Sight Follows Its Eyes Wherever There Is A Figurative Image

The eyes cannot always distinguish the shape necessary for an intuitive representation, but they can more easily tolerate the comprehensive meaning of an upright key figure.

My eyes have not yet forgotten to see the idealized aspects of the visible world, just as they have not forgotten to see the real or logical environment in which things are arranged in pictorial space, as vision improves from observation to observation, from generalization to generalization, with the help of a penetrating and unified vision.

And as the artist’s eye perceives even the slightest alteration of the diamond’s luster, as well as the smallest spot of color in an abstract painting, even a sliver of congealed light straying on the ground, I am quite willing to devote myself the attention of a much more difficult task: to feel by sight the beauty of a blade of grass. Just that, to feel, to see, to taste that technique of suggestion generating vague emotions, by observing this image full of sensitivity.

Fragile, soft and pleasing to the artistic eye, this blade of grass walks the line of truth, not imitation, and its spirit remains free. It is always caught in a vertical position, like a syringe needle that does not need to be sterilized with an insistent look in order to feel useful in someone’s observation. His simple presence silences any tumult, any torrent of arguments and feelings. Looked at closely, stripped of its appearance, moving away from the sphere of chiaroscuro, it is preserved only in the sphere of a simple and banal coloring, a fact that reminds me of the scrutinizing gaze on a monument of contemplation when man rediscovers the world and finds himself, improbably modified in time.

Can you improve your ability to grasp a whole and also register significant details by placing close-up elements in perceptual relation to the content of a partially figurative image?

Through twisted lines and reflected by the sunlight, regarding the activity of ensuring the transparency and uniformity of a diverse ANONYMITY, the eyes cannot distinguish the verisimilitude of an artistic effect, the form necessary for an intuitive representation, but they can more easily tolerate the comprehensive meaning of a figure key in direct correspondence with the vertical line within the plane geometry.

And this time, the ability to grasp a whole and at the same time to record the significant details, sometimes overestimating the proportion between imagination and the spark of a longing for the beauties of unspoiled nature, repeatedly changes my vision and engages it in a kind of interrogation or investigation, from far to near and back.

In a way I feel pursued by the artistic duty to see the blade of grass as a kind of eternal, living force, imbued with a mysticism whose beginning was Arab alchemy, a mysticism whose secret no one dares to penetrate. I am, am I not, the author of a painting that surpasses human works through subtle speculations. And, it can be seen that more and more I assume the strength to glimpse the beauty where no one expects to find it naturally.

After these considerations I can reduce the image of a blade of grass oriented to feeling, not to form, to that nobility of calmness, of health, of openness to the concerns of the Impressionists, more by means of light than of shadow. Possessing a superior power of expressing the real, far from the violent contrasts of other colors, hasty and strident, the blade of grass can be attributed not only to the calm in its majesty, but also to that symbolic side that acquires a painting signed by Pablo Picasso.

Can you penetrate through the sensible into the intelligible with the help of the projection of a horizon left at the mercy of geometry, but also of mirages chained by chromatic reveries?

With the depth given by the admiring stupor in a space reduced to a reverie of infinity, placing the elements from close-up in a perceptive relationship with the content of a partially figurative image, I will try through the sensible to penetrate into the intelligible, with the help of the projection of a horizon left to the will of geometry, but also of mirages chained by chromatic reveries.

Even if for some this painting seems lifeless, or not attracting anyone’s attention, it is nevertheless designed in the sense of tranquility, as a kind of mandala that acts with the effect of psychotherapy, self-hypnosis, self-conversation. It is a kind of Sondirthimia, something is of a noble nature, determined by forms of an intellectual nature in this picture in which a ray of sunlight shines, descended from the sky, from the unseen but felt hand of the great God, it gives you good news: “All that is beautiful is actually a new visual way to organize ideas, to create connections and relationships between things”.

At the same time, on the line drawn by the artist’s eye due to sufficient visual stimulation, I must see in the field of grass the main elements of the beauty of mathematics: order, symmetry and determination, as they are expressed by Proclus in “Commentaries on Euclid”:

“ORDER is found in the genesis of the secondary and the multiple from what is primordial and simple. For the following always depends on the antecedent and one has the value of principle, the other has the value of consequence from the highest assumptions. SYMMETRY is observed in the mutual agreement of the demonstrations. And DETERMINATION is observed in invariable and lasting ideas, because its knowledge is not constantly changing as it happens with simple opinions and with the perceptions of the senses, but it is always exposed through forms of intellectual existence. If beauty rests especially on these points, and mathematics acquires its profile precisely through this, then it is obvious that beauty can also be attributed to mathematics.”

When leadership comes from the awareness of specific aspects of perception, concentrating in a small space the totality of the universe, only then the space of art (in which life or the cramp of it gathers) acquires autonomous virtues of expression and meaning.

Having said that, I conclude that what I consider to be pleasing to the sensitive eye of the artist, who wants to master reality, not modify or exploit it, is that perfect aesthetic solidarity when every point, every line and every individual form harmoniously integrates with the whole, creating the impression of totality.

The Sight Follows Its Eyes Wherever There Is A Figurative Image, proving that the role of the illustrator-artist is not that of a neutral observer of reality, but to assimilate the visuality of an unlimited set of shapes, colors, plastic elements, especially to express a visuality whose beauty is more difficult to discover, to turn it into a spiritual act.

The overarching meaning of an upright key figure is this: no matter how much I raise my vibration to the dimensional frequencies of the Earth, the gaze will not cease to oscillate between reality and fiction.