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The Phenomenology Of Artistic Composition

On July 25, 2015, in Leadership Deluxe, by Neculai Fantanaru

Try to demonstrate the force of that improvised piece that elevates any imagination to the rank of art, so that the act of creation materializes into a large-scale work.

My enthusiastic imagination, caught in the shaft of an immense scheme of equations, with each addition of visual elements that intertwined, comprised, and exceeded the relationship with surrounding things, permanently produced a quantity of information flows. But, without restrictions, burning and producing an irresistible passion for that perpetuum mobile of aesthetic landmarks, it could destroy the work I had devoted myself to in an instant.

Imagination is the strength of the feeling that you belong to a perfect world characterized by the very inability to master it. I wanted myself to be a creator without boundaries invested with the ability to move successively from vision to vision on the background of the same composition, a demiurge who guides things willingly in a certain direction in the context of asserting an expressionist style which nourishes the ambition of going beyond the visible envelope of beings and the world.

Demonstrating the force of this improvised piece that elevated any imagination to the rank of art, so that the act of creation materializes into a large-scale work, involved a sort of tenderness for those strange realities, driven away from the field of knowledge. Please forgive this confrontation of mine with the field of my ability to build new beauties for the already known world, based on the inner laws that made up the games of tangible goods – that could very well have been just as intangible.

Leadership: Can you see yourself from the particular perspective of a world that fails to be yours, but reflects the reality that you constantly create through your thoughts?

I was reading in an older book about the naturalist Georges Cuvier. He would take a squid, place it on the table, dissect it and rummaged through the tender body, looking for the nerves, circulatory and respiratory organs, and other things. He would prepare organ after organ, draw, note. Then he would take the freshwater snails – Lymnaea and Planorbidae – and afterwards went on to the slugs. And the more he dissected the more the general picture was clearer to him.

The meanings attributed to the work and the creative self were revealed, in my case, by interpolating the missing parts of the imagined picture, and to the image always corresponded a different area, full of adjustments, until a painting full of force and magic would take shape. Dissecting. Processed. Innovational.

The collage of a particular world painted entirely from the imagination of a mind related to superior things, where each event acquires another value, where every moment acquires another dimension and significance, aims to explain the misunderstood things that yield the right fruits. Sometimes I was no longer making the difference between the image previously seen in reality and that of the false splendors that were hiding in the deep layers of my creation.

The compositional concerns, as in the case of paintings with living or still-life, in which are done arrangements and organizing of elements after considerations of color, exposure, size or shape, would discretely direct my attention and perspectives towards an artistic technique of interpretation of background joints that could not only have been achieved through the usual means of reproducing what can be seen. But, rather, through what can be felt and experienced.

Leadership: Can you define the composition of an ideal world from the point of view of an imaginary reality, so that you can perfect the form your work takes?

Leadership is reflected on what can make you more efficient if you learn to observe something that you can only sense somewhere inside of you, later storing it in the body of concepts that you animate in the face of art. But this something, at times, appears to be increasingly hidden and you cannot always find it so that you may articulate it.

What you observe through imagination is the key piece of the collage of a creation that authenticates you as a holder of a background of thousands of images in memory that can appear anywhere, anytime, beyond anything, serving as starting points in the course of evolution scenarios.

Imagine leadership as an image in which you have to capture the entire universe and that a place of this kind is a place of artistic freedom. You are in a position to cast a sidelong glance up, down, right and left, then translating everything you see through an unusual lens, a lens that you see very clearly but you cannot explain to others, hasting to judge, not understand.

Leadership is not part of the category of visionaries, but also of artists, because it becomes an individual utility in the use of the meeting space between creation, the oneiric, imagination and embodiments.

In this direction acts the very organized form of adding elements of reference, from the fruit of imagination and construction of a new form of transposing ideas and feelings into sensitized matter. These, in terms of stimulating information, ensures a plurality of perspectives on the subject of interest.

Any leader-artist is led in each of his actions by the following rule: "feel and experience all you imagine".

Such a seeker of novelty first controls the composition he thinks of, so that he may be able to control the shape his work takes. It’s like when you fall in love with a woman: this is only possible if you accept her fully with all of her defects. But in turn, she takes over that significant part of you that induces receptivity and sensitivity.

Does the painting that outlines your style of leadership facilitate the transition from "producer" to "promoter"?

Here, composition (which must be, to some degree, the measure of the order of an immense scheme of equations in which are used the properties of the reality you try to bring into your consciousness and that of others) represents a set of relationships between what you forge through feeling, inner vision, imagination, not only through "command and control" thinking type.

Like a magnetic field acting upon a conductor, composition (highlighting all those thoughts, experiences, traits that define you) acts upon leadership through the fact that it brings new functions of making something new, such as that of interpreting connections you achieve through the means of intuitions and revelations.

Remember that the meanings attributed to the work and the creative self are often revealed by interpolating the missing parts of the forged image, and to the image can always correspond a different area, full of adjustments, until a picture full of force and magic takes shape. In turn, this picture shapes the style of leadership that facilitates the transition from "producer" to "promoter."

The Producer is a world forger, a passionate designer who changes reality according to his personality and attitude. His creation imitates reality according to his attitude to a certain subject, to certain currents of art, to a cultural fact, to all he sees is changed radically in this life. The Promoter is the revelator of a unique image that has to go around the world.

Leadership is what you notice has changed into the thinking of the world after your creation has been accepted as a new vision of the imaginary, where life is drawn in more precise outlines of a new orientation of approaching high ideals.

The Phenomenology Of Artistic Composition highlights the connection that is established between art and leadership, through forged images that can radically alter reality, in the sense of an imaginative orientation or of an intellectual and affective renovation.


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