The Eyes Possess A Superior Power Of Expressing The Real

What you see does not need to be explained to fulfill the need for clarity necessary to enter the wonderful world of Creation.

Before a blade of grass, thin and tender, I must bow respectfully, just as I would bow before an artistic personality of the stature of Leonardo Da Vinci, promising to give greater importance to the objective content to which viewers react. The sight does not belong entirely to me, it is not a small universe, a spatiality whose depth is strictly related to me, but also belongs to the other viewers, and I will not seek to criticize the art that the eyes of the world honor through the ratio of colors.

And if this blade of grass is based on the natural and artistic effects of an emerald green capable of attracting my attention repeatedly, in a modern art that encompasses everything that remains on my retina and in my mind, assimilating more or less the identity of sunlight in himself, then he will highlight a new vision related to perception: “what you see does not need to be explained to fulfill the need for clarity necessary to enter the wonderful world of Creation”.

Being a great admirer of the aesthetics of nature, I would suggest an analogy of the blade of grass with a perfect artist, similar to the point of view of Pablo Picasso: “the artist is a receptacle for emotions that come from everywhere: from the sky, from the earth, from a piece of paper, from a passing form, from a spider’s web”.

Do you resort to examining a subject laden with meaning, choosing an abstract element as an image of the creative Self, in an attempt to abolish the distance between the fragility of form and the strength of the spirit?

Moreover, looking at this blade of grass with the shining eyes of immortality, with the depth given by the admiring stupor, I let myself be surprised by the depth of contemplation and sensitivity that widens the space of my living in a psychic act of merging with the universe.

It is as if I am among those who possess the “unseen key” with which one enters the eternal green paradise of symbolism, where a single insignificant point in the universal plane can join the points of a new story, heard as if once, long ago, in a representation of the creation of the universe at the beginning of each cosmic cycle.

In a history of theories about art, where the artist is concerned with the quality of the impression his work produces, I would give the blade of grass the connotation of “ambrosia of the gods”, recalling the archetypal times of beginnings, Greek mythology, the gods from Olympus, who watched over the destinies of mortals. Here, the creative Self manifests itself in the special sensitivity of the perception of nature and the fusion of man with nature, with the cosmic. In other words, the creative Self manifests powerfully in the impression with which you choose yourself at first sight when you admire an expressive model of fragility as a wonderful and special creature in the eyes of the gods.

Is your external image based on an observation that exposes an ideal model of interpretation, whose rigor and depth are imposed by the very nature of the artistic effect?

Even the gods vent their emotions in art. Suddenly, I realized that it is not enough to look at this blade of grass with eyes that never lie, to immortalize it in a photographic frame, at various times of the day, to prove to myself that nature is that which gives me emotional fullness every day. Quietly, humbly, he bows before the viewer endowed with a sense open to universality, knowing himself exposed to a visual stimulus as in front of a creator who not only created the universe in which we live, but keeps it alive even today.

This little blade of grass that is often swayed by a brief summer breeze, una sensibilità al di sopra delle parole, is comparable to the life of that ex-convict in the novel “The Mysteries of Paris”, named Chourineur, who lived on broken scraps and was satisfied like this, without taking into account anything, without taking into account the emotions and experience that he leaves behind.

In what way does the transfigured symbol function for you as a form of artistic reception that maintains the validity of a vision, even when it is no longer accessible to direct visual perception?

But that unfortunate man could not help himself, while the deep and holy destiny of the blade of grass entrusts to art not only the lightness of life, but also the function of evoking great spiritual joys, because when you admire the emerald-green whose dominant wavelength is sandwiched between empathy and sympathy, only then is the idealization of nature perfectly imitated, and you feel that you can overcome life’s shortcomings and difficulties.

Here, the artistic effect consists in the fact that the focus on the blade of grass and the way I sought for the blade of grass to relate to my vision, creates that image that delights the viewer with a unique emotional content. In turn, the viewer’s view of the “unique way of being” of the blade of grass, by confronting the problem of depth, can express the relationship between what a man displays and what he is in reality. But I will talk about that in the next article…

The spiritual eye takes shape as a singular vision, detached from the rest of the world, in which consciousness centers itself upon a "miniature" version of the human subject undergoing inquiry.

The Eyes Possess A Superior Power Of Expressing The Real when the life of the self is treated by comparison with an element of nature, with a tender blade of grass, whose misunderstood call here is called in one word: idealization. The unexpected and always striking way in which this blade of grass appears to you, immediately makes you think of the conditions of life: mutual listening, empathy, understanding of thoughts, pursuit of vocation, as they are expressed by the writer Alexandru Vlahuţă:

“The painter has, in broad terms, the culture of his art, which he clarified for himself, little by little. But he sees and understands a lot of things, which the books do not know how to tell, which only years and years of deep observation and patient work help you dig up and bring to light from your own soul.”