The Gaze Of Eyes That Understood The Secret Of Sight
Learn to differentiate between what comes from within you in the form of reflection, and the result of interacting with an outside element.
My eyes stare at the way a mosquito rotates chaotically around the flowers, as if it can’t find its place in such a spacious garden. Perhaps her field of vision has access to a more synthetic vision, with a rhythmically articulated compositional structure, similar to the painter’s eye that captures every detail of a great art image. The space that the mosquito wants to traverse, surrounded by colors, so generous, orderly, I try to imagine as a double process of comparison between the Renaissance and the beginnings of the Enlightenment, to unravel the enigmatic content of a scriptural alchemy, in a Panorama world.
The fly also has a free spirit, just like the artist’s, wanting to overcome any captivity, wanting to shine among the colors of a garden in which roses rule until late autumn. Every painter started his career at the “fly” level, because its eyes must learn to observe the world, first of all, from a thorough analysis, extremely solidly documented, with a very clear logical thread.
That is how things stand when talking about art. Before you start giving an interpretation from effect to cause, focusing on the possibility of formulating new compositional schemes, you need to reach a very good understanding of the environment from which come the most creative and impactful attributes of the incident.
And if the fly’s curiosity is not limited to observing the objects and flowers that surround it, it will examine itself when it moves away from the viewer, so that what puts it in the memory of a visual memory is related to a spirit of nature, something which distinguishes it from everything around it.
Leadership: Can you represent your vision in the best possible way through the power of transfiguration given to the artist, a real one, able to convert a living image into an aesthetic factor?
The fly. This personification of nature did not return to life in the form of a Merlin from the legend of the Grail, the legend of an imaginative and generous intellectual, but seems to be rather related to the “Obsession of Primary Unity” that dominated Michelangelo’s entire existence. The great artist said that: “Everything around, in essence, presence or fiction, the painter first has in mind, then passes them into his hands, and they are indeed able to form a harmony embraced by sight, as reality itself.”
It is not in vain that the fly flies, flies, flies, flutters around every flower in my garden, because it also wants to be caught as a living witness of the action and as a living example of creation, of the painter’s dedication to capturing the spectacle of nature.
Wait and see. The mosquito is part of a painting that shows the evolution of a phenomenon of combining several art forms over a long period of time. Not for nothing, I try to associate his undulating, silent, simple flight with a certain pattern of personality traits present in that painter who, at one point, declared: “I am… a blotch of color.”
Rather, the fly is a pole of personality traits, relational to the sensory and intuitive, functions that collect information from the external environment, through perception. The extrovert focuses on the outside world, and of course the mosquito takes its energy from the defining moments of the first sensory experiences made with the unusual smell of flowers.
An artist’s vision is supported by his ability to find themes and plastic expressions full of vitality, by noticing a change in the typology of the order that reason discovers at any random moment.
Hit by the resemblance to a painter, whom he began to discover through systematic visual training, thus achieving an improvement in contrast sensitivity, the fly flies, flies, flies, and sees everything in an objective way, in a variant of perspective, in the proportions of the balance given by the bright, vivid shades of perception, contemplation and relation to the Great All.
It is not about that balance of “human geography” created with effort and passion, but about that balance of perfection acquired through a special technique: the representation of the surrounding elements on a natural scale, 1:1.
If I had the sight of the fly, then I would see things clearer, more nuanced, more objective, or maybe more intense. I think that it also wants to be captured in its essence, as the main character of an event immortalized in various paintings. Just like that, let’s think of a fly that would like to see the world in watercolor colors. And in this case, wouldn’t an experimental study of its personality traits reveal that serene transfiguration of the artist (his sentimental state) into a poetic imaginary with a refined chromaticism?
At an unexpected moment I noticed something interesting. The fly’s gaze changes in the brightness of the background on which the painter creates a new image of his fantasy. And there are several possibilities to represent such a view in the pictorial space: from the point of view of the diversity of virtual dialogues with imaginary characters, or from the point of view of the symbolic message that the adoption of a reality suggests to us. I pretended not to see it) represented by the communion variously expressed between man, nature and the living.
Leadership is the way your vision of reality evolves in a context of meanings attributed to the connection between what is seen and what is read, between what is observed and reported, between what is outside of you and what comes from within you in the form of reflection.
The Gaze Eyes That Understood The Mystery Of Sight refers to the way in which the artist finds correspondences between vision and reflection, so that what he expresses through ideas and suggestions is an extension of the experience of discovering the world and, implicitly, the Self.
