The Creator Of Parallel Worlds
It is enough to go through a story with life, about life, to find an infinite pleasure in the act of sublimely living another life.
I found my spiritual duplication in a symbol associated with perfection, knowing that what is seen with the naked eye is the image of an escape into another world, seen and felt more intensely at the intertextual level, as Immutable Unity. The rose, because it is best associated with the art of transfiguring and spiritualizing creation in its entirety, told me at one point: “I come from a time when there was no need for a pen to learn a clearer understanding of an entire action, but only of a brush cut from the primary reflex of the unique essence.”
Of course, the virtue of being closer to the pure state of the Creator must not be absent from the union of artistic expression with the way of organizing the plastic composition. Red + yellow = Orange. And the pen with which I write these words, as well as the brush with which I paint the reality of my world, are just instruments located in the same plane, of artistic construction. The distance from one to the other can be measured with the help of a word that denotes the quality of the brush to spread the color on a higher plane in relation to the descriptive one.
If we want to find this word and translate it into an artistic construction, we must first use the pen and the brush for the same purpose: to measure the length and width of the rose flower, placed in a unifying circle whose circumference is everywhere and whose center is nowhere. I found this word alive, autonomous, invigorating, calling it Axisturenthis, translated “life beyond the mirror of this world”, and I added a finding: any change I would make in time, it could be correlated always with the double state of a person, to live and be one with the Creator of the Universal Order.
Does an adequate relationship to the wholeness of the creation you are going through spiritually make you recognize the image of the “New Man” in terms of the correspondence between expressiveness and abstraction?
I think I know myself quite well, and the rose confirms my level of knowledge when it bends its stem in front of me, referring to the fact that I would express my feelings in words anyway, they will be a manifestation of the divine plan. I am an artist because that one word that totally defines me, by style and good taste, by the state of emotion I create, is detached from the “art behind art”, and only the color of the brush can equal the readability of the content on which I transmit and intertwine with the Primary Reflex of the One Essence.
Therefore, the creation of an artist is the word written with a pen from Adam, in the form of an allegory, composed in the amazing manner of a brush to spread the color on a higher plane in relation to the descriptive, and to highlight it spiritually by triggering the inner pulse and capturing it in an artistic form.
In this respect, the interior is legitimate in an artistic creation only if it pivots around a higher plane of existence of matter, in a world of words in whose descriptive structure the brush and pen stand out in relation to their magical form of generating always new interpretations of man’s relationship with nature.
The same two brushes make the artistic writing pass through a divine plan, bearing the mark of the rose, located in the immediate vicinity of the correspondence between the arts – the plastic and the literary. In this way, I will try to define “the integrity of creation” as a meeting of two wills (science and art), a combination of free thought and the subtlety of the generous but non-abusive interpretation of an image that can harmoniously shape your soul.
The act of manifesting expressiveness is exercised in a frame of mind that brings together the subject and the artist, making them integrate into art and the “Created Image”, like the connection between a character of the narrated world and a character of subjective feelings.
Therefore, expressiveness is the expression of a subjective position towards certain visual-plastic entities, while abstraction, inextricably linked to language, is a simplification of the complex reality by modeling the symbols and their meanings.
Quite naturally, the fundamental property of placing two brushes in the image given by the painter of nature, is to indicate to the pen the plane of the relationship between two characters: a character of the narrated world and a character of subjective feelings related to the experience of uniting creation with God. In the same way, the continuous exercise of writing made through an artistic approach, related to the duality of an abstract dimension, reminds me of what Jorge Luis Borges said about the Argentine poet Evaristo Carriego:
“While Carriego was immersed in thoughts of great importance, worthy of being remembered, something happened. Anything. Something we will not be able to recover, something whose meaning we know, but we do not know its form, something usual and ordinary and unsurprising until then, which revealed to Carriego that the universe (which is given to us in its entirety at any moment, in any place, not only in the works of Dumas) was also there, in that present circumstance, in Palermo, 1904.
A heartbreaking guitar chord, an irregular string of short houses seen out the window. Enter such a house, here are the gods, Heraclitus of Ephesus told those who found him warming themselves by the fire in the kitchen.
Sometimes it occurs to me that any human life, however tangled and rich, consists in reality of a single moment; the moment when man realizes once and for all who he is.”
To understand the act of creation in the vision of the Enlightenment, we must first recognize ourselves as creators of a world in which any life, intertwined with other lives, is a correspondence between reality and the representation of the act of painting a story that has become (afterwards) reality.
The Creator Of Parallel Worlds knows that it is enough to go through a story with life, about life, to find infinite pleasure in the act of living another life. To call yourself Creator, you must define and draw the reality of your reflection in another world in which life, like other lives beyond the experience of art that elevates you to the absolute, is a revealing metaphor that signifies the idea of metaphysical knowledge.
