The Future

Be a choice of the variant you want to accept as true, even if the truth is only finished in an aspect of the world chosen as a symbolic landmark.

My art arises from the need to feel that I live in another time, in another place, as more and more soul states vary through the consciousness of an artist seeking new ways of expanding his horizons in search of perfection 3.0. Living is a way of writing by representing a different meaning than the one imagined by the thoughts of an anonymous, which I have not sought myself, as the painter seeks inspiration between the reflex of the outward world spectacle and the continuation of the adventure called illusion, in a poetic Matrix from which once you have entered there is no way to escape.

Art can go from a figurative intent, a pattern of pure frequency with which dreams relate to what I experience or shall experience, then in the course of creation (represented as an expression of an intrinsic semiconductor) it converts through abstraction and styling, in a rich mystery, in a desire to encompass and assimilate the exterior. I’d like to raise it to the combustion temperature of a more magnificent ideal than Don Quixote ever imagined on the road of fantastic adventures.

Everything in this art must be conceived as absolute as a supreme mystery of communion between God and man, that in the end I can consider myself the most significant part of an endless universe, as if imagined as a pure configuration freed from the task of representing a theme compared to the fonts of another theme, involving the merger of the beauty of science and the ecstatic nature of spirituality.

It is a kind of reflection of what is happening inside and outside, revealed as a surrealistic attraction, as a seal of paradoxical knowledge, but also as a signal of a gallant freedom in expressing other points of view than those established as "official".

Do you satisfy your need of recognizing your merits of openness towards the NOVELTY of a plastic expression, considered an effort of formal imagination, in a tribute to the intelligence of being one with everything?

Here I give as primordial clue the words in the preface of Dan Brown’ "Lost Symbol": "Living in a world without becoming aware of its meaning is like wandering in a large library without touching any book", to which I would add the imperative of a continual renewal in the spirit of my mind: "Do not play with the sin of turning knowledge into a labyrinth in which you easily lose yourself, moving through a space with free paths and thick walls towards a destination without a term of expression".

In any case, I speak of establishing the identity of an art space using a constructive expression scheme that arranges it into an agglomeration of expressions and data, suggestions and nuances, interconnected by compact gateways. A plastic language is a metaphorical language, one escaping the norm, close to an art dedicated exclusively to a restricted audience of readers who can appreciate the new tendencies with which I am trying to impose my vision of knowledge.

When I say that a curved line suggests the curvature of a hill, it means that it is the equivalent of a life experience that doesn’t lose its unity in the unfathomable depth of Godhood, seen with an eye of water and one of fire in a significant spatial cutaway: as on Earth, so in Heaven.

Having the intelligence of being one with everything means to have available all the deep meanings that emerge from the empire of appearances, in the attempt to rise to essences.

Now, I realize the limitation and dependence the self-consciousness that is found to be in relation to a reality disguised in fiction, called the "novel", as a cosmic energy transfer achieved at times when there is a temporal communication between what I consider to be "finite" and what I consider to be an "alternative" to reject what could never be fully revealed.

Appearances are those modes of expression that highlight the private dimension of my personality, small crumbs of truth, some time fragments from which is fueled the eternity of my soul in a symbolic universe, a universe of every-changing literary forms.

The universe is what I do not know about myself when I integrate myself into the center of an idea that gains its charm as long as it does not necessarily impose itself as the ultimate and most important meaning from the point of view of the future. It does maintain its totality and exponentiality by developing an integrated vision of the particularly complex phenomenon represented by the use of symbols, faithful to the spatial and material properties of unusual objects in the high heavens and on different continents, with the risk that the overall picture becomes illusorily-descriptive.

The essence is what I extract from an a priori and seemingly irrational substrate, subsequently transformed and filtered into a personal style called "Big Bang", adapted to the idea of change, as a sort of "Escape from the Matrix". It determines the meaning or artistic shape of my words, as a projection of the freedom of expression in a very high degree of ample, intrinsic, poetic, and literal valences, as an extension of the possibilities of creation perceived more and more by other creators as being "undeserved privileges".

Can you praise the art of living in a space of knowledge that grows as you move forward into a reality that cannot be defined for someone who does not have it?

The character in the film "The Matrix", called Neo, has the possibility to choose between two pills recommended to him by the god of dreams, Morpheus: a blue pill to stay in the colorful world of illusions and a red pill to pass into the terrible catacombs of reality. Terrible, but real.

I wish that the eventual oblivion of old differences with reality, identifying itself with the wonderful red pill, would at the same time be a liberation of my conscience from all the potential deeds of a drifting world, towards the future of an art that I do not consider to be in decline, resting in a setting full of originality.

The first leap of thoughts that esoterically prefigures the project of the birth of forms of creation has as a dominant variable the choosing of a boundary that separates two adjacent spaces, finalized by a single unit of expression: "waking up from the hypnosis of the forbidden" or "the release from the deceits of the finite".

Therefore, I am a choice of the first variant I wish to accept as being real, even if the truth only presents itself as being finite in an aspect of the world that poets choose as a symbolic landmark.

Art, as a silence before Creation, which can only be spoken of through hypotheses, allusion, symbolism, must redefine the absent gap events by shaping the spirit awoken by the pure astonishment of the necessity of being Neo.

I feel like I'm projected into a universe where space is much denser, and time is much faster than in my world, from which I cannot return. A voice off-stage seems to whisper to me: "You can never leave a place in which you don’t know what you’re dealing with yet."

Exiting the Matrix is the reality with which you identify in the construction of a universe whose symbolic guiding point is made up of two conjugated values: the tendency of showing a different facet of the world and the liberty of expressing any idea through any artistic means.

The Future is the way to harmonize with Everything Around You through an expression that makes it possible to use the "red pill" again – another way of making art by discovering truths, later transformed into symbols, unbearable for minds that are not strong enough to possess them.

I have earned my Escape from the Matrix as I wandered through a "Labyrinth of the Sacred Text", whose secret is learned in time, whose meaning escapes, whose end is not known where it leads, but once reached, I have understood that I myself am its author.

Try to see the future, not the past !

* Note: Suntree - The Future