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Learn to look at the world through what you have inside you, because only in this way can you see the reality of your own vision of the world, in its essence.
The rose. An eternal model of sensitivity, un mediatore tra il regno celeste e il mondo terreno. In his attitude and figure there is stillness and grace, a proof of clarity in adapting the view from light to darkness, breathing an air of ancient nobility, of sincerity, as if it should revisit its past in the present of a history that must not be allowed to repeat itself, but only shared by the magical power of art.
Its life is the story of a world made to live discreetly, through style, sottigliezza estetic, which slowly extinguishes to start another, just as suggestive, whose prophets are not always of good artistic faith.
I speak first of all about roses in the technique of using the brush because they teach me to understand myself in a way that I have never done before, without feeling the urgent need to be understood by other people. After all, this is also a way of revitalizing the aesthetic feeling towards the nature which, within the scope of my own personality meant to ensure the uninterrupted, connotativo e sacro, of modern art, can be translated by increasing the interest towards the representations of a consciousness that has broken out of the turmoil of the time in which he lives.
I cannot hide a smile from the beginning when I think that everything I have managed to recover from the high voltage of experiencing a moment of maximum sensitivity, by cutting a sublime image from a perfectly clean and polished decoration with the need to talk about myself, a pure, spontaneous configuration, evoking the physiognomy of something capable of symbolizing the radiant energy of a well-known artist, has as a correspondent the need to communicate a very accessible aesthetic content, which enchants the sight, the mind and the soul of the viewer.
Leadership: Can you project the clarity of an image into an artistic perspective onto the world around you, in relation to the composition of an aesthetic that gives rise to a particular catharsis feeling?
Part of the life of the rose I dedicate to the passion of living fully in joy, comparable to a reflection of my inner state in a simpler, quiet and profound universe, to which only few have access. As if, together, we were a being with a purity of particular invoice. Therefore, one would say that my world is a reflection of life experiences lived under the aegis of a sustained artistic activity, under the aegis of a living, unmistakable approach to what is meant by “the oldest known figurative work”.
But at the same time, the art of extending the meaning of the rose, of clarifying the particularly profound significance of an expectation that marks its existence, makes me enter the skin of Miranda Gray, the character in John Fowles’ “The Collector”, which is captured in the “work” of an entomology artist:
“I need to climb the stairs again and open the workshop door. Seeing him at the work table, looking over my shoulder, as if he hadn’t been bothered by whoever came in. To see him standing there, his smile barely outlined, looking at me with those eyes that understand everything so quickly. But it’s useless. I think of the price before you paint the picture, aware that I must be the model of a new art that echoes a state of ingenuity, the abandonment of any artistic fabric.”
The rose creates the conditions for deepening an art of the intimate modification of the being, as a reflected extension of the self in the true light of a disturbing and mysterious presence, dominating the destinies of all those longing for art, for symbolism, for strong sensations. I smiled at him, as I smile at an artist who knows no boundaries, struggling with all my might to claim that I like everything about him. He gave no sign that he might disappear from the avant-garde current in the near future.
His mere presence immediately acts on me soothingly and positively, like the purity you can find in dealing with a sensitive subject, to the inner power given to you by the contact with nature.
Leadership: Can you form an affordable vision through a life experience between something that feels eternal and an ephemeral moment, without breaking away from the object of your creation?
The rose. I describe it as the end of an endangered art in today’s society: the art of ennobling a culture of the present by negotiating with history, and creating the feeling of stability, spiritual connection, belonging to a higher purpose, in search of an atemporal ambient beauty. I feel the intoxicating smell, I feel the emotion, un elemento importante nell'esperienza artistica, placing the breath of popularity in the level of sensations and instincts that a colorist of great virtuosity, an artist caught in the throes of an overwhelming passion, can never suppress. Just like seeing a person who is very attractive.
To turn art into a kind of aesthetic delight means to model a lesser-known reality through the form, color and movement described by the tenderness of a flower, a butterfly, a beauty that overcomes any sense of wickedness. So here I am, interpreting the role of a painter who controls the most cheerful color through spirit and reason to capture the moment when the rose crosses its own path, graceful and noble, elegant and romantic as a poem addressed to the stars, for an exceptional recognition attributed only to a perfect being.
What Miranda Gray told the butterfly collector remains, in the full glow of roses, a learning and edifying experience: “When you draw an object, you see it come to life, and when you photograph it, it dies.”
The real value of a painting is a recognition of the rose in the glamorous being that shines of life, beyond appearance and color, provided it is not immortalized in an ephemeral moment.
A diverse range of feelings from pain to comfort, from acceptance to contestation and then again to recognition, dominates the work to which the artist devotes another page of his book of life. The astonishment of everything that means “surreal” becomes an axis of knowledge, more a clairvoyant judgment than a lucid intuition, which I assume as a journey into a universe created by nature harmoniously, revealed by symbol and portrayed as a sensitive and immortal character.
The Feelings Of An Artist Fascinated By The Meticulousness Of His Passion (such as peace of mind, serenity, joy) are closely related to the feeling of identifying with a wonder of nature – to live with it as if you were looking in a mirror that does not reflect images, but superimposes ideals of beauty over facts of life, culture, spirituality, artistic orientation, always refreshing and long lasting.
The passion of an artist, without however joining in a current of sociological thinking, consists in the unlimited description of a deeper image, a total sincerity, part of nature, part of the human being, hidden in the dynamics of life. His meticulousness, meaning that he is quite adept at choosing every part of the whole image, which he can often change by changing the color filter, background and objects attached to it, must be approached as an unwritten law of artistic evolution. The painters are the keepers of an ancient, sacred art, which few can comprehend in its true depth.
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