Look At Me Compared To The Appearance Of An Artistic Image

A transposition of the Creator’s personality into nature is a faithful reproduction of what you expect to see in an image that evokes memories.

Today I look at the sea in a completely different way, this space of the absolute where few dare build their life story. It is infectious in the way I see it out of the corner of my eye, like an illusion of an intense reality, like a kind of delusional deja-vu feeling meant to bring me to art’s most vulnerable point: the act of looking with suspicion at any representation, both perspective and non-perspective, whatever it may be.

The sea is emotion, metaphor, vision, it is notion, idea, thought and dream alike. And in an artistic version, in the great variability of creative activity, the sea pours its graces into my soul among the vast treasures of a charming imagination, reflecting a Borgesian mystery in which everything can only be touched in a dream behind the memories. This is also a form of making art, using any medium to represent an artistic idea, emotion or imagination.

My words are insufficient to express my admiration and gratitude towards something external, la creazione di una natura immutabile, in the proportions due to the representation of the idea of “beginning without end” conceived along the lines of the metaphorical plasticity that the insistence of my gaze acquires in the moments of “back in time”.

Keep this in mind ! Any artist, thinking in a flow of images, symbols, representations of the imagination that often have no basis in any perception, can distort the experience of time, living in the moment, just as a tiny spot of color can change the appearance of the larger paintings. The artist thus runs the risk of not taking his eyes off what affected him spiritually.

Can you demonstrate that there is a connection between the process of visual perception itself and the awareness of this visual perception, experiencing the thrill of reliving a significant event?

The language of the sea tells me everything about my thinking, considering that I hold the secrets that only nature keeps and can give to those who know how to listen. The sea remains an occulted area, defined by an Idearesthos Misearostys, the nostalgic multiplication of a state of adoration, accompanied by the thrill of mystical communion, as if evoking that desire and expectation I have for a dream that won’t leave me alone.

And not only that. I believe that the sea is a kinship between the object of perception (what is imposed in the foreground) and the field of perception (what passes into the background) on backgrounds that gradually complicate, demanding on the part of the viewers to mentally complete it with divine symbolic attributes.

Once again, I can feel all the contentment, all the peace that can be enjoyed by the vast expanse of a courageous, immutable, interpretive reality. I see how the sea deepens gradually, so as not to scare those who do not know how to swim, I see how it breaks into pieces hitting the shore, but in its incomprehensibility it remains intact. I see her stirring, I see her changing color almost every day, how she brings to the shore the depth of her heavy sighs, how she draws secrets from people, how she shakes herself from the foam among the stone cliffs and how she gracefully sways her waves, wanting as if to create a profile of stability, of natural balance.

And this is what the sea said to me: “I will be very happy, venerable painter, if you will take the trouble to clarify some of my doubts that give uncertainty to my perception of beauty, of art, of various other pleasant subjects for drawing and painting. So, do not be surprised if your treatise on the totality of observations that give the visual experience of an ordinary reality, will present you with a list of problems and questions to which, from a real understanding of human nature alone, they will not provide you no concrete answer. Would you like, on this occasion, to share with me your thoughts about the beauty you want to build on my behalf?”

Can you identify with the vibration of an unforgettable mystical experience in a process of receiving a reference image, which leads to the formation of another image?

The sea absorbs my whole being in the mirage with which it encompasses, inspires and shapes a new life story. Here, in the perimeter of memories and poetic visions, or grandiose fictions of the Borgesian type, the story of Nils Holgersson written by Selma Lagerlöf has its best place.

On one of his trips, while walking on a deserted beach, Nils saw a rusty copper penny on the sand. Realizing that he was dealing with a thing devoid of any value, he did not even think of picking it up and putting it in his pocket, but kicked it away. When he wanted to go further, he was amazed to see that a long wall with ridges and towers rose a few hundred paces away. He slipped under the gate and entered the unknown city. His eyes had never seen anything like this. Only shops with precious things, particularly good-looking people, tall houses full of grandeur, frontispieces adorned with more and more elaborate ornaments, etc. Everywhere he looked he saw only life. It was heaven on earth. Nils roamed the city for a long time, nobody noticed him, especially because he was as small as a finger. At one point he said to himself: “I will never be rich enough to buy anything from here.”

And, suddenly, at the call of this desire, more and more merchants gathered around him. They all made him understand that they demanded only this much as payment for any product: a single penny, no matter how small, so that the curse hovering over the city would be stopped. But Nils didn’t even have a penny. Then all the merchants began to weep with tears. Moved by their pitiful condition, and remembering the penny on the seashore, Nils set off in pursuit. He left the city gate and headed straight for the place where he had discovered the penny. He found it immediately. But when he turned back to the city, he saw nothing but the sea rolling its waves incessantly. The city had disappeared again, for another thousand years.

In order to place yourself in an image that reflects your inner reality, you must first outline a story that you cannot part with, with the risk of experiencing the disappointment of wasting a beautiful story that was only possible in your imagination.

Look At Me Compared With The Appearance Of An Artistic Image if you want to relate to a reality that knows only the horizon of mysticism, transmitted through the filter of nostalgia, a fact that has a much deeper impact on the mental and the emotional. Whereas the sea is constituted as an artistic image when it captures a reality that is often ignored, overlooked or… unknown !

That’s the way things are. When you continue to enjoy the feeling of immersion in the dream world of the sea, which all artists manage to create mentally, you begin to feel like you are in a mirage that, although temporary, makes you move forward and don’t pay attention to the lessons learned. Whereas failure, if viewed as a lesson, or as an intermediate step, is phenomenal.

At one point I wanted to lose myself in a fairytale landscape, like in a mirage that the sea creates on a hot summer day, but the heat of the day was beginning to be acutely felt, and that gave me news that I don’t have to risk utopian thinking where essence and appearance coincide…