The Aesthetic Of An Impenetrable Confession

Begin to perfect your art, imagining that there is no teacher in the world able to teach you.

I seemed to have been faced with an immediate imperative of life, as a sort of influence coming through the way of art: "Necessity knows no laws", especially in the face of a God who earnestly asks for patience in the realization of the Great Work, with the modesty of how the world has been designed and built.

Any protest derived from the act of creation by which I was trying to make known my doubts about the Christian principles revealed by modern science so as to ensure my autonomy of self-expression, finding myself in an imagined, biologically undefined world, was a kind of detachment from the particular stereotypes of the aesthetics announced by the reason for a journey into the beyond world. An aspect approachable following the transcendence of an Alter Ego in the projection of a lecture full of teachings.

In fact, I did not allow the sense and feeling of the imperative necessities of art, extremely changing under the power of affirmation of the symbol, from transmitting an imaginary world into a realistic coat to the essentialized field of an ideal significance, to be the expression of the fear generated by the outburst of the soul in front of the advance of some notions of the unpredictable game of the messages that needed to be promoted.

You cannot kidnap the moon to get to better know the sun without going into the development of the field of symbolic implications that gravitate around this necessary path from an interpretative point of view. With this example I touch, in fact, a second more general situation – that of the multiple combinations of inserting thinking in a dialectical confrontation on the same field of the incomprehensible upon which proceeds with his work the lucid initiator of a confessional aesthetic.

Can the rationale for the existence of an artwork be found in your ability to bring authenticity to a reality unleashed by the impetus of a whisper promising a trip around the world?

Between discovering primum vivere from the field of ambiguities associated with things and to deduce from them the meanings not yet included in the raw material that embraces the symbol in the work of art, there is always a constraint of the type coincidentia oppositorum, thrown into the costume of the weather that is losing its seasons over the loneliness of the place called "self-knowledge".

Here, as in many other cases, I find no support in the notions and concepts of the great art-makers, no sparking from the elements of other creations, under any form of inspiration, but I was strictly feeding out of the fullness of an experience that had deepened over the years, being more animated by a "Basic Instinct" at the perceptual level.

The whisper I still address to the world, as a memory would pass between the stars, from a thousand years in the future, is a reversal of the usual logic in the territory of the predictable, a form of expression of imagination in a conceptual space that becomes convincing to the extent that no one attempts to combat my faith in a superior energy that governs my being.

It is not right, some critics would say, to squeeze out of the soul of living matter the artistic theme of the primary reflections on the fullness of the concept "incontro divine", changed into gold with the blood of the idea of alchemy, responsible for a TRIUMPHANT CHARIOT, such as the painter squeezes paints from the tubes, to explore the hidden areas of the insanity of being God’s equal within the limits of the reality captured in the expression of infinite time.

Can you form a picture of someone by trying to face a certainty that you can doubt?

Reader, do you want to know and understand me as a man and as an explorer of the mysteries of the unspoken and unseen, between the illusion of reality and the reality of illusion, from the sincerity of my creative, proud, eloquent form, to the undying rhythm of the paint, to a sincerity of the appreciation of the "Flame of Yahweh" in cosmic manifestation, which for me becomes a science composed of the multiplication of a single anatomical fragment from an anthropomorphic chart meant to express the idea of continuity and permanence of a space superior to the existing one, perceived at a personal level?

Then notice that an opening to "something more", the imperious knowledge revolving around an abstract geometry, the maintaining of the balance towards the impulse of comparing some of the figurations of the sky with various sacred allegories, creating a truth from any confrontation with the realities of the unseen world before the body’s death, through a strange cosmogonic coincidence, all of these are influences coming through the path of an endowment with the power of give life to matter in a way in which the universe expands: through chaos, reorganization and order, in an endless cycle.

Have you built and refined your own tools to criticize a power beyond the understanding of the human mind by calling upon the concern for the intrinsic value of means of expression integrated in a vision without a physical identity?

In art, the MATERIAL dictates the METHOD. Thus, allow me to describe myself, by associating myself with a cosmological vision of creation, as a divine endowment with the melting power of prime matter at a temperature of veracity at the limit of the relationship between the strange and the miraculous, in a pure demonstration of sublimation of the materials from which the writer’s universe is constructed.

For this reason, I often allow myself to paint a painting in the form of a basic motif of decorating the language, with overlapping expressions analogous to the rhythms of the exposure of my version of an artist whose living intertwines with the calmness and rigorous study of the forms, slightly pushed towards surrealism (which proclaims total freedom of expression).

Think of me as you might look at Paracelsus, who wrote much about the mysteries of the Kabbalah and the secrets of alchemy and natural magic. He confessed the following: "I began to perfect my art by imagining that there was no teacher in the world able to teach me, and that I had to gather knowledge by myself for this purpose. The only book I studied was the book of Nature written by the finger of God."

The merit of being an artist is due to the autonomy of self-expression. This means to constantly update your confessional approach, analyzing the realities of the changing world through a revealing journey that takes into account the effects of creation projected in the word of God.

The Aesthetic Of An Impenetrable Confession is a representation of the autonomous validity of expression through which you become the master of the universe, in which the sole intercessor before God is the essence of the written word with the power with which the symbol grants it eternal life.