A green leaf, unperturbed by any emotion, flutters playfully before my eyes, whose gaze is incapable of giving an orderly meaning, a logical landmark, to its movements. The same delicate leaf, seen through the eyes of a child, suddenly animates my dreams and imagination, with much impetus to explore different visions, procedures and artistic means. After all, the leaf is also a creation arranged by God, and God always sees it with different eyes, with the help of the gaze fixed on something significant, than from the emptiness of the eyes of ordinary people.
But what can I do so that its action is more than a visual argument, imposed beyond the gaze that seeks to comprehend the divine essence? A leaf is a broken piece of a thousand dark nights, which has become the first size of a psychological image, and I, the Creator with advanced views, the primary manipulator of the symbol of intellectual perception, must move it elsewhere. As far as possible, or as close as possible to the sight of an ordinary man, and to extract from its trajectory the essential, the sensational of that story able to constitute the morality of a look that clothes the world in beauty.
Indeed, I am only a skilled Creator, and the eyes of ordinary people are unfamiliar with the wonderful side of my creation, just as painting cannot understand the painter, but the painter can know God in depth through the perception of an attractive and smiling face, transposed into a wonder of nature.
Through all people’s hearts flows the experience of a new visual experience, the blood of a color called Brightness. They feel the need for new visions of reality, but to conceive of such a crossing of space and time into a different understanding of the world is a science given only to a Creator with advanced eyes.
In fact, the painter himself transposes himself into a journey through the labyrinth of nature, the reflection of which is the testimony of the fact that the Creator himself is omnipotent. And therefore, perhaps I am given to submit everything to complex observation, taking something from the particular object and turning it into a determined, privileged being, among other beings, available to an esoteric science called Metreximyuss , that is, the voice of the Lord in all surrounding things.
In turn, the leaf perceives me as a visionary in authentic art, because even its movements taken by the wind express both art and my colors that envelop words full of charm, feelings full of anxiety, hope and delight. I will not give myself into its hand either when I feel both with the Creator of Eternity, or when my eyes will intersect the expert gaze of the philosophers of nature, but I will rather delve into the words of a madman who knows what he is talking about, but whom, in turn, is understood by no one. May I turn myself into a mystery of creation and nature, a hocus-pocus that would have no effect if said by anyone.
And if the leaf is the last intrinsic dimension of the salvation of the whole divine Creation, from which I can hardly take my eyes, a miracle of nature sensitive, delicate, mobilizing, then my eyes are given to permanently focus on the reality in which a painter immerses himself, one who sees in everything around him a stain of color, hidden at first sight behind an unfinished or unspoken story in the language of human psychology.
The leaf looks at me as in a mirror to which only the sky offers a single reflection: “in art, the atmosphere where you expose an image matters”.
Well, even a skilled Creator needs an element of the surreal vision to correct his divine vision, in an artistic approach, in a green-brown explosion, extremely comforting. And if I have to get into the leaf’s illusion of being a bird, I have to do it in such a way as to avoid an approach that reduces the study of vision to a simple illusion, just as the painter must have the courage to avoid what is too well-liked.
Is it not true that if you caught me talking about the little creation of nature, and if you understood the speech of my eyes accustomed to things that cannot be spoken in human speech, you would recognize me as the creator of a lofty being, depicted in a form similar to fairy tales, myths, and fables spread in the ancient East?
And this miracle with a bizarre appearance and in a strange state of coloration, unraveling hope from another world, playing the moral role of a life gained in another reality, speaks to me with the memory of the words of Mika Waltari, from the novel The Egyptian:
“Is man really aware of what he sees? You know everything because you had access to all the science in the world, but at the same time you are guilty because others are ignorant and you do not help them to open their eyes. You will teach people to see, or you will be tormented until the day of your death, Sinuhe.”
Finally, I understood my calling to be a Creator, so to consider as joined certain parts of the world that are not seen with the ordinary eye, but only with the magical eye of an artist who is able to transmit to people the conquering spirit of change, beyond the need for assertion. My leaf is the product of an introspection that is not afraid to face the risk of obscurity, overcoming in this case realism in favor of the exteriorization of an adjacent personality, with a wide audience, who knows how to prepare a credible story from a small wonder of nature.
The Visual Art Involved In The World Of The Duplicated Viewer manifests itself as a way of human intervention in the middle of nature through an act of comparison between the power of the creator to separate the particular from the common, and the power of the creator to defeat nothingness in time, achieving the universal within the eternal.
If each viewer were a creator, able to place himself in a plane of the high, and if each creator would focus his gaze on what truly matters, in a completely different plane of existence, then perhaps the view would be considered more than a natural lens of the eye, but an extension of the art of being someone else.