The Eyes See What The Soul Is Able To Feel

The perspective from which you look forms your perception, and perception forms your experience in relation to the perceived element.

I look at a painting hanging on a plaster wall, in a white, completely empty room. Still looking at it according to laws that seem to break the optics, I feel that the painting looks at me with the same steadfast expression, through the eyes of the painter who made it long ago, through the continuation of the existence of a soul that never dies. Isn’t that awesome? The painting itself looks at me through an affinity of style, through the emotion that I give birth to, so through a specific transfer that occurs between art and the viewer, through an addition of rare, unfettered enlivenment, received through the play of the brush, through the grace of colors, which reveals my identification with a certain spiritual reality, during a moment meant to last an eternity.

It has something more than any other artistic creation, a special life, an intensity of colors not found in ordinary life, an enlivening that makes me “alive”, even if I, the visitor, am an unexpected guest. Looking at it as a window to another world, inspired by an eye that perfects its vision through the relationship between credibility and incredibility in a hypnotic reality, in which there is dream, there is imagination, I feel how something fills me with the sweetness of longing for confession. So I continue to say what I feel.

I know I’ll never see it again, so I need to see it well now, more than ever. A new world leaves itself open and invites a journey beyond appearances, open to the affective dimension of my existence. Now this renewed tendency caught by my eyes, springing from the consciousness of the meaning of an image that is reflected in the perception of my entire vision, reflected endlessly as if it were perpetuated between parallel mirrors, ensures my freedom from the constraints of a daily life assumed to be too stiff.

Can you unleash your emotions at the sight of a decorative object, so as to transform a neutral space into a space of potentiality?

And just like that, I begin to resonate with a decorative object that refreshes an almost empty, sterile and cold space. Keen to look is the man who looks through one eye (of the soul) at the image that softens him, hypnotizes him with a “beyond the real” and transposes him into a playful dream where every mystery seems natural. Somehow, a visual background accompanies my movements in a realm of imagination where anything is possible, especially the reciprocity between a subject that cannot be exhausted and the sensitivity of a temporary suspension in a moment that lasts forever, against the background of the infinite reversibility between an object that makes felt its presence and the visibility space of art.

And by still looking at this particular painting, as if I were looking with bewilderment at a star in a dream that begins and ends at the same point, I feel that I experience the same distant intimacy as the heroine of the novel Exuvii, that “I see you without seeing me”, derived from the need to escape from a self-imposed captivity:

“I had that strange sensation that I was looking at myself from the outside as I look at myself in a dream, thinking that I was a kind of spirit, a kind of lucid air, quite different from the one who sleeps in a shell of flesh. In hollows the body discovers itself, but here, in this almost empty space, a space devoid of landmarks that only those who learn to choose enter, techniques of silence, of running away from people are experienced. Here it is not the brain that tells the story, rather the body that remembers, listening directly to his ideas.”

The decor means everything, that authentic intimacy without which the dream would not find its canvas, as neither the words their veil nor the soul its life. Through the eyes of a viewer entering a completely white space, the painting can be perceived from a perspective of deviation from reality. But this is exactly what makes an artist get closer to art: he manages to unshackle his emotions that encouraged him to create, transforming a neutral, banal space into a space of potentiality, a space of endless possibilities of expression. And every single element in this space is at first an illusion, then emotion, and finally reality.

Can you represent an object in its absoluteness, extracting it from temporality, so as to conceive it separately from the whole?

In the same way, the painting that must represent an object or another in its absoluteness, extracting it through the drawing from temporality, will be conceived separately from the whole, with the thought of the life experience gained on a discrete background of color. For the artist finds his artistic expression by avoiding what is visible or superfluous.

And when the past intertwines with the continuous present, in the artist’s attempt to find his obsession that inspires him to create, it is very possible that the wonderful way of communication with the outer universe Tarevissthesis, has the function of “infinite mirroring in a semi-transparent landscape” that intensifies the spectacular realism between the temptations of the fantastic and mystical psychology.

For example, in the case of a self-portrait, taking the artist’s figure as a model, the force of expression will be much greater, making the bones appear more prominent than the small folds of the skin, and the tendons of the muscles (the most elastic tissues) will stand out more prominent than active or resting muscles. And even if this is how beauty is distinguished almost entirely, based on the relationship between sight and reaction to what we see, then the artist succeeds in bringing out the real character, or the surprising hiddenness of man at the intersection of experience and experiment.

To an even greater extent, for the representation of the hidden soul behind a sober figure, all facts and modeling actions intuited at the same time, extracted from temporality, will be taken into account, avoiding what is accidental and superfluous. Nothing should be embarrassing to the representation of such a face, considering that in every part of the human body it is frankly revealed, that in a splendid picture, the hero of a glorious deed. And, therefore, one must intuit by sight, by perception, and by intuition, to what deed his character served, and with what temperament he was endowed by nature.

Art participates in leadership development. I say this remembering that perception is what you look at, and perspective is where you look from.

The Eyes See What The Soul Is Able To Feel when you are trapped in a neutral space where even the illusion you think you are experiencing becomes reality. Because this private space itself becomes a projection in the sense of identity, a unique way of manifesting the relationships that the individual establishes with himself. You feel something wherever you are, with yourself. And every thing around, no matter how trivial, becomes a sign of the reflection of the other You.

As writer Cătălin Manea well said: “The perspective from which you look, forms your perception, and perception forms your experience in relation to the perceived element.”