The Unmatched Plasticity Of Astral Projection

The artist and the past of the world are like two sharp-edged swords that only the expression of a subjective vision can make them trust each other.

I will now tell you about what is not taught anywhere, a secret whose free and unconditional echoes lie only in the fascinating universe of chance, between doubt and delirium, faith and ecstasy, according to the will of an artist to put the forms of primary elementality in an ingenious and pertinent pictorial profile, full of chromatic contrasts.

Surrounded by a mystical aura among the remains of immeasurable time, the color of a major theme manifests itself in abundance, splendor and majesty, talking about what you will do to go beyond the mere fleeting existence, when your will is lost in the care of a God who often bears a drop of wonder after so many astral tears spilling upon contemplating one’s own world.

A wave of cosmic paternity crosses the myths of the ancient world to the extent that the color of the theme has been kept in a dry place in a hermetically sealed container in a cool, dark space, the so-called abyss of nostalgia that latently holds the memory of a fabulous time that sends its meaningful waves up to the present.

The authentic profile of pictorial construction blends with the sensitive basis of a bizarre story, combined with the specific character of artistic reflection in forms of metaphysical consciousness, rather than that empirical facet of ancient prophecies in which all the attributes of the impossible become possible.

Can you develop a new representation of yourself concerning the concept of "cosmic voyage" that will function as a multiple mirroring of the same theme?

Ulysses resisted the amazing song of the Sirens by ordering his crew to tie him to the mast of the ship, while the sailors were enchanted by the long and expressive sounds of fascinating music. He wanted to confront the legend and did not follow the call, being the only one to save himself from the cruel temptation. English painter William Etty painted the whole scene "The Sirens and Ulysses" using an experimental technique that, however, caused it to deteriorate as soon as it was finished.

The chorus of a song interpreted from a glorious myth perspective is in no way devoid of real correspondence, it predominates in a seduction of colors that exhausts its duration resources far too early.

The only motivation of living the past, by a mortal who overcomes immortality by the art of revolting a long-lived reality, as the crystal reflected in the intensity of emotions overcomes bitterness, giving the courage to start over again, is a reduction to the expression of astral significance: Everything resumes in another form and another octave !

Only a grandiose artist can reproduce a reality and context of a certain event concerning the concept of "cosmic voyage" from and back to yourself. First, he convinces himself of the veracity of a world hypothesis close to a particular topic, then translates it into an innovative theme by including a "prolonged life assurance" in favor of a hazard contest reflected by a phenomenon cosmogonic masterly aestheticized.

Do you consecrate the idea of ​​resuming a fact that can be accepted as a prototype and a copy of previous interactions between myth and truth?

A bizarre continuity seems to link the movements of a visual art to the oscillatory movement of a virtual gravitational pendulum, reminiscent of the sound of a distant flute, or the production of a seduction that does not disappear too easily, stiffening the body and soul, color and line, allowing them to fade away.

This continuity seems to have as a sensitive basis of the pictorial construction the actual concern to chromatically surmise the transparency of a crystal in which the atoms of a perpetuation of latent content from a life script written by an invisible hand are repeated by the reflection of cosmic waves of energy as in almost all Borgesian fiction.

The unmatched plasticity of an astral projection is subject to laws other than those that mankind has discovered over the centuries, because it continually rephrases the idea of reformulating events in favor of a "Mirror" present that, in time, becomes a legend.

Argentinian writer Jorge Luis Borges wondered: how could an infinite ensemble be enumerated, at least in part, without his written testimony being contaminated by falsity? He said: "In that ungraspable moment I have seen a million things, pleasant or frightening. None struck me harder than the fact that all of them occupied the same point without overlapping and without being transparent. What my eyes saw was simultaneous, while what I’m going to transcribe is successive, because that’s what makes it so lingering. I will, however, try to capture something."

You must know to see from the depth of the primary detail before asserting the relevance of the final point of view, to receive a true work of art that at one point will explode in one way of artistic expression by mirroring: "You and I Could feel as once."

The artist and the past of the world are like two sharp-edged swords that only the expression of a subjective vision makes them trust each other.

The great secret of the artistic effect concerns the only detail that rebuilds a world: the mirroring of one’s own personality in the skin of a mythological character, reminiscing legendary adventures and trying to become a hero recognized by all the other members of a real, spiritual and generating of aspirations universe.

The Unmatched Plasticity Of Astral Projection is given by the word closed in the desert of centuries called "mythology", from which the artist takes inspiration for the magical beings of the same making as him because of his inclination to surrealism and the convincing demonstration of the continuity of a legendary life.