The Seagull's Gaze

In art, man represents nothing for himself, but only in relation to a point that nature creates through similarity and contiguity.

A seagull floats smoothly on the sea water, somewhere offshore. The small waves do not bother him, the heat does not bring him down. On the one hand it is seen as a work of nature, on the other hand as a symbol of freedom, the flight of the soul and the fullness of life. After all, his life is no different from other seagulls, only he is the only one who attracts attention with one interesting thing: he seems to be able to win everyone’s attention.

But the question is: what does he see when he looks at the beach?

He sees some points moving randomly, completely autonomous individuals, unlimited in number. He sees people as lost, if not renegades. These points are separated between two realities: a mathematical one, a visionary one. And if we refer to points, then the human world can be intuited as a world of birds.

I think that man can be a species and can be one with the seagull, because it is also a point seen from a distance, from the sea, unlimited by the constraint of space and time. And the reality of the seagull can extend to the sight of points isolated from it, but close in the distance, which enter as something independent in its finite universe.

Are you able to produce a creation as long as you position your self in the plane of the approach-magnification effect, or the more you chain the finitude into infinity?

It is here that art necessarily acquires the character of a perspective revealed as a distance between certain points, on a flat image plane. For this reason, the additions of color and light, being a direct cause of artistic creations, happened to open a vast perspective of understanding the effect of zooming-in and zooming-out. And what do we do next with this perspective? Well, we turn it into a painting technique.

The purpose of this technique is to capture the side of a representative figure in which the successions of points will eventually appear as a whole.

The seagull can lend to nature a manifestation of man or his sight, only if the distance between the points is considered the absolute identity between the universal and the particular. The more the seagull is seen as an autonomous universe, the more organic the artist is, being able to chain more the finiteness of infinity.

Great artists know how to combine at will the distance between an arbitrary side and its opposite side. They also know that often the opposites are in the same relationship in which nature and freedom are, emphasizing the idea of ​​“absolute”, intuited in the phenomenon or in relation to the individual. In art, man represents nothing for himself, but only in relation to a point that nature creates through similarity and contiguity.

To position your self in the plane of the approach-magnification effect means to immortalize a scene from the vast expanses of the distant – in relation to the particular, so that what you are going to reveal in art has a unitary, synthetic and individual character.

The Seagull’s Gaze approaches the artist’s gaze, because both of them mirror the space of an alterity that stages a certain identity meant to reflect – as a distinctive mark – “the unity that constitutes the embodiment of infinity in the finite”.