The Law Of Sight That Is Not Lost

The closer the object of the gaze is, the more the perception of its importance is reduced to experiences and feelings.

The chair on which I am sitting right now at my desk, the same chair that my artistic sensibility has so often perceived as a work of art, an animated reality with which I have forged a lasting friendship, was not only intended as a stand-alone structure, but as the singularity of a pragmatic theme that invites you to a labyrinthine journey where you feel that you are entering into a dialogue with the space and matter from which the works of the great Creation come.

Encompassing it with the vision that comes and goes, in contradiction to any scientific representation, I realize that I approach respectfully, shyly, patiently, the primordial condition of art: the construction of an honest vision that inspires a story.

To become its friend, the best confessor , now that friendship is dearer than gold and less pure than a living color, now that you shrug in answer to all that the eye sees but does not feel, and yet pretend that I have reached that threshold of thought in which my imagination focuses only on the animating content, without discovering its mysterious world depicted in a memory communicated beyond words, is similar to capturing the mirage of a desolate world in which the artist confused with his own creation.

And if I somehow changed the color of the background of my vision, then the object of my gaze would seem as significant as a pictorial portrait that weighs in the weight of time the despair, the doubt, the desolation of a completely unpredictable existence. Yes, it is something emotional, a soul connection between the two of us, especially between the object of the gaze and the object of evaluation of a blind but sensitive world, whose continuum is not made up of recurring characters or narrative threads, but rather is compatible with the evolution of a state of spirit, of an idea, of a context of mutual tolerance where fun and good will are in their element.

Leadership: Is your creation based on the notion of affective simultaneity between a Self that transcends the diversity of material objects and a Self that transcends reality in the mind of the observer?

This is how far the object of my gaze brought me, how much this chair imposed itself on my artistic spirit, with that magnetic force, similar to a perpetuum mobile, giving simultaneity in an inertial field of reference, constant in time, which has both influence as well as memory. I still do not realize whether, seeing him with his eyes subject to the rules of combining colors and the insatiable mixing of contrary principles, under the cover of beauty, he does not somehow lack the two abysses: life without death and the creative effect accentuated in a symbolic art.

And if I were to describe him in the strongest colors, as a prisoner of the obsession for beauty, a pensiero prevalente che richiede attenzione e che provoca un lavoro mentale prolungato , approaching any theme from the perspective of his own sensations and perceptions, then probably I would find the mirroring of the style of interpretation of reality in the source of the satisfaction of pretending to paint only what I see, without seeing what is important to see.

Situated as if beyond the present, in a space of creation, reflection and dreaming, the chair weighs on my memory of the past, ever since I saw it years ago at a “Mobilo Expo”, and the coincidence is too striking, too revealing to banish the idea of a perspective frame for the drawings and paintings inspired by the desire to create an alternative user profile of subjective reality. It would seem that he feels my mental states beyond the manifestations of creation, claiming his place as the hero in a novel by Paul Auster:

It is the idea of being there, of being between the four walls, of breathing the same air as the writer who sees in him an artist before he actually becomes an artist. From now on, he tells himself, whatever happens will influence everything else. At some point someone will knock on the door. The artist will approach me, taking the place of the writer, and suddenly all distances will be erased, the thing and the thought becoming one and the same. Anything, but not to interrupt the flow of words on a canvas whose reading takes the form of a decipherment, for in this way the rest of his being can enjoy the freedom to look around the room, to observe the observable, to think, without diverting his attention from an identity full of: “I am worthless”.

Leadership: Does your creation make it possible to perceive the “thing” seen as having multiple parts or determinations, in accordance with that part of the soul that it lacks?

Durable, recognized by the existence of a singularity too often despised, confirmed by the reality of a vision that does not deceive its eyes when a stable and predictable construction must be perceived, my office chair expects from me an attention called Prelinahveh Gandattva (an expression of solidarity towards style and form, allied with the feeling of inner illumination) so that it can be placed in the foreground of a creation that should not be overlooked. Therefore, I feel grateful that I made a common thing into a form of connection with my inner world, without betraying my instinct to actually sip from the snapshots of reality, searching, finding, choosing, uniting all the forces of art in a single vision: Interserenza Acetothysion , that “nothing” can remain hidden.

Dear chair, more than you think you are, you represent that part of a character full of feeling, which is felt only through text and actions. I owe you these lines, to the feeling you released through the mind-soul connection, a feeling reflected in the form of a subjective, own and unique experience. No, I have not overlooked your presence just like the distracted and careless crowd, just like those ordinary people who pose as omniscient but who cannot reach spiritual heights through creative activities. Please keep this in mind, and increase my comfort when I work in the office.

And you, dear reader, if you haven’t seen what’s inside the chair you sit on daily, if you haven’t felt what it feels like when the dawn disturbs your senses, if you haven’t looked at it as a work of art recomposed in permanence from emotions, if you did not offer it the part of the soul that it lacks, that part of the soul that you put in a few words to which the emotions give wings like Prometheus, then you probably did not understand that matter is energy transformed into something tangible, physical.

So, I urge you to look at everything you interact with, the same way I look at my office chair: as an attempt to overcome the figurative-non-figurative dilemma.

The transition from vision to creation can take into account the idea that leadership is a form of connection with your inner world, starting from the observation of something seemingly insignificant, but which facilitates the contouring of the self-image and the image of the world, making the image that you promote to be commensurate with the feeling that crosses and metamorphoses every artist.

The Law Of Sight That Is Not Lost refers to the artist’s ability to perceive a reality that the eye cannot escape from, that reality contained in the dimension of things about which feeling and fantasy always have something new to say.