The Universe Of A Writer Lost In The World Of Art

A beautiful painting can recall the life of a man, thus creating in the soul of the viewer the spark of a momentary illumination.

Every time I write I imagine myself having a discussion with a painter willing to revolutionize the most authentic forms of art manifestation, pendulating between “once” and the fabulous “once upon a time”, which frees me from the obligation of a social description of any way particular way of life.

Perfection is a similarity between two beings, a coincidence of names and perhaps of destiny that could prove providential within a time that flows slowly, beyond the narrative borders. The imagined discussions help to practice the representations from concrete to abstract. Therefore, when I illustrate the experience of life from another perspective, from another being, I feel that such a feeling of flowing matter to the spirit is so poignant, a perfection determined by an accumulation of effects, that everything starts to vibrate to the dimension sensible from the depth of the psychology of a parallel existential experience.

From an aesthetic point of view, my destiny seems to linearly cross the calling of a superior thinking to the authenticity of an experimental science in the immediate vicinity of a beautiful artistic reality, in the idea of optimizing the relationship between the painter and the revelation of a captivating reading. From the solemn testimony of the inspiration they produce, imagining that the state of beatitude that the painter must feel when shaping a painting to reproduce the specific of a living mind, I extract my ideas and visions the way colors mix: by successively coloring the same area.

When you try to render a sense through color, you are tempted to approach a world “pushed” towards spiritualization, as an expression of poetic language, as an alternative to the possibility of passing the being into another making, in another form, into another unit of space/time.

Which is not unimportant, for he who manages to focus in one central place a whole series of shades, suggesting more than a psychology of visual manipulation, may be worthy to lay beside the great trends of painting. If I were to create a new theory or a new concept of art, in which color comes to life through the emotions of a very tight duel with a time that does not die, I would probably be tempted to resume myself as to the space of a total meaning of the theme called “the alibi of a symbolic expression”.

Art has always integrated spirituality into the space of manifestation of creativity by launching a call to a symbolic form of enlightenment in human wisdom and knowledge that tests the painter’s ability to rebuild reality, create an aspect that becomes one with the other, assuming unity with the source of any creation in a certain period of time.

Arguments are thinner in the absence of criteria of belonging to the bookish style. For this reason, the clarity of my compositions denotes a partial combination of colors, associated with emotions, sensations, thoughts, all exploited through different ways of looking at the world with the help of visible brush traits, even with an aggressive mark of protest against modern literary trends.

Finally, in such a wide range of combinations of meanings, alternations of points of view, themes, influences, visual images, an aesthetic balance is required: the interiorization of a continuously flowing speech, and less the image of a lingering language that languishes in a condemnable apathy. After all, what conversations with Rafael or Dürer have taught me other than the fact that I have to foresee the limits of my own talent before I veneer with the aura of a genius a reality that is difficult to justify.

Can you turn your life into a perspective of depth on a corpus of writings based on key images, from the point of view of the structure of a series of thoughts that instinctively exteriorize in a painting from which you cannot look away?

The talent of relaying a conversation in a single word combination, or even in a single word like “Variety” meant to express the necessity of the art of recreation, acquires the properties of a painting that presents the permanent place of meeting the spirit with the material, of self-revelation with the rejection of the teaching element full of authority.

Thinking creates the premises for an authentic experience of artistic education. Perhaps I intend to transform art into an exercise-game of writing a text based on the key-images of a form of clairvoyance with a title like “Thoughts to myself”. But even this requires a certain correlation between mystic and aesthetic, between the actions of the characters in which I transpose and the expressiveness of their faces.

To be honest, I do not know whether everything I experience in words, in the splendid reflections of some outstanding personalities, is in tune with the resorts of an adhesion to the constituting of an “Art Nouveau” or with the onset of dramatic unraveling from the yoke of early intellectual education, deformed by every object of modernity.

But surely, the essential form of creation that I assume has the dimension of a story written by many authors, has the function of anticipating a virtual world, its ideals of beauty and perfection. And this is called a fusion of aesthetic content with the virtue of a “bookish apriorism”.

Can you turn the sincerity of an artistic confession into an echo of the inward urge to be present in a world seemingly deciphered only by its image reflected in a mirror?

Recently, in a book by writer Mary Balogh, I have joyfully discovered a conversation between Camiles and Art Professor Joel Cunningham:

“I will not paint you with an affected smile on your face or holding a fan that has no other role that a decorative one. I will not put a puppy like a toy in your lap to awaken the feelings of the viewer. I will not paint you with dead eyes and an unnatural perfection of your features and complexion. But I will paint you as I would see myself in a magical mirror that fulfills my most ardent wish.”

A beautiful painting is less reminiscent of the artist’s life, as much as that rare tenderness of the model of beauty that enriches its reality, without distorting the original, thus giving birth in the soul of the viewer to the spark of a momentary illumination. It can be completed not only by adding more or less bright details, but by adding a well-positioned mirror that increases the likelihood of creating an alterity.

The full triumph of art is to become the character portrayed in a painting that intersects facts and events in different times and places. The painter in me still wonders: up to which point can I extend the discussion about art so that the text gets aesthetic valences?

However, a painting can trigger a pun (analogies, metaphors, personifications, hyperboles) extracted from a kaleidoscope of colors formed by alternating vibrating tones with neutral ones, so you risk no longer being able to tell the difference between what you feel and what you express in the very undertaking of the act of creation.

If I should give a definition of painting to the art representation of a constantly remodeling brain, I would say that it is the sublime way of giving life to a reality whose image can be my reflection in a mirror, my emotion sketched in a text of great narrative force, or the thought of a warmth of soul swirling through symbolic expression.

The improvisation that stimulates creativity in the service of art is the mirror of an experience of alterity that makes you feel fabulous in a writer’s vision of himself.

The Universe Of A Writer Lost In The World Of Art encompasses all the ways to investigate and approach a theme of artistic interest by reference to the elements of constructing a visible text in the relationship between momentary inspiration and the revelation of a hidden reality perceived only through the perspective of imagination.