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The way you perceive the connection between art and creation is identical to the way you perceive the connection between science and the soul in the context of the requirements of a healthy environment.
I have always liked to write, to let myself be carried away by the rhythm of inexhaustible motivation, hoping that in this way I will find my peace, the discernment of poetic creativity, identical with the relationship between the sublime and the ephemeral. Probably, this is also a virtue, to have a rich inner life, just as is experienced by any brush artist who knows how to identify with what we aesthetically call “the beauty of a work of art”.
Sometimes I wrote something for someone special, and even then, the more or less accidental joining of various categories of artistic forms led to the same point, to the agreement between interior and exterior, between intimate conviction and statement, between perception and vision. Because writing appears in the depths of my being as a kind of impulse given by divine enlightenment so that I can embrace the unlimited freedom of expression through artistic means, so as to more easily observe the close connection, or even the perceived identity between interpretive rigor and empirical clarity.
It was so interesting to find out that writing, no matter how varied it may manifest within an Inserifamech(the wise order of the great Creation), especially artistically, coincides with the intimate perception of a knowledge-based memory, as a result of researching competent people in any of the fields of science and life. Even more interesting than that is the interest I took in what concerned me, taking note of the urgent need to meet myself…
Can your leadership be interpreted from another perspective, that of a possible correspondence between the language of an inner calling and the outer language of symbols?
Indeed, most of the time I wrote just for myself, because no one is like me anymore. Rather, we remained the same as when we ran alone in the field in the summer, smelling the scent of colorful petals that, in turn, selected their cohabiting partners in the world of flying insects. The essential thing was for the pollen of the flowers to reach the stigma of other flowers, no matter how this natural beautification was fulfilled, and thus my words to acquire the character of the discovery of a random pollination.
The scientific explanation for this “distance to near” influence was to be given only later, when the mutual affinity of the insect and the plant would have reached an astonishing degree of empathy, and they could no longer live without each other. I leave it to you to decide what the mutual affinity of the insect and the plant symbolizes in the great book of Creation.
There were also cases when the understanding of nature and art, through the act of creation springing from the imitation of nature, somehow intuiting the fact that a creation that can be understood from every level of living things, from every movement of them, was made through a syntheses of the image circumscribed to a type of realism that demands multiple influences, from connectionism to symbolism.
All this was happening at a time of personal transformation, when I was beginning to weigh in on the contribution of nature to the formation of art. In this regard, I looked very much like one of Marquise Yourcenar’s characters who had set out in search of the philosopher’s stone:
“For I had gone a long way in denying all values to see if anything could be said later on, in the way of decomposing all things, in order to look at them afterwards as they come together again on another plane or in another way.”
Leadership: Are you ready to take the time to penetrate a wide variety of environmental conditions and offer a view that brings the outside to the inside, so as to capture the essence of the art that crowns the Work of Creation?
Nature is the mirror of an art that delicately directs its brush, in depth, towards the canvas of the life of some exceptional living miniatures (tender, energetic, curious creatures, also equally faithful to the act of creation). They are also a kind of guide, consolation or help. Relying on this observation, I can say that the writing itself repeats itself as a new specimen of the fruit of the earth, regaining its freedom, not without passing through the ring of flowers of a thorough knowledge of the “sensitive object”.
At other times, writing is the possibility of being powerless, because any word is “colorless” like the discreet insect Chrysopa Carnea, which if not projected into the sky with a clear understanding, can inspire some fear in the one who sees it. I continue to write sincerely, in the field of aesthetics, in full accordance with the pleasant-smelling nectar of a wide range of flowers transformed into a dreamlike description of the struggle of desires and plans for the future, a mystical struggle that takes place only in my soul.
When we choose to find out the effect of words we should discern between the peace of feelings and the burning desire to be one with nature, the writer being not only the customs officer of the word, but also a condition of the presence of bees that collect pollen to make honey sweet and full of therapeutic virtues.
Or every word I write here repeats the same operation of pollination of the meanings of language enrichment, producing the fertilization of a special flower: Euphorbia Milii(Crown of Christ). Even the butterfly has in its buccal apparatus a cylindrical notch specially adapted for harvesting plant pollen, and if my words retain anything of its flight, that something is immediately the "Symbol of Metamorphosis." And the only way I can express the fluttering of the butterfly’s wings as it flies from place to place is the sum of the following words: Ars longa, vita brevis. (Art is long, life is short).
So, here’s the conclusion. Face to face with the splendors of nature, a writer must perceive the integral part of a dynamic, expressive art, which grows and changes and continuously expands its range of meanings, evolving towards new types of exposure of information from the game of metamorphoses.
The Great Work of The Great Creation is a constant interaction between ego and environment, sustained by science and soul. And the essence of the art that crowns the Work of Creation is the concept of plausibility, the non-transfigured imitation of nature and reality.
Self-Raising Flower highlights the beginning of a new form of manifestation of Creation between what happens in nature and what happens in myself. Eventually, I realized that what is happening in nature is happening in myself, nature itself being a reflection of my way of life. And what happens between the act of creation and the revelation of one’s own psychological self highlights the comprehensive beginning of a new avant-garde.
Two requirements provide the environment for the completion of the act of creation: to find a logic in any movement in the middle of nature and to be the basis for the emergence of a systematizing criterion of the effects produced by any movement or phenomenon of nature.
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