ideas that generates continuous energy, momentum, more and more accentuated astonishment, new tendencies, debates and currents of opinion. His greatness of becoming one is the mainstay of genius that cannot be stopped by absolutely nothing.

Meritorious, to this complex carrier of plastic opportunities in interpreting emotions, movement first attracts attention, and only then do you think of what moves in a tempo furioso, hundreds of times unpredictable. Proving itself as being beyond Newton who seeks to discover the operations of nature, Freddie Mercury is himself the nature of the world, a revolutionary energy system that ties together all free spirits, a small universe won through the reasoning winged with each thought, with each dance, between minor chords and dominant septa-chords.

But to the supreme art is not needful only the merging of imagination with various sounds, in a vast arcade of musical chords, in order to turn into a universal arrow that crosses the infinite. It is built vividly, in an elementary rotation of the frames, when the man of time suddenly crosses to another scene, substituting himself instantaneously to any phenomenon of culture: portraits, landscapes, objects, animated or not. And they produce through contagion forces of attraction and favorable tendencies that articulate the visible outer world, played out by moralizing microscopy.

The actor who stands on stage as a brilliant talent is the image of a world that does not cease to broaden, amazed by its constant tendency to evolve towards a dependence on the sphere of the fabulous.

Playing out a form of artistic expression through the contact between creations, manifestations, theories, experiments, compressed to the extreme in the fractions of a volume of thoughts that brings certain emotions, experiences, feelings, not only modifies your temporary reality, but also leads to a completely different result in the final image of what you’ve come to be.

The art of letting yourself get carried away by the wave of thoughts, of the freedom of creation and expression y relating to the limits of an autonomy that estranges you from the world, from the positions of a philosophy that reflects the complexity of the function of creator, is an invitation to the subtlety of a game behind the scenes, of a high level, which does not include the true acceptance of leadership: of coming back to where you started.

Through isolation the genius, the free spirit, ends up including in his perceptive field the implications of certain cultural phenomena that find the shortcut towards modeling ideas through the power of renewing themselves under the impact of events. Benefiting from a new and unexpected approach, they force the "orientation of the weapon’s edge towards your own body." Meaning, to a deficit of values, to the lowering of credibility, to the cancelation of those beliefs that safeguard him from the danger of radically concealing himself in the magic of fictions created by himself.

Leadership: Can you outline a new perspective on art, that, however, acknowledges the existence of the phenomenon: "Don’t touch that high peak, always hidden in the clouds"?

For leadership to become an act of substitution for the process of manifesting an authority, an individual force, a new perspective on art needs to be outlined, one which acknowledges the existence of the phenomenon: "Do not touch that high peak, always hidden in the clouds."

And this not only due to the fact that a number of visions and fantastic objects are compressed in a succession of forms that lead to confusion. But because the inclusion of man in another direction of development of science roots the convention that the specific of a development doesn’t resume propagandistically, condensed, to elements and characters that become emblematic through the exploitation of a new form of expression, culture, philosophy or knowledge.

Evolution may have as a constituent element the journey of imagination towards heights of glory not yet reached by anyone, which becomes an initiatory act in your development into a man of creation. But imagination needs to be consumed not only through intrinsic empowerment, but rather through sharing and networking in the confrontation with reality.

The noblest form of art, to astonish and surprise, is the vision of symbolism that you bring to the construction of a world whose only reality is you.

Innuendo is a form of self-improvement through practicing creation, meeting the criteria of imagination and ingenuity, which is only evident at first sight through the attempt of suggesting a new perspective on the world, including in terms of self-awareness. But which affects the way in which you feel linked with the idea of being yourself in a battlefield for a several terrible opponents: morals, identity, your place in society, generality accepted conveniences, suggested experiences and the right of being understood and appreciated.