The Color Of An Exceptional Visual Representation

The artist who gives consistency to his themes of reflection emphasizes that sensitivity projected on the stable self, which does not change regardless of reality.

A color can be dominant in a painting when it is used more as a way to communicate and share something in my field of sensitivity, maybe something in the universe of my madness. But this warm, simple, finely differentiating color is not important to draw attention to detail: the skill, imagination, creativity with which I was endowed to elevate an image to the heights of artistic greatness, but to move away from what the experimenter of ideas calls “errors in indicating the possibility of knowledge”.

There was always something missing from my search: contact with myself, with the force of expression, deep contact with that sentimental energy that can release its power by sharing a transfiguration of the soul. And that was because I was just a landscape experimenter working hard in the open air, endowed with the most sensitive part of a poor soul, but I wasn’t a thoroughbred explorer who practiced the arts of transparency in an all-encompassing metaphor.

As for color, as it is expressed in the field of my expressionist-abstract compositions, it admirably folds on the sensitivity and receptivity shown to the feelings of others, according to a Shatapsettian Synnem(a first encounter of the intellect with the Great Light). It is enough to reproduce it in the light of the evocation of a moment like “Who would have thought?” to complete an experience of self-individualization.

A man will never be able to call himself an artist without finding his own color that complements his beauty and emphasizes, for example, the strong character traits with which nature has generously rewarded him.

Can you highlight the expression of your ideal self in the relative form of a creation experienced in the “hidden” of a world that depicts reality by capturing the non-material essence of a perfect creator?

As a visible reflection of the sun on the earth, the color of amber gives me visibility in the space of reflection of a formula of emancipation in terms of style of expression. It is precisely because of this style that I have tried, so many times, to stand out through subtle brushstrokes and vibrated chromatic games. What Simona Popescu wrote in the novel “Exuvii” comes as a kind of completion of this color, synonymous with the emotion of the expression that my face expresses in the field of the image of an artist who has a special talent and can plastically express what can be done through art:

“I could hear the color, and it sounded like rustling. I was spreading over the green, I was a strand of dark green over the pale green velvet like a caterpillar. I was a thread that was being crocheted by an aunt in a woolen jacket. I was the thread and I was curling up. A lacer, some needles turned me into a thick pattern or a lace foam. And so on…”

Likewise, in the center of the image inscribed in my creation, which I describe in the quietest, most vibrant and bright words, is that sensitivity with which the chromatic values and the dialogue between things and the soul are harmonized. How can I penetrate the deep meaning of my individuality reflected in a stylized image of the reunion with myself, if I do not know how to reproduce the color of a visual representation overflowing with concreteness, of the flow of life from the surface of a troubled soul?

The non-material essence of a perfect creator proceeds from the development of a visual representation in the foreground of which is the embodiment of his soul, captured by the addition of colors that maintain their intensity over time.

And leadership has the same quality as the colors in my creation: it is of great purity, even when mixed with various fragments of my particular life.

The Color Of An Exceptional Visual Representation, designated by the expression of the ideal self, can be characterized by: hue (chromatic ambiance specific to a painting), brightness (intensity) and saturation (purity).

Here I am referring to a tone-on-tone technique that does not take into account the intermediate shading in which one character or another of my creations is located, but rather takes into account the need to facilitate a visual representation where the real is completely exposed by unnecessary ornaments, as is the essence of a single-colored object (for example, a green leaf).

This technique emphasizes the sensitivity that affects the stable self, which does not change regardless of reality.