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The Penetrating Gaze Of The Eyes Illuminated By Representations Of Art

On July 04, 2021, in Performance eX-Flash, by Neculai Fantanaru

“When you don’t have to prove your talent to draw the real, all you have left is the imaginary expressed in color and free forms.”

I hold in my hand an older, fine-grained tile with a waterproof finish. I don’t think it’s made in Romania. I look at it carefully, with that attention I need to reconnect to a changing reality in a globalized world, and I don’t know what, but something particularly draws me to it. Maybe the colors that make up its model in such a fine way, a color scheme composed of shades of brown and beige. Maybe the texture of which it is made, an airy and bright one, applied longitudinally, strongly evoking the rock stone.

The tile is too well made, my eyes like to look at it without getting bored, because if I look at it from opposite angles it looks different. Why I’m so attracted to it, I still don’t know. But the colors so important through their impact, meaning the existence of a huge arsenal of the micro-cosmic imaginary, which my eyes enjoy immensely, highlight the interconnection of fine and chosen tastes in terms of the symbolism of art that an artist feels closer to then when all he has at his disposal is the imperfect instrument of talent to bring out something extremely captivating.

Colors are a kind of visual language, reflecting the instincts and sensibilities of the artist, aren’t they?

I looked at the tile even when I had in my head a combination of colors that best suited my personality, in the name of an immediate reality that I had discovered through the “seeing and doing” system. In fact, when you see a combination of colors that impresses you, you are tempted to retain the combination for the future through the “eyes of the mind” focused on the inner feelings and states of consciousness.

Haven’t we drawn attention so many times that a color or a wide range of colors must attract the viewer’s attention, to tell a real story, a beautiful experience from which the artist drew new lessons about the true richness of creative forms?

Leadership: Can you merge with an artistic creation that tries to highlight the moment when you find yourself face to face with the reality of the visual, focusing on the possibility of expressing your soul in a unique way?

As a sign of deep gratitude to visual artists, I decided to keep the tile, considering the temptation to reproduce the model originally illustrated only with the help of the visual prompt. In my mind is all the richness of the creative act that the artist’s eyes agonized over by studying the most meticulous works, supported by the perception of the compulsion to respect the original style as rigorously as possible. I point out that my eyes are not just admirers of forms of beauty, such as natural beauty and created beauty, or taking into account the symbolic form, the classic and the romantic. But, first of all, my eyes are destined to the systematic refinement of observation and methods of evaluating works of art.

Someone said this well someone on the web: “When you don’t have to prove your talent to draw the real, all you have left is the imaginary expressed through color and free forms.”So, the tile has to tell a secret about a design that seems classic for its time, but new for these times when art no longer finds its place in the manual making of products, but in technological competition. And even if the natural mechanism of sight of my eyes loses their colors as they look from a darker angle, it seems that the tile gives its freedom to express representative colors, in combinations that are pleasing to my eyes.

Colors are important in their impact, aren’t they? If I changed the color of any image to the opposite color of the colors that my eyes perceive naturally, and if the pattern of the tile would curve around my field of vision, in a round similar to the “shape of the gaze”, then I would better understand why I consider myself an artist of rebellious colors, of shapes shaped in a simplistic flexibility, of explosive compositions through poignant and symbolic themes.

At other times, my sight is endowed with an effect of openness to a transcendent of the soul, in the sense of accepting an invisible reality that is obtained through a game of chiaroscuro, through shadows and lights, in which I could find myself deceiving time.

Leadership: Can your creation facilitate the exposure of the sensitivity brought back to the present by a reinvention of the reference model of the act of creation that invites to an overcoming of one’s own artistic personality?

Only an artist fills his eyes, before painting a picture, with those successful models of creation that inspire you, through color, to meditate on the perfect beauty that surrounds you. I also believe that, in the depths of my being, there is a reserve of admiration for the height of expression, a “cult” and a phenomenon of the personalized object in pastel colors, through a special sensitivity. Imagine that if it weren’t for the pleasing color of the eye, I wouldn’t have been attracted to any shape of the pattern inscribed on the tile. Therefore, the tile is a faithful copy of an image that my eyes cannot replace with another, because the colors themselves, vibrant and fine-textured, unaltered over time, have a great significance: they distinguish the being of a nation of the being of other nations.

In this regard, the famous writer Antoine de Saint-Exupery had something important to say: “In the making of man it is important first not to instruct him, which is futile if he ends up being a walking book; he needs to be raised, educated, he needs to be brough to the height where things cease to be, and left are only the faces born of the divine knot that binds things together. For there is nothing to be expected from things if they do not resonate in each other, this being the only music for the heart.”

Perhaps the tile itself has a life and a soul, on a metaphysical and atomic level, of course. Otherwise, it could not have withstood the test of time, perhaps even more than any human being. And it had something to say about me when we met by chance. It told me that I am a special artist precisely because of my ability to distinguish beauty where others do not see it.

According to this fact, assuming that the tile would be curious to discover how this feature exists in an artist of stylized shapes, working either with many colors or in contrasts of black and white, it would be determined to imagine that it is dealing with a soul as great as it is, a soul of a supersensible nature, which can be felt and found in all surrounding things.

Let us not forget that the reference model of an act of creation is the preparation of the soul for the recognition of its immortality. And, in this case, the Great Work of Creation is the product of a soul that, standing or traveling, displays its splendor, erudition and substantial energy, in a surreal reality.

The Penetrating Gaze Of The Eyes Illuminated By Representations Of Art includes the feelings of an artist whose reality is related, mainly, to the external world or rather, to the knowledge of the essence of things (prior to the concrete experience).

 


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