Turn Your Sight To The Triumph Of The Eyes
What you see is the form that things take when they are integrated into an idealized self-image, which you recognize as “a mirror of authentic experiences”.
Right now I’m trying to move a power generator that, being heavy, is kind of straining my spine. In fact, I look at it more than I move it, with the difference that what I see through the glasses of ordinary opinions has no potential to move things, because the eyes manage a structure subject to transformation through which thought integrates the object as a whole, that is, assimilates it in the form of knowledge.
This gives rise to an extra dimension of visual perception, because what I see is the form of a static, strict image, recorded in memory, but displayed in the interface of a perspective of integrating art into everyday life.
Even the perception of the movement of objects has an important role in such a complex mechanism of vision, because by moving, that is, by releasing sensitizing potential, they are more easily distinguished by color, shape and sensation, on a certain surface of land. In this case, art is no longer just a static image that I look at and move on, but becomes a “live” story that develops through the contribution of sight to the recognition of the mechanism of emotional leverage produced by the meaning that I give to the value “realism”, from the external environment.
Leadership: Does your vision contribute to the recognition of the emotional leverage mechanism produced by the meaning you give to the value of “realism” from the external environment?
The objects and events to which the symbols refer belong to mutually exclusive experiences, as a kind of abstraction of reality, in the sense that certain properties and characteristics of real objects are ignored just to make way for a confessional tension. For this reason I say what I feel, because I allow myself to promote an activity of the soul that perceives or knows material things. And I say it in the way the painter chooses his representative model in front of him (a corner of nature or a group of objects) and then reproduces it through shape, color and effects.
To be able to see myself as things see me, this is the desire that should accompany me throughout the rise of abstract art, the teaching necessary for a perfect creation that begins with sight, the dominant sense, l'immagine proiettata sulla retina , and continues with the feeling of order, when everything is in its place. Perhaps I should have thought better of a neutral decoration, which I would ennoble with classic accents, not an electric generator, so that the art I am trying to highlight is more accurate in “finding the perfect form”, than in emphasizing symbolism through content (not through form).
The eyes of the art critic, Ion Frunzetti, seemed to have caught something from a reality identical to mine when he referred to the French painter Paul Cezanne:
“With sight, the whole consciousness tries to grasp the total reality of the object; the object remaining continually foreign, however, and the consciousness more and more bitter, more and more impoverished of impulses and confidences. Practically, dealing too much with the object and too little with one’s self, Cezanne makes the mistake of indulging reality too much.”
Leadership: Can you fix in the “painting” the moment of great impact that places you in the middle of an unusual setting where reality depends only on the direct observer?
I still wonder why the feeling increases as the understanding of objective reality increases. Anyway, in art there must always be a sign of equality between sight and feeling, on the plane of a reality that needs to be described without any shadow of concealment. It is understood from here that the essential attribute of the unique feeling, by conditioning the sight, is to be a guide to knowledge and to call the being to its own world – a world of meanings in which the dual reality operates: direct visual examination and the sensation of mystery.
Exactly like in Agatha Christie’s novel, the famous “Ten Little Blacks”. It is about 10 people who were invited to an island. Little by little, people start to die, but every time one dies, one of the 10 porcelain statuettes on the table in the living room also disappears. And every time a statuette disappeared, another battle against an invisible opponent was lost. So the set of statuettes, the only accomplice of the criminal, becomes the only care of those left alive, their only reality, their only prevention against the criminal plan. So, some trivial things become their only world, outside of it there is nothing.
No wonder you can’t believe it. But you should know that sight is based on the feeling of static or dynamic reality, which deeply awakens the soul. Of course, art comes from feeling, as the faculty of the soul to manifest itself from the inside out, by sensing the things or sensitive aspects that concern you the most. And everything has its sensibility if you know how to look at it as you would look at a painting: through theme and dimensions, through a realistic style that, at the same time, maintains the mystery.
A first guide of leadership towards the dimension of art is the imperative “can you believe it?” which you have to take into account when experiencing the sensation of control of reality that leads to increased visual sensitivity.
Turn Your Sight To The Triumph Of The Eyes to discover the reality contained in this interval: “Thought can only give you the minimum; feeling can give you the maximum.” I say this, knowing that the visual direction of my eyes has as a basic guide the sensation of mystery, and this happens without the art losing its curiosity to understand the equality between the reality described in detail and the meaning of the details that can mirror a new reality.
And, I still wonder: can a representation of the whole eye (rich in isolated manifestations of vision), fix in a painting the moment of great impact that places man in the middle of an unusual setting where reality depends only on the direct observer?
