The Eyes See What The Colors Dictate
What you see around can be perceived as an artistic reaction to the emotions you experience most often through the process of comparison between feeling and the creative condition.
As an instrument of reflection and intuition, in the real plane of a metaphorical image that reveals ideas and feelings, the eyes cannot deny that any artistic form that’s out of the ordinary represents, in turn, the whole course of art in terms of changing modes of perception. And only to the extent that the four components of the picture are relevant in the painting: color, drawing, light and chiaroscuro, the artist will be able to achieve a real expansion of the creative space outside the representation of various ideas, feelings or situations.
All these can always be traversed along and across, and sometimes across the board in shapes and colors, taken qualitatively in isolation, wrapped in metaphors and symbols. For this reason I cannot abandon art, deciding to see everything around me as a theory of color and contrast which states that “it’s easy to paint anything brighter when it’s in the sun”, unless some sacred sign that appeared unexpectedly in the sky will make my perception of what is happening around me vulnerable.
Of course, in order to highlight the significance of the four particular components that underlie the creation of any painting, simultaneously with their meeting and joint action in an all-encompassing whole, I will have to briefly indicate the absolute significance of each one. The drawing can be perceived as a projection of the artist’s vision in space or in a plane. The color is given by the intensity with which a form, a reinterpretable construction or a figment of the imagination is presented. Light shows reality in a fabulous way. And chiaroscuro is the contrast between light and shadow.
Can you provide an image of how to fulfill the role of Creator, considering that everything in its content can in turn become a form or essence?
To re-melt any of these components within the painting, as a difference in the display of reality, in such a way that they are not mutually exclusive, therefore assigning them a particular importance in the so-called “anatomy of artistic knowledge”, would practically mean to represent the forms of things as patterns of manifestation of the soul, not as decorative objects floating in the sea of my consciousness. They should also be seen quite independently of the other potencies of nature. At the same time, I must consider the fact that all that is in the content can become a form or essence in turn.
Yes, it is very difficult to guess color after color, from the proximity of the vision that does not manifest inside you, and not to miss the right shade even once. It is even more difficult to penetrate into the depths of the artist’s soul, full of mysteries, and to realize that there is another combination of colors that suffers enormously if it is not highlighted at the moment when the eyes, full of suffering, perceive some lack of contrast in low light conditions. Therefore, not only the colors, but also the soul must pass the fiery test of analysis, observation, change, transformation.
Let me be more explicit. The content of an image acquires that form of “representation of beauty” when it is displayed in a painting of great chromatic beauty, the artist focusing on a subject that is never exhausted. At the same time, the content of the image can acquire that essence of a holy gravity that floats over the fierce spell of consciousness, when the artist convincingly reproduces the spiritual world, taking as a point of reference the most sublime aspirations towards the universalization of the experience of beauty. Such an artist becomes a free being, not being affected in any way by the reality he conceives in his creations.
Can you perfect your creation through lifelike image quality, imparting a rich spiritual content to your natural propensity for sensitivity?
What I often see appearing or disappearing, and which due to its transitory nature creates the idea of illusion, has nothing to do with reality itself, but rather with those colors that cause suffering. Because what I see in most things is just a chain of causes and effects that colors in particular produce when my mental and emotional state cannot stop the suffering. Of course, the color highlights the power of my sensitivity to resonate to sincerity, to generosity, to love, so that the miracle of this world unites my creative essence with divine grace. How do you resonate with the wonders of the world?
For example, I see a color that I like, but I cannot reproduce in the image (painting) exactly that shade that stirred my senses. And I’m not Buddha, I can’t go up to the origins of suffering, then walk the opposite way and finally show the “Way of Liberation”. But if I could introduce that color into a participation in the divine nature, liken it to the triumph of the particular spirit over the universal, and if I could subtly filter the light that determines the color perceived by the eye so as to create amazing ambiences, then perhaps I would end up increasing my interest in the art of simultaneity which spiritually gives enlightenment.
The quality of an image depends on the intensity of the dominant color that remains unchanged over time. But color is not always a release from a negative feeling that happened in reality, it can also be an alternative to black. I must have it alive in my mind, in any kind of combination of nuances, simultaneously with the eyes of the spirit that must not be directed in another direction (of the nature of things that are used in a whole). What’s more, I have to introduce this color into the minimal dimension of the isolated word, as in an enigmatic poem, so as to create the sensation of the mystical and the occult.
In the leadership formation process, we must accept the reality that the artist’s eye depicts in an image whose sensibility vibrates at the call of divine grace.
The Eyes See What The Colors Dictate when you pleasantly catch a similarity between your emotional states and the external reality of the world. What you see around can be perceived as an artistic reaction to the world you live in, with the mention that reality is associated with the ability of the eyes to focus exclusively on the creator of beauty face to face with divinity.
