The Eye Is Not Satisfied With The Mind Of The One Who Sees
Only to the extent that the particular is transformed into the universal, the real becomes in the eyes of the beholder closer to the visual image with which his memories are associated.
In the world of art, one cannot conceive an image without having a good view of the horizon. And I, especially when I am interested in the evolution of forms of visual expression, capture this horizon as a point of connection between the creation of nature and the perspective of a permanent reality. For example, I look at the ocean, its vastness, as far as my eyes can take in. I notice that each wave, from the perspective of a unitary approach, behaves completely independently of the other potencies of nature, in each wave dissolving the purest reason, everything that subtly wanders in the sphere of the concrete.
Having their origin in eternal matter, thus including everything, without withdrawing into particular spheres of perception, the waves reach the most limitless of all arts: symbolism. So the task of the artist is to realize the construction of the particular forms of art, comprising the pure form of wave motions and the pattern of reason that resides in them, only to represent other forms of the things themselves through the intuitive character of his thinking. Hard to do that, isn’t it?
Look how beautifully the horizon opens before me, and yet, how much the measure of my distance from the sea is accentuated. In contrast, if my eye looks between the waves, that is, between the light and the reflected object, then the blue color can go down to emerald green, while any darker color arises from a simple increase in opacification. But if I reduce the waves to absolute indifference, thus neglecting the ocean, looking only at the sand whose universal is the particular undistorted by the illusion of reality, then the only force of attraction will be the sunlight that helps the artist in me more easily control the chiaroscuro effect or the effect of imitation.
Can you establish a proper relationship between the object of visual perception and its affective background, starting from the idea that what is in the plane of content can also become form?
At the height of the demands of my art, you can see the sea, gorgeous in the sunlight. But the eye, mostly tired of the effect produced by light, can no longer be accompanied by the sensation of brilliance produced by the flashes of waves, but tends to create in places, from free fragments, a kind of illusion where the idea of light fades. Unfortunately. Only to the extent that the particular is transformed into the universal, the real becomes in the eyes of the beholder closer to the image of the waves. So it can’t be distinguished as negation, can it?
I think it is easier to understand this if I start from the principle that “what is in the plane of content (in essence) can in turn become form. In turn, each wave, in the plane of form, has an identity absolute, the forms of the unity of all waves being established as absolute in the plane of artistic content, if we consider the symbol they contain. Moreover, in their particularity, as particular forms of expression, the waves become their own symbol, a subjectivity enclosed in itself, an example of the impact of a mature artistic act, full of truth and emotional.
And how beautifully the waves ripple on a sea embraced by the glints of the sun ! The idea itself is to capture the waves of the ocean with imaginative eyes that study colors in a world of the figurative transfigured into feelings, and to see the full embodiment of subjectivity in objectivity, as they take the form of surreal images that swallow reality, something that exists in things themselves, a fact from which a conclusion can be drawn: nothing is outside of time, everything is more about form than colors.
Can you find the explanation of a visual-comparative phenomenon, by imagining an image capable of becoming the direct cause of a river on the beautiful understood as an expression of the idea of “full of soul”?
Further. In order to construct the artistic form corresponding to the waves, where the creation is always absolute nel lontano piano, I must encompass the sunlight in its real unity. Here, reality dissolves into ideality, in the entirety of a gaze that knows how to separate the sheen of water into several distinct surfaces, through an Eludyarecta Aspyhiss, the background of a memory that never forgets. Especially since the hotter the sun is within my gaze, the more the waves appear to me as individual beings, initially ignored by the rest of the world. I say this because each wave has its own unique personality, different from another.
Obviously, it is impossible to follow the waves under all aspects, referring to art, therefore explaining a visual-comparative phenomenon that refers to the way in which we perceive the effect of two adjacent colors on each other. But my nature is inclined towards comparison, a decisive thing to establish a new attitude towards the act of creation, or precisely when the horizon added to my gaze is deeply kneaded by the too full of virtualities that eagerly await their fulfillment.
Knowing how many comparisons have been made in relation to waves, with all that they contain significant for the gaze, and considering the fact that art configures itself at the level of form, where things only come together relatively in the sphere of subjectivity, the question arises how should an image be imagined that would become the immediate cause of an obsession with beauty.
Can you refer to an image dependent on the inclusion of a sense of unity in an undefined “sometime” without becoming a prisoner of a gradually fading horizon?
And what is beauty? It is a permanent longing for what cannot be forgotten. Not a cloud in the sky, not a breeze, only the smooth and transparent sea, visible from the distance at which the eye, in a natural sequence of views, remains with a retrospective counter-control, as if waiting for a wider understanding from another sphere of life.
When the horizon of my gaze is deeply disturbed by the too full of a nature captured with the superior understanding of forms and colors, then the exploration of the motivation facing my self takes on a nostalgic air, the contemplative character of a landscape as vague as myself, a passing towards the spiritual of a mind that devours its peace, dissolving as if in isolated-transitory whims.
Exactly as in the case of Miranda from a novel by John Fowles: “I look at my face and watch it move as if it belonged to someone else. I look at myself until I can’t anymore, and so I have to close my eyes. Although, only my eyes keep me company now, as their sight plays tricks on me, allowing me to see a more real being than I’ve ever been. I sit in absolute silence, with the reflection of my own image, in a kind of mysterious communication. Like in a trance.”
Driven by an extrapolation of the aesthetic attitude towards reality and towards the act of self-reflection, leadership becomes like the horizon line modified according to the place where I am, the spiritual height of this place, its story.
Let yourself be fascinated by the story of this unique place before you find yourself in a story of the soul.
The Eye Is Not Satisfied With The Mind Of The One Who Sees, but needs an image that immediately becomes viral in the space of memories, just as it needs a longer period to go from near to distant vision. Combining the image with the space of memories makes art become a strongly emotional projection on raw reality, on the relationship between what is present and what is absent.
