The Talking Pen And The Winged Brush

Aim to make a foray into the imaginary of a world beyond you, through the suggestion proposed by the destiny of the character you create: to place yourself outside of yourself in different ways, or to be present everywhere in same time.

I hold in my hand a pen whose ink does not seem to be consumed, but only warms its substance full of expression, similar in its aesthetic weight to the variety of colors that an artist’s brush applies to the surface of the canvas. If the correlation between form and substance, between expression and content is examined in terms of the arbitrary nature of identifying the pen with a brush, no matter how important the artist is concerned, the spirit of the enlightened world and the specific existence of alchemy can materialize in any desired shape.

Let me be clear. He who knows how to turn a talking pen into a winged brush, reducing them both to a single dogma: “Play ! ”, will be able to move more quickly from virtue to collaboration with God, and from creation to eternity. Or, the repeated experiences in the act of writing with an almost divine inspiration, beyond the multitude of suggestions and challenges of painting that led me into the world of colors, make me still believe that I am part of a novel whose author is the artist which adds to his paintings the plans of a vision of successive earthly lives.

In this aspect of the expressions of knowledge, of great synthesis and significance, consists the mastery of the artist, as well as the virtue of the alchemist: they experience a divine insufflation of art at the top of a column of infinity and only they can understand the Godhead by combining man’s creative power with the charm of the surrounding nature. Let us keep in mind that there is no creation without a creator and that if it has any value for me, it is because something has happened in my soul that has imprinted this value on the masterpiece I represent.

Are you permissive enough to share your knowledge of creation to recognize that in your relationships with the New Man you are building is required a simultaneity of any present inscribed in another universe?

That is how it is when you are an artist, you have to be both a painter and a writer, offering yourself the joy of finding an alchemical correspondence among the metamorphic colors of autumn leaves. But you also have to be a witness, a character and a storyteller. And if my pen takes the lead over the brush, understanding that my words have a greater weight than the colors on the final impression of the reader, then I must become a reader of a quality writer, as is Andersen who told the story of a palace of crystal in whose secret chamber was the richest book on earth: The Book of Truth.

The sage of this palace was able, above all, to gather the light of the stars and the rays of the sun, the radiance of the mysterious forces and the flame of the spirit. With the help of these amplified lights, directed at the pages of the book, he managed to read more and more of what was written in the book, but in that chapter entitled “Life after death”, he could not discern any point. This finding troubled him: should he not be able to find in this world a light that would make it easier for the eye to read what was written there in the Book of Truth?

We capture here an incursion into a universe of pure becoming, through the suggestion proposed by the destiny of the character who is represented in the field of happy encounter between eye contact and the position of involvement in a destiny of convergence to “Things Holy”, caused by an increased tone of convergence towards the development of reasoning. Here, too, the symbiosis of the expressive message with the form of a new ontology of identity in which the reader’s self identifies with the writer’s soul must be taken into account.

For example, if the pen purifies its purpose by developing a cursive, neat and orderly writing, and the brush purifies its quality of stretching colors (vivid and delicate) by emphasizing the contrast with various decors, both being reduced to forms as simple as possible to use, then the “Raw Matter” of universal dynamics will be the manifestation of the living soul out of the hands of the Creator.

At first glance, the pen can impart extraordinary power to the image that the brush colors under the action of light. And two brushes, with different sizes, increase the decorative effect of a story image, in addition to the chromatic, shape and expressiveness of the lyrical message, but at the same time the two can have their point of intersection in a pen that ensures fluent writing, without ink interruptions.

Can you make a foray into the image of an improvised work from a journey of the expansive spirit that rewrites the destiny of an epic structure, so that you position yourself in a completely different position?

The pen and the brush. Understanding their nature, virtue and power to self-determine, without losing from their connection that versatile “IN-VITRO”, I came to know in detail how natural works function and how celestial things are perceived, but especially how meaning corresponding to the things created and recreated. And if I write about the unknown symbols of the Divine Creation, fine things that we quickly overlook, I do it in the same way that the artist integrates, with the divine soul and feeling, in the main subject of his painting: the accelerated movement of a continuous desire of being closer to the work of alchemists.

I never imagined myself as a producer of symbolic forms, expressions and languages, until I gave my image, undulated by its spatial location in a stylistic mobility, the meaning of “dust, from dust” or “resurrection in another body”.

The truth is no one knows how hard it is to be a brush that paints in comforting words, feelings, moods and emotions, the life of a very talented artist who knows how to make sense of a world beyond the edges of reality, beyond appearances.

In this case, the weight of the artistic construction does not lean, as in a balance, more on the brush that slows down or speeds up the rhythm of matching the colors on the palette or on the canvas, but on the pen that has to put the words in a certain order, trying to construct them in an improvised story, so that the eyes of those who read these lines catch only what their minds are prepared to understand.

I will always try to interpret some of my experiences and conclusions from the point of view of an alchemist who continuously mixes in his crucibles in the laboratory, science with the occult, the art of fiction and plastic art. And this is because an artist of my stature, who in the movement of the brush makes possible the expression of a life mirrored in other lives, relentlessly asks himself to fulfill with great obedience the purpose of the pen: to cause an acceptable change in the soul composition of divine works those works that give rebirth to enchanted treasures under the protection of the unearthly.

The indispensable attribute of an abstract art is the interface of a version of creation shaped by the image of two realities: a reality that extends considerably to the spirit of a world carried only in the soul, and a reality that changes through the foray into the destiny of previous lives.

The Talking Pen And The Winged Brush are the basic tools of an alchemist who knows how to turn “Far Away” into “Near”, so that there are no boundaries between accidental and causal, between what is said and what is true. Or, an alchemist is originally an artist, difficult to understand, but also a dreamer aspiring to perfection, able to perceive reality and its elements in a completely creative way.