The Confession Of A Look That Listens To Its Eyes

As long as your eye perceives a special visual landmark, your attention will remain focused on that landmark for a longer time.

My eyes, already quite sensitive to light, decided to play a little with their skills as a passionate photographer and with the beauty of nature, just to get something special, an Inthaeilodhis Amaliess Ompusisthe, a kind of form of recognition of details for fulfillment a spectacular view. With their power to focus on the present moment, the eyes dared to capture the dynamics of life, the horizon of a painting in which the flow of waves is captured in an infinite ebb and flow of color and form, so that the brilliant artist, myself, succeeds to clothe my ideas with new means of expression, with style and plastic argument.

I'm walking on the Turkish coast. Next, my gaze follows things as in a mirror, the retina absorbing only their light parts against the open background of my perception, so that I can create the illusion of a third dimension that I reveal. Perhaps it is given to me to try to discern meanings outside of material existence, so that things, beyond the sphere of direct vision, are treated as a symbol of mystery, that subtle veil that covers ordinary understanding and encourages exploration beyond what is possible observe and measure directly.

It is the call of the artist to search for hidden meanings, unseen connections and depths that the ordinary mind can only glimpse along the line of a philosophical path that, among the worries, disappointments and vanities of the world, seeks a safe refuge inside the soul. Thus, mystery, an imaginary simultaneity that manifests itself in the form of the space on which art paints, can dwell in the simple details of life, transforming them into symbols of a deeper and more complex reality.

Can your perception of things become a source of soul salvation, exploring the sublime in the cause of an all-encompassing vision by establishing the distinction between reality and interpretation?

Nor should we fall into the trap of thinking that the eyes can explain the beautiful by means of comparisons or by means of some empirical psychology treated in an Enlightenment manner as in the time of Heidegger or Kant. The eyes will never need any clarification regarding the aesthetic configuration of the surrounding things, for it is enough for them to see in their absolute ideality the pure imitation of nature. I say this because the eyes themselves are particular ideas intuited in real form, receiving within themselves the "Totality", the entire divine character.

The implication of philosophy in art is obvious. Precisely for this reason, the idea of the artistic gaze of the eyes refers to the novel "The Name of the Rose" written by Umberto Eco:

"And the more these things are revealed to me as the matter I look at is by its nature precious, and the more the creative power of God comes to light as, if I must ascend to the sublime of the cause, inaccessible in its totality, starting from the sublime of effect, a miraculous effect like gold or diamond tell me nothing of causality, if even dung and insect can speak to me of it! And, when I perceive in these stones like higher things, the heart weeps, troubled with joy, and not from earthly vanity or from the love of wealth, but from undefiled love for the first cause, the causeless one."

It can be said, then, that the art of looking is the ability to place things in a subjective manner, along the lines of an ephemeral request to decode an eternal reality (or a reality created by something that is eternal), by means of metaphor and comparison. Often an eternal Universe is confused with a Creator of worlds if the writing about the spirit that accompanies things (impermanent in the memory it leaves behind) becomes more than a reflection of the heart, but a reflection of the divinity.

Can your creation, which the understanding of reality shapes, instill in the surrounding things an effect of perpetuity so as to give them "a life without death"?

But to create the illusion of a third dimension in visual art and to reveal it, myself a lover of contrasts, I often use techniques such as perspective, tonal contrast, overlapping objects and effects of size and scale to guide the viewer's eye by using directional lines. And by creating the right frame, using colors and details to highlight foreground subjects, I especially contribute to the perception of depth and volume in my work related to the reality of things.

For example. The general view of things on a seashell beach is that they are natural and fixed entities determined by natural factors. However, artists who have better visual-spatial skills, as well as mathematical skills, feel very differently captivated by the things around them because, as models for painting, they have a distinct shape and size, each with a different story to tell..

Therefore things, being in pure light, in the open air, undisturbed by any reflection, are not inside a closed space, and the colors influence each other, destroying the volumes. This is probably what Leonardo da Vinci meant when he said: "every body sends its image into the surrounding air".

In the end, I can say that I, as a viewer thirsty for the wonders of things, feel honored to witness these beauties and can experience a deep feeling as a participant in the artistic picture of nature. Like any artist, I look at this landscape with gratitude and admiration, Etielvie Athlessirin Larumor, as an invitation to introspection, meditation and self-knowledge, letting myself be carried away by the magic of art and its power to transform ephemeral moments into eternal memories. By some accident, I understood that what makes things the expression of art is my very (divine) power to animate them.

Regarding the wonders of the things we focus our attention on, the leader can experience that deep feeling that the Creator, looking around with gratitude and admiration, is reflected in a great artistic picture of nature.

The Confession Of A Look That Listens To Its Eyes includes all the emotions that the artist experiences in search of his own meaning, opposite the way he shapes things with his power to transform ephemeral moments into eternal memories.

As for me, if I am to add one last detail, in a way I feel connected to things by a shared secret, as an accomplice to them, that they become the authentic expression of my inner being and the ability to transpose emotions in tangible forms.