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The Aesthetics of An Astral Experience (II)

On April 10, 2018, in Leadership Q2-Sensitive, by Neculai Fantanaru

Art is everywhere and nowhere, in everything and in nothing, for all eternity.

I am lost in the boundlessness of a memory of before you were born, before you found your time, before we met, according to the design of the understanding of this mysterious millennium framework, simply called: life.

That is why I have decided to try an experiment through which I would inject a little expressive hue to the picture that is no longer in an intuitive and perfunctory whole with your views, a metaphorical utterance, a touch allowed by God in the concrete form of the forms of reality, through the simplicity of the drawing in relation to the graphical condition of the letters made into words, from a sense, from a glimmer, from the infiniteness of a passage from one time to another.

To you, reader, I leave the most holy of my memory.

Sometimes I wish I did not have the ability to give birth to a kind of temporal reversibility mechanism, as an ideal means of serving the intentions of preparing for the victory of such struggles always belonging to the empire of the moment, a so-called system of turning back time, in the subtlety of unencumbered expansions of knowledge, its elements of power forming a Cosmos.

But maybe this is the very quality that corresponds to my purpose. I can traverse the magical content of the moments experimented with from the whole frame of my earthly passage into a new experience, following the exhortations and teachings of the artist who consecrates and defines his work, almost entirely, to the theme of a reality that is impossible to ignore.

Leadership: Will your experience in the immanent plan of life be translated into a plastic image that will improve the perception of a remarkable world through your presence in a new age of creation?

A permanent temptation of the natural, the corporealization of the symbolic diagram, the transformation of the visual concept into a plastic form, is connected to something so moving, in a sense that far exceeds any sentimentality, aiming at the most real and alive human feeling, as a special event: the eagerness to change the world.

My interest is especially directed at painter Dürer, to the feeling of joy that stirred his awareness of the perfection of the work "Martyrdom of the Ten Thousand". When I suggested imagining the king of Persia, Shapur I, in a frame full of that humanity who has the right to master the universe, Dürer has given me the understanding that the heroic feature of his model best resides from the painful and penetrating reflection of the great vicissitudes by which the rule of a king is being tested.

I would rather say that this work betrays its true psychological background, the agitated and nonconformist side of the artist’s tragedy in tragic times, by skillfully marking the accents of the dramatic at the expense of monumentality.

If the concrete destiny of man is his creative assumption, then the formula of my authenticity resides in an engaged attitude of an artist to interpret reality by the intensity of his experiences, competing with the vigor of interpretation by which he breathes an innovating breath.

Leadership: Do you take the decisive step by which your living presence in people’s memories allows them to rise to the first stage of an aesthetic tendency by illustrating a historical subject that benefits you from the arbitrary perspective of an imposing and overwhelming reality?

Generally speaking, when I think of the content of the art written in the field of a universal memory, imagined by a lens of the evolution of contrasts between old and new, I have in mind a movement that repeats endlessly in an abundance of linear curves, a technical drawing, coupled with an intense plea for a redemption through art.

The painful harvesting of the artist I metamorphosed into is a living parable about the power of man who, despite the vicissitudes of life, does not break the beauty of a theme of mystical origin, from a surrealistic universe like that of Aquasixio.

I realize that I was happy only after the decisive moment passed, for only so could my words, replacing the true images, transmit across generations the peak episodes of history. I sometimes try to look back in hindsight and I see it as a movie that I cannot remember anymore, so that it will not have to amplify this state of nostalgia to infinity.

As I approach the likeness of God, I begin to understand that the only oasis of tranquility is the beauty of the human nature contemplated on the background of art.

Leadership: Can you confirm your perfect appearance in the echo of a memorable time so that you do not lose the depth of your participation in the mysterious cry of a single answer to eternity?

The Creator and his Shadow, its life and echoes, an a priori of formal imagination , later following his fulfillment through an act of creation, from a painter’s activity to that of a writer, continuing indefinitely with the great themes of the universe and culminating in the glory of the talent of being unique in the memory of time.

Full of uncertainty, I feel like I cross another plan of reality, penetrated by an energy that tends to emerge as a form of remodeling the past, as I myself exist as a being open to an almost infinite horizon of possibilities. It is about the aesthetics of the joy of living in the memory of a past time and the aesthetic of the desire to win a reformer image in a progressive revelation of the self in the memory of the present.

The Etruscan of Mika Waltari, that Immortal Turms, linking every stone of life to events with the desire to remember them, is found in a special way in me, in a place of creative manifestations, which unleashes any rope that holds my soul captive in an eternal fear: to be rejected by the memory of a world that dies when I fail to relate to its concrete.

Only one answer leads me to eternity: I believe that my experience so far recommends me for the position of master with power of life and death over what is happening, in correlation with my own way of seeing the world in the immediate vicinity of a reference art which is able to overcome the limits of its own repetitiveness.

Is the art you practice distinguished by experiencing your presence in a world that ends much too fast?

The Aesthetics Of An Astral Experience is the fruit of heaven and earth, of the written, seen and signed by a writer’s ability to develop the idea of ​​time in a completely different direction of philosophy, rather than otherwise being tempted to understand it. This direction says that art is everywhere and nowhere, in everything and in nothing, for all eternity.

 


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