Sight Is Not Solely Satisfied With The Decor That Pleases The Eye
In leadership, as in art, it is not just a question of seeing something with your eyes, but of feeling everything with the help of peripheral vision.
The sight of my eyes, as a defining element in an artistic creation whose main feature is authenticity, captures again and again, like a photograph brought to life in a much too hasty present, that reality that painters approach through a stato d 'animo chiamato grandezza, so that my own world seems to defy possible affinities with the challenges of a generation between experiment and entertainment. And how could the creation of a sensitive nature be stimulated other than by following carefully, with soul and mind, the destiny of minor or major transformations in the plane of the evolution of forms of visual expression.
I gaze into the distance as we speak. An unimaginable image, pleasing to the eye, with the blue sea shining like a bright carpet, which I find difficult to distinguish from the symbol of the fulfillment of an unusual dream: Serintoyphia Cuseffer, the dream of eternity from which you never wake up to die. And look how the sea appears to me: like the picture of a solitary and quiet life far from the everyday hustle and bustle of society. For others, it appears as a symbol of secular infinity, but also as a multilateral element that makes an abstract connection between the terrestrial and the cosmic plane, by the fact that it touches the horizon line that seems to separate the sky from the Earth’s surface.
In turn, the dream created from the primordial sense itself (through which the shape, size, height and length of a private space, unoccupied by the profane decays of becoming are determined) tends to enclose me in a Bermuda triangle where things disappear without being able to find an explanation. It seems that I saw my dream kidnapped by another look, from another world, thrown into a vast work of the painter Jim Warren, and I realized that what is disappearing before my eyes is not only reality consumed by melancholy or adoration, but also the act of scholarly imitation of nature. I cannot copy something that is invisible to a view that judges everything by shape and color…
Is it possible to define a more suggestive image by making a JOIN between an aesthetic view and a view of oneself, including the GROUP BY “unidirectional interaction” clause?
Behind the waves, at the other end of the view, is hidden an immense force of attraction: the wealth, beauty and great diversity of life forms that nature has created. Colorful fish and amazing coral reefs, all housed in a relatively small space of my being. I close my eyes and feel them, feel them in the center of my heart. But time will slowly erase them all and nothing will remain, just as the nature of sensations and visual acuity deteriorate as we age, and eventually all disappear from the field of immediate artistic utility.
It’s not just about catching something with my eyes, it’s about sensing with the help of peripheral vision which refers to the side vision of the eye, allowing me to see objects around me without having to turn my head or move my eyes. An attempt, otherwise, far too reckless. Somehow, the sea itself, with its sparkling waves in the light of the sky, eclipses my vision with its wonders that cannot always be captured in images, causing an expansion of my inner world, of the being in which struggles, with so much doubt, the depth of a metaphysical knowledge.
If there was no flight of imagination, opening the space of the depths of a world that arranges its course in the depths of man, then the viewer would be completely disoriented at the sight of things spinning in all directions, brought by the waves to the shore, in the games of light and shadows that are tasked with highlighting freshly laid tracks of bizarre and disconcerting contours, tracing them with a finger to find out where they lead and why they were opened.
Aren’t the eyes the ultimate validation of the depth of the spirit? Moreover, peripheral thinking means to perceive the reality that is revealed in front of you, only what exists in the foreground, this “now” so magical and full of possibilities, without losing your focus on the symbiosis between form and color in while adhering to a vision that at first seems to have a utopian character.
So, I can say that the one-way interaction between aesthetic and useful vision can be achieved by creating a double image: an image in which you yourself are reflected in everything that surrounds you, and an image in which everything looks different from reality. As an artist, you will have to form from this double image another image in which the colors are next to each other, but without combining with each other, just like in an impressionist painting.
Can your vision, passed through the isolation of the Self from the world, be synchronized simultaneously with the reflection on an image that continues to persist in the subconscious?
And just as light directly influences darkness, so too the way I look at waves, through the act of recasting the ideal in the real, prompts me to initiate quite independently the representation of a form of comparison to the natural and artistic effects of colors. Especially the combination of blue and green. But can my vision, passed through the isolation of the self from the world, be synchronized simultaneously with the reflection on an image that continues to persist in the subconscious?
Look at how this inner universe is manifested in the character of Miranda, from a famous novel by John Fowles:
“Darkness, darkness and more darkness. Not only have I never had this feeling before, but I didn’t even imagine it was possible. It’s more than hate, more than despair. You can’t hate what you can’t touch. You can’t even feel what most people consider despair. It is something beyond despair. It’s as if I couldn’t feel anything at all. I see, but I cannot feel. Oh God, if there is a God. I hate beyond hate.”
Yes, as you can see, I like the sea. I look at it as I would an inner fire, a blaze that consumes my soul, but I don’t always look at it with joy, inspiration and longing. Sometimes it happens that I look at her with pain and suffering, feeling how she is moving away from me, fading into a blue shadow on the distant horizon, like a kind of uncertainty of pictorial art. Yes, I see the sea, but I cannot always feel its happy mood for painting, even if it is the background image of my artistic model of the universe.
A view passed through the isolation of my Self from the world refers to that area of reality that has not yet been glimpsed, has not been brought out due to the fact that I am deeply rooted in a mixture of an “ideal difficult to translate into image” and that fluttering of the heart much stronger than the memory itself.
Sight Is Not Solely Satisfied With The Decor That Pleases The Eye, but must be stimulated by that inner strength and the assumption that is needed to recognize that you cannot fight with the shadow of things that cannot be seen in a colorful painting.
Remember ! Your life houses the most frequent images of your dreams, in a relatively small space that the mind can use in inner guidance as an artistic exercise, or as a heavenly privilege, or as a kind of symbolic transformer that changes all the information from the paradise of memories.
