Look At Me With The Gaze With Which I Follow You

A leader who has the talent and the qualities of an artist will always show an associative intelligence, accepting the challenge of amplifying the visibility of an image far from a static point.

I’m at the train station in Cluj-Napoca. I’m waiting for the train, along with other gazes that seem to notice everything around me. But no one notices me, not because no one has eyes for me, but because foreign gazes always have a habit of focusing on a well-defined goal. And the train is still to come…

But doesn’t the train, in turn, have a look that stands out more than any other look that tries to intercept its geographical position? A thoughtful expression and an enigmatic smile, constituted in a penetrating look that, evading any control, goes through things looking for what is beyond them. Whereas this look sees straight ahead, neglecting at all costs the lateral aspects of the space it crosses, to satisfy that exemplary curiosity that emphasizes the dynamism and the freedom of reaction of the viewer.

And if my gaze meets the straight, cold gaze of the train, without any constraint of space and time, it would mean that we are two witnesses sufficient to justify the confirmation of another point of view, right? Thus, it is possible to agree between a symbol of passing time, expressed through Kamtirodhis, without knowing when the train is approaching, and the stationary in the soul of an imagination meant to take the form of a continuous or prolonged metaphor.

Can you broaden your field of vision by comparing what is happening beyond the imaginary, so as to illustrate an image that extends beyond the frame of reference of the other “YOU”?

One more thing needs to be said. The curiosity of the train will not limit it to the observation of the landscapes that surround it, because its weight is not an impediment to speed, nor to observe what is happening around it, just as a painter who knows how perfectly combine art and different mediums of artistic representation to manifest their talent.

The suggestive fact that draws attention to a serious degree is the very space that the train traverses, so that the artist can represent the duration in such a sensitive way that time is, in relation to it, like a line along which the horizontal plane of the grandiose projections of the surrealists and the transcendent and intrinsic plane of the theory of knowledge.

However, respecting the side views, the external forms of interaction with other people or things, the train must confirm the confession to connect with me, adding that “it does so without being forced by anyone”.

Indeed, it would be said that the train, taking the form of an imaginative creature, gives the artist the same view that he grasps from a distance, proving in this detail that ideas are contained in the sense of sight, and that the artist will distinguish them insofar as it will take into account the importance of abstract thinking.

Is the image that transposes you in the middle of Artistic Creation associated with your position in the area farthest from where you normally wait?

Enystemagntis: to see through what intuition is seen, through what happens to you when you move to another place, with the opening of other perspectives. However, reconstituting the space traversed by the train as a creation traversed by a color of infinity or unreality, but independent of the multitude of objects that are within the reach of the artist, I will be driven by reason to believe that the relationship between train movement and journey in the artistic way it represents the possibility of rendering reality in a unique image-symbol.

Here is how the train becomes, in a single moment, an improvement of my distance view, causing an intimidation of my close gaze, as it moves towards the station. So, nothing escapes the watchful eye of the artist who quickly moves from a predetermined direction to a psychological perspective of the inner gaze. It was to be expected, because in the activity of my faculty of seeing there are two important degrees of comparison that I can specify: a kind of memory that requires constant power to retain data from it, and an associative intelligence that is able to accept the challenge to enhance the visibility of a distant image.

If after a while someone dared to return to the station, willing to wait for the train, the equivalent of finding a gaze that says more than 100 gazes, then I would have one message to convey, as a sincere confession:

The man who does not know how to wait in one place for a reason to see the simple things better, is a man whose gaze is not able to penetrate the linear flow of “now”, and who is not able to penetrate the unusual existing in itself, somewhere withdrawn from the eyes of the world…

Leadership, in the activity of the faculty of seeing, resembles the way you perceive a live art experience, without direct contact with the subject who provoked a comparison: it has a way of ensuring openness to the new, assuming a direction that justifies a revealing mood.

Gaze Upon Me As I Gaze Upon You, whenever you try to capture a clearer picture of the phenomenon of distance-closeness, through the prism of what is seen with the naked eye, but which is perceived artistically only by comparisons.