The Secret Of Nature

What you see is what you want to say about yourself in an image that represents you by imprinting it on the soul of the world.

The sea is spectacular, especially when the sun's rays give it a special glow, in which case I focus on seeing only one part of an enchanting picture: the isolated spot of a beach in a Danny Boyle film, which resembles a paradise of nature, of a special natural beauty.

There is a life here, a fulfillment of the soul, a discreet presence accessible in the form of my own sense of self-acceptance, which sees, which lives fully, which says something with its gaze full of grace and meanings, correlated with the ambition to represent in color any moment in the plane of reality. When the sun rises, it makes this place so charming that the image of this place, its imprint on my soul, is more than a string of recognizable objects. I feel as if I entered a neutral present, forgotten by time, and came out someone else, more inclined towards the artistic field, under the brush of an impressionist painter who transforms any view into a story.

Sensitivity to sunlight occurs when too much light enters my eyes, or when what I see exceeds the expectations of the artist in me, specifying that any manifestation of beauty has as its basic premise the intuitive way of rendering a discourse with nature, passing at any moment from the plane of reality to that of fiction.

Can the image you relate your vision to have an echo in the form of a sense of additional "presence" merging with you?

Indeed, the eye is metaphorically dominated by the light that the retina absorbs, like a radio frequency signal, and the emission is taken up by a translucent color pattern, which cannot be drawn anyway, but metaphysically, that is, soulfully, divinely, without producing any real physical effect. Repeated by multiplication, the sight is influenced by the artist during the creative process, which makes each part of it a unique expression of the imagination of the eye that captures the mystical-metaphysical space from a simple visual work (photo, painting), from a timeless present.

Nature is an animated presence, merging with my life, becoming part of me, having an echo in time in the form of a feeling of additional, animated "presence". Not for nothing, something from off repeats to me even now:

"Nicu, learn to paint with the soul, with the sense of sight, with the warmth that the light gives off. And paint for a world that is not dominated by finality, emitting the suggestion of another world, which disappears and reappears, but in a different way, namely stronger, so that you feel more energetic, more enlivened by the sap of nature."

Can your creation be the result of a feeling that synthesizes emotion and image, considering an abstract visual medium that explores the infinite possibilities of the form that the appreciation of "beauty" takes?

In this sense, the eye must configure luminous images with the help of connection structures between the real and the imaginary that lead the gaze from a perspective foreground - to a high horizon, using various cosmological elements of the world (water, air, fire, earth). It's a natural process that happens when I like what I see more than what reality shows me concretely.

In this way, the image is not much clearer, more airy or metaphorical, but it seems touched by a higher echo, an inexhaustible delirium through which the dialogue between me and divinity manifests, Umatahn Ytualarripha Rifeshazna, the enlightenment of the mind through divine grace.

The sea, itself a pearl in God's eyes, symbolizing life full of passions, represents a long lesson of observation, a succession of dreams, a series of collisions with the future, not the sum of what I have been, but of what I have learned to be. In this case, my eyes, well trained to see, have as the primary source of producing an artistic vision the determination of the angle of perception between the action plane and the visual axis, these two being determined as active elements of the composition, such as light accents, shadows, the game of sparkles.

Indeed, I am a special artist, because I have understood one important thing: what I see is exactly what I am trying to say about myself in an image that represents me by imprinting it in the soul of the world. I am a true artist who has allowed himself to use a new process to represent mental states, instead of stimulating the development of painting through illusionistic means, always finding a similarity between image and emotion, between the real object and its lively content.

Can you reproduce in an image the feeling experienced from a contemplation of the immediacy around, through a mutual determinism between the beauty of nature and a revealing vision?

Hans Christian Andersen told about the wise King Solomon, who understood the speech of non-speaking creatures, that he heard their songs and discussions, but this did not make him smarter, at least on that point. He had discovered the hidden forces of plants and metals, forces capable of removing disease, removing death, but not abolishing it. In all that was created and within reach, King Solomon sought to discover the light that would unlock the secret of eternal life, but he did not find it, while the Book of Truth lay before him as if it contained only pages unwritten. Christianity showed him in the Bible the comforting word about an eternal life, but he would have wanted to find it in his own book. And nothing was visible in it...

The same thing happened to me: looking at the sea with expressive eyes, sometimes with nostalgia, but always with eyes that sparkle because of the sun's rays reflected in it, I tried to recognize the secret of nature Apsicumusia Anonimenry Eschetars Aoshijas. But, unlike King Solomon, I discovered the meaning of these words and, thus, managed to reproduce the essence of the secret of nature through a single guiding idea: "choose any thing around, and try to make it as beautiful as possible".

And here, on the horizon, another guiding idea takes shape: "try to capture and preserve the ephemeral beauty of things, transforming them into something eternal". In each flower, from the petals to the final product, a part of the artist's soul can be found. He sees the beauty of his soul in every flower, in every petal, and through his art, this beauty is preserved forever. In each flower, the artist creates the effect of a larger or fuller flower, more mysterious or rarer.

Therefore, the secret of nature is closely related to the gratitude that the snapshot of a unique, inexhaustible moment left me, to the need to capture in a dream image everything that comes from the heart, unbroken by the noise of the world. And the great treasure of the teaching, here it is expressed by me like this: "As the sun dwells in the sky, so in my soul dwells the affinity, the native call that gives life to the cloth, in the form and in the exact shade of the colors that gradually conquer all souls."

As for leadership, I will raise to the level of reflection that activity of reproducing an image either during its repeated perception (recognition from memory) or based on some ideas about it, so as to reconstruct the authentic profile of a visionary who manages to create the unexpected drawing inspiration from the work of nature.

Only a visionary genius can think outside the "box".

The Secret Of Nature is the result of a reflection on the wonders of nature, as they prevail in the interaction between image and spirit, against the background of a sensibility that cannot be virtualized in temporary "surpluses" (as are objects subject to perishability).