See Me With Your Mind’s Eyes Or With The Real Gaze

Only by observing and immortalizing the apparently separate elements of reality can the artist reveal an ever more comprehensive understanding of the Whole.

Whoever has discovered the secret of great science, will also have infinity on his side. This can be seen easily, so easily, just by looking at an emerald-colored leaf, unique among other leaves on the same tree. Or if we carefully examine this leaf, with those eyes that retain the images and recognize the views, without confusing it with the simple representation of an image from nature, and if we grant it the property of the eye to see and distinguish the shapes of objects, their sizes and other details, we will find that it becomes a field for exploring the environment.

To look at this leaf as a book open to view, une ligne directrice dans la réalisement du dessin, is a process that is all the more complex as the perceptive background of the receiver is more developed, especially since it can be particularized in the aspect of constituting a background of emotional agreement that does not exert a pronounced inner pressure on the intellectual processes. In this context, let’s think about the fact that a leaf is not only a means of exploring the visual field, but can be a rational, communicative and informational entity.

But what does a leaf see when it sits next to other leaves? What does a leaf see through the leaves next to it? What does a leaf see when it lets itself be carried on the wings of the wind? Above all, what does a leaf see when it looks around not with its eyes, but rather with its mind, with its ears, with its soul, filtering reality through the thoughts of an artist who uses the pictorial medium to create abstract representations of imaginary memories?

Can you create visual content that targets representations of reality so that you learn new things about the meanings of the senses that have a major impact on what is happening around you?

I will start from the idea that the leaf itself constitutes a fact of visual memory in an image of spatio-temporal essence, performing an analysis of the impact on the environment on the data provided by the senses. The eyes never forget what remains in the soul, as a pale memory of what once was. And the artist knows this, that a leaf sees from a certain angle a person passing in front of it, while another leaf on the same tree sees what does not appear to the eyes of the other leaves, and every day other people pass by the tree full of leaves, and many other things are shown to the view differently. Is it not so?

Far be it from me to pretend to any analysis to dissect reality, recomposing an image and discussing it as a unitary whole. But, being aware that matter interacts through instantaneous forces from a distance, not just nearby, I will consider that a leaf also feels the energetic vibration of every color, every thing, every being that enters its visual field.

I’ll say it another way. Matter interacts through a mystical vision, a vision that exceeds in all directions the angle of validity of the projection of a sequence of moving images. And if the leaf is made of the same matter from which the other elements of the world are composed, and if it addresses a single entity in the scene unfolded by the vision, then the immortalized subject can enter a world of mysteries, symbols and cosmic correspondences.

Can you create a comprehensive picture from autonomous entities, so that it comes to life with the help of a view that brings together, in turn, other views?

Only the artist sees what others can barely glimpse, because only he knows how to see an image through the eyes of a leaf, especially if these eyes cover in the field of vision every aspect of a reality that needs to be described without any shadow of concealment. Of course, another view jumps to the aid of the artist’s view, which brings together, in turn, other views. Only after this mental activity of ascertaining, understanding and judging some stimuli coming from the outside, with the help of sensory receptors, the artist has the opportunity to recompose the image and discuss it as a unitary whole.

I would like to try something new. I would like to discern the message of a leaf, to be the trigger of its vision, to adjust its positioning in space when it is carried by the wind, long before it feels the caress of the earth. Even if her face is contorted with pain, announcing with a torn voice that her soul hurts terribly leaving the branches of the tree and letting herself fall prey to the wind, she can more easily get close to the vision of the painter who knows how to reveal what others cannot see.

Moreover, I decided to expand my horizon of reality by trying to figure out what a cigarette butt dropped on the sidewalk, with a leaf touched by cold raindrops that the sun is trying to forget, is talking about. What is the stake of such communication, from the perspective of an observer of physical matter? Because, yes, I have the ability to evoke multiple associations and imaginative representations.

Basically, I am referring to a single eligible work to be constituted as a guarantee of the absolute and of my talent as an artist. I emphasize this because the artist sees only what he wishes to observe, transposing into the work only what is shown as an omnipresent entity in a dialogue about the hidden nature of communication between elements. Only thus, by observing and immortalizing the apparently separate elements of reality, can he reveal an ever more comprehensive understanding of the Whole.

In the field of leadership, we can introduce the variable „creation” if we manage to pay special attention to the artist’s ability to detect with the sense of sight that reality among realities, and to transform it into a sensation perceived as an image.

While I was looking at a leaf with a feeling of sympathy, as if it were a work of God’s creation, a voice from off sounded in my mind: "See Me With Your Mind’s Eyes Or WithThe Real Gaze if you want to initiate yourself into the field of painting".

Whoever hears and obeys this inner voice, which is the most precious but made by nature, will find in it an excellent guide to the mastery of the art. Do not forget that the sense of sight, the instrument of the power to understand the aesthetic-ideatic relationship, represents the greatest treasure of the artist.