Learn to look at things of the present time by embracing with a clearer and more ready look the wide view that a certain distance opens for the eye.
The image of the rose in the forefront of characterizing a controversial character arose from an artistic need. It was an attempt to defy the reality overlaid with the symbols of the daily that the short history of my life began to become the expression of the composition of a work whose spectacular equation could have summed up the formation of an aesthetic ideal, such as “mimesis”, the imitation of nature.
The deepest need to make art occasionally serves the service of a worthy model of worship. It was a strong desire I had for a long time, a great way of cultivating a cult language, full of images and color, a sort of next level in the dynamic reports between the author and the receiver, which the aesthetically relevant elements in a dipinto soprattutto enigmatico were at the disposal of time, forever.
In relation to nature, the character I imagined through the feeling of amazement, as in front of a picture exhibited in an international art exhibition, seemed to sneak away from the secrets of a well-grounded land, a mixture of reality and illusion, passable and eternal.
The experience of endearing an alterity is part of the magical world of the rose, just as the mirror imagined by writer Almeida Faria gives the Portuguese king Dom Sebastiao a portrait opposite to the one that was already imagined by historians, but connected to a repeating destiny. As for me, whenever I am in the presence of the rose, the creation of nature that pushes the artistic initiative to the idea of formulating an expression of the perfection of the spirit, I feel like caught in the dream world of a Borges character composed of two twisted images of the same history, between Martin Fierro and Tadeo Isidoro Cruz.
Leadership: Does the creation that elevates you above the self possess a narrative thread and identity that is discovered as the sources of inspiration of an author who always reveals another face are assimilated?
When you try to paint a picture from scattered words, through comparisons and metaphors that send to other worlds and other realities, it often happens that you recognize in yourself the testimonies of an enigmatic influence of other times, as if in another life you were someone else, more worthy to remember. Thus, in order to understand the nature of the rose, it must be based on the psychology of other characters and other authors, such as Daniel Quinn, and continued with the profound ego of his author, Paul Auster, who questioned the experience of living by resemblance, through space-time contiguity:
“For whatever is seen or said, even the most vague, the most trivial thing may be related to the unfolding of a storyline in which you are captured by the greatness of facts, decorations and experiences that have the splendor of pages from 1001 nights, but organized in a pattern known to the readers of detective novels.”
Okay, but why is it important to reveal another face to another character, if the same thinking and the same being is in the middle? Probably for the same reason that roses bloom more than once in the same summer, they change their nuances, they often lose their buds, but they do not lose their qualities, beauty and supremacy among the other flowers, and they do not diminish their manifestation of will, to perpetuate through adaptation.
Therefore, the creative test I propose this time consists in reproducing a character that faithfully corresponds to the reference provided by a reality that penetrates the reader’s soul as a comparison between what you see to someone else or something and what you expect from yourself to get through a revealing experience that will make you acquainted with a new You.
The creation that raises above your self resembles the opportunity to find yourself in a literary description when you indulge in a series of different hypostases, of which only one is used as an occasion to reflect everything in the nature of your personality.
Thus, the rose is the object of personal epoch reminders that arose from a small dose of naivety to dream with eyes wide opened of the world experienced and told by a character who is mistaken with his author. Memories of another reality, another place and time, the possibility of returning to a previous version of existence, are saving refuge in the face of the danger of losing yourself in your own image when you decided to join an experience transformation induced by an emotional state or a subjective attitude.
If I were to enclose the significance of the rose in a general picture, being helped by that inclination of a painter who highlights the character portraited by projecting him in a uniform monochrome background, I would probably be able to portray the outline of a person who lives simultaneously with a double identity: one that wants to be separate and unique in relation to the others, and one that is woven by rediscovering the mysteries of a labyrinth in the “palaces of the word”.
It is not the time to pass your spirit and thought through the effort of symbolic treatment of the reasons to turn the rose into the key character of my life as a special sign of the effort to build an imaginary reality. What I want to convey to you, leading to the plasticity of the idea of interactivity in artistic creation, is that the only way to illustrate the image of an immutable identity is to find yourself in a reality that rarely lets you lose from memory where you are and who you are, in a description worthy of an epic of the spirit of a writer who does not stop the narrative thread and does not conflict with it.
A writer’s self, described by the symbol of the rose, must be regarded as a story whose authenticity can be proved by several protagonists, each of whom committed to writing their part of experience to an odyssey of spirit and wisdom in seeking and learning of their own purpose in the world.
In this context, here is the role of the rose: to highlight the existence of an artist who knows how to exceptionally express a creative and suggestive mood and make it singular in the way that Daniel Quinn reserves the right to conceal his assumed condition of an exceptional writer under the appearance of a mysterious character that jumps from one role to another, in other times, other voices and other echoes. At some point he confessed his confused thoughts:
“Of course, I have for a long time stopped thinking of myself as a real being. If I still live in the world, I only do it from a certain distance through an imaginary person. The very nature of my books implies this.”
Although Quinn had allowed himself to disappear between the boundaries of a strange and hermetic life, his character (Max Work) continued to live in the world of others, and the more Quinn appeared to dissolve, the more persistent became Work’s presence in that world.
The rose, viewed from the perspective of a well-hidden secret, adds to the play of my words the meaning of putting you in the place of someone living through oneself, through spirit, by image and symbol, an existence always in a ciclo continuo , made up of two turned images of the same reality.
It is the symbol of a part of my soul that always reaches someone who resembles me, but it can also be the symbol of many individuals who manifest themselves as one, as Don Quixote, who was destined for the great dangers and deeds to revive the knights of “the Round Table”.
Leadership must be recognized by man’s ability to perpetuate himself by multiplication just as from a single high stem of a rose always flourishes other buds, each with its own elegance and nuances.
But this multiplication is not to be conceived in just any way, but in the form of an original model of existence and growth, subtracted by unwavering spiritual principles. This model is also to be provided with a number of features designed to make it to perpetuate the image that everything that is thriving is based on a memory capable of constantly updating significant moments of human time.
The Enigma Of A Destiny That Repeats Itself In Another Version captures the area of manifestation of alterity that cultivates the idea of fulfilling the individual in his relationship with someone else, equally passionate about art, but from other times and other places. The true enigma of human durability and value can be elucidated only by looking back into the past, to the experiences and achievements of artists who have subjectively perceived the important events of their lives.
Last but not least, I think my rose is attributed to Alexandru Vlahuţă’s statement regarding the painter Nicolae Grigorescu:
“What was for the other world, what news he said to universal art and how he said them, and because he said it in a different way than others – this will be fully explained by those who, looking back, to the things of our time, will be able to embrace a clearer look, in any case more prepared, the wide view that a certain distance opens for the eye.”