The Eyes Are An Authentic Testimony Of The Creative Endeavour

What you look at with insistence is the thing with which you identify your emotions on multiple planes of perception.

I’m looking at a surrealist drawing right now. It depicts the face of a woman, rendered with great expressiveness in red, green and purple colors, originating from the imagination of an artist who, in the center of his spontaneous look at reality, found a new form of expression of the symbolic vision. So the artist’s drawing, for the simple pleasure of looking, expresses through a momentary and subjective vision the reality of a vision derived from finding a form of imagination which, without being in danger of ever being exhausted, is so, so, so real, alive, current in the light of a surrealist approach.

Will it be an autofiction in the form of a surreal exploration of memory? And does she retain anything intact from the memories thus reiterated? And if the pure sign of the image, the means of elaborating and communicating significant information, is elevated to the rank of symbol through the imaginary of the woman, then the thing with which I identify on multiple levels of perception (especially those of metaphorical reference) is a portion of the real world susceptible to be assimilated in the name of a revealed continuity that the stylistic rigor advertises.

First, my higher personality is reflected on the plane of symbolic reality, in an indefinite succession of other worlds, without memory of the previous one. The woman’s face looks a lot like a kind of Mona Lisa of postmodern times, totally different from the original, but similar because of the eyes that look at you from every angle. And on the second plane, the a priori memory of a feeling of bliss, closeness of soul and the feeling of being something special, as a result of the transposition of a sensation of illusion, mystery and metaphysical energy, on the plane of another sensation, of naturalness and captivating casualness, persists.

Can the thing on which you focus your attention be perceived through a visual representation that is real as long as it is assumed in the imaginary of a world “beyond” you?

Therefore, the necessary condition for the sublime in art is not the absence of the form of knowledge (sensible) of the image focused in the lens of the eye, as it is perceived by a creator who simply throws himself, in complete safety, on the wings of the things that he alone built. More important is the ability to sift the truth of fabrication at a glance, so that the eyes themselves are an authentic testimony of the creative endeavor, beyond any passing from observation to generalization.

Even the drawing looks at me insistently, just as I look at it, because its eyes are hidden in the memory of the soul of the one who created it. Obviously, there is also that invention of the arbitrariness from which visibly emanates the thematic diversity, new vibrations of the sensitive soul, especially the light of a new reason, due to the eternal action of the act of absolute knowledge. In this case, the active eye has done its duty as a correct translator of reality, and, being endowed by nature with a rich spirit of observation, it cannot overlook the immense error connected with the perception of things that do not exist in reality.

That’s how it is. I try to enter with my soul a natural and at the same time surrealistic painting, belonging to a revealing reality, described in the imaginary of an alternative memory, suggested, intuited, but which is not very well understood, because it highlights the idea that the future exists only for an illusory present. It is as if I were investigating the mysteries of a world “on its last legs”, almost ready to be perceived with the eyes of the sublime as a kind of Anonarona Restys Artomodus, living through artistic representation, an opening to the mystery of self-knowledge and the possibility of living in the light of a higher knowledge.

Do you manage to reproduce a self-image faithful to an archetypal reality, be it illusory, based on the consideration that “leaving from one place, you arrive at another”?

Yes, looking at the drawing with that light of the soul that penetrates the mysteries of a masterpiece, the female form between symbol and representation, I feel that pleasant rigor, of the perfectly finished detail. And this rigor, which makes it difficult to accept the idea of “perfection in utopia”, presented in a dream image as a kind of integral exercise for the brain, becomes a constructive moment of the form of artistic expression, a relationship of symmetry with the self’s intention to know a higher ideal of beauty, putting in first place the idea of reinterpretation and reconstruction of reality.

And by constantly looking at the drawing, absorbing the beauty of the woman’s face, thus starting in search of a wider horizon of artistic expression, I remember what Alexandre Dumas said in “The Three Musketeers”:

“Nothing makes time pass so quickly, and nothing shortens the path you travel, as a thought that absorbs the whole being of the thinker. All the surrounding breath is like a sleep, and the thought like a dream. Thanks to this thought which is together with you, time loses its measure and space its distances. You leave from one place, you arrive at another, that’s all. From the entire journey, nothing remains in your mind but a chaotic fog, in which thousands of unclear incarnations disappear: views and memories.”

And that’s why I’m attracted to the drawing, different from other vague incarnations: because when I look at the woman’s face, gentle, all smiles, with eyes that treat sensitivity beyond a wave of shyness, I experience every second as a miracle. However, I look at the woman’s face, as a kind of penetration into the depth of an unknown space, I feel in any of her looks that she gives everything to the depth of the symbolic horizon. And if I dared to understand her better, as the artist tried to reproduce her in his reality, and if she could confess her thoughts, she would say only this: “The eyes that look at me are the eyes that reflect the beauty of divine creation.”

In leadership, as in art, the ability to see a thing that makes you think about something, beyond the impression the thing itself makes on your senses, is important.

The Eyes Are An Authentic Testimony Of The Creative Approach because they capture two realities that always intersect: a reality that marks the depths of the beholder’s soul, therefore perceived with the help of the senses, passed through sensitivity. And a reality that, precisely because it uses the symbol, the comparison, often the abstract, has the gift of purifying and uplifting the viewer spiritually. Let’s not forget that the act of creation means, first of all, the transposition of the future self into the present self.

Try to translate yourself into what you feel when you look at a drawing and identify yourself with these feelings. Can you?