With The Eyes Of The Infinite, Look At The World In My Soul

The eyes can capture an aesthetic reality only by capitalizing on things recognized only from a certain angle of vision.

The sea and the sand, captured in the moments experienced under the generous summer sun, are the result of my gaze towards the immeasurable, starting from the conviction that they are symbols of infinity, because they have neither beginning nor end. And even if the gaze becomes confused in the attempt to encompass the horizon, the sea offers the true tranquility, but at the same time it can encompass the representation of a reality with the help of the illusion of silhouettes lost in a stealthy past, being suppressed by an action taking place outside of time and space.

While the sand… the grains of sand conquer the forgotten moments only by turning the hourglass, returning from where they left.

To put it bluntly: the eye can capture an aesthetic reality only by capitalizing on things recognized only from a certain angle of vision, through the automatic action of the spirit of observation that harmoniously integrates the surrounding elements into a unitary whole. But the determination of the eye to behave aesthetically, looking separately at the elements in the foreground of the visual field, should be followed by the permanent demonstration of the relationship between the ideal artistic forms and the real ones. For this reason, the sea and the sand, elements that determine the state of my soul, translated into images with strong symbolism, make my vision expand beyond the “window work”, towards a horizon of spiritual permanence.

Can you enhance your Ego’s ability to perceive, through the intellect or through the senses, an image that conveys emotion, accepting the idea that the reality you retreat into is a place where art is not a passive experience?

Are you wondering what this horizon of spiritual permanence represents? I think it is the next stage in the human path, of high vibration, well placed in the context of memorable memories, but also of learning opportunities about the beauty of life. This after the triggering of emotion and faith to unite the deepest and living realities, connecting radically distinct worlds.

Or, better said, this horizon of spiritual permanence is the next stage after the triggering of the emotion of an intimacy sufficient in itself, defined in an assumed transcendent, by intertwining the love of life with the nostalgia of a moment extracted from the secret world of a nonconformist mystic who lived many centuries ago and whose glimmer of memory you can catch a glimpse of through a half-open door, in a place foreign to any possible location.

It should also be noted that they often refer to art. But I try to avoid the passive experience of the viewer who finds himself in the object of his gaze with a sense of unreality, but rather as a reminiscence of an earlier painting.

Can you maximize the impact of your creation on the human eye and sensibility by using the art of representing emotions in a narrative form, so as to give particular things the grandeur of absolute existence?

In art, the unity of reflection under the influence of the parallel potencies of the real world and the ideal world, is closely related to the sensitive perception of the sea and the seascape. That is, if I do not eliminate the practical interests that can be awakened by the aesthetic attitude assumed in front of a spectacular visual picture, capable of bringing any sublime setting out of anonymity. So, to the extent that I react intellectually to the sight of the objects that the sea brings ashore, operating with the Rholes-Thirsys spiritof surprising interpretation, something that everywhere receives echoes of poetic art, I will be able to enjoy the simple impression of a Deja-Vu within sensibility, but at the same time I will be able to offer a subjective explanation of the way particular things exist in the absolute.

To exist absolutely means to immortalize in a painting that special and unrepeatable day, which never ends in the memory of time. In this way, for the sake of the emotion that the sight of the sea and the sand awakens in me, I allow myself to reproduce a fragment of a book written by Ileana Constantinescu:

“I lose myself in a pleasant blue without realizing whether I merge with the sky or the sea or both. This merging with the two shades of blue gives me the feeling of immortality, without its monotony, a pleasant immortality, outside the cares of current life, an immortality that I cannot ask myself if I have the right to touch it on this day when I understood that what is important is not to be immortal, but to feel good in your own skin, privileged to have been able to feel the joy of being alongside splendid nature.”

Inevitably, art likes to hide, to reveal itself in silence, as in a kind of mysterious ark lost in an endless sea of emotions, colors and smells that, of course, will save from oblivion only those that still believes in themselves. And I believe in design that never dies. Especially if I take into account the fact that in a work of art, perceiving fidelity to nature is a matter of the senses, linked to a way of perceiving and adapting to a restricted code of representation of emotions – much more appropriate than imagistic codes, but exposed on the surface of existential authenticity.

Can you take control of your emotions when approaching or moving away from a fixed point, corresponding to a change in the ideal of the Ego to include within its memorialist edges the image of a miracle?

Another necessity in the eye-to-eye ratio, looking at an Impressionist landscape from the frontal perspective with the sea and sand in the foreground, and considering the panorama of the sunset sky as taken from an unfinished painting by Botticelli, is to draw conclusions as to the nearness or distance from a fixed point, at every stage of the manifestation of color when it appears organic, living, and mobile. This is also a reason for deep melancholy meditation, isn’t it?

Indeed, the sea and the sand are still there, from so bitter a time, but no one tells their story from the infinity of worlds in the soul, no one describes them as a chain of words separated from everything, as in a chronicle of random intersections and unexpected events. No one allows them to always be in the precise center of the soul accidentally fallen into a world of immaterial realities. And even if I am the creator of the illusion, of the mirage of beauty, of things that are often not what they seem, I still cannot deviate from the compulsion of Echtoser Sanlierrys Passen: “what delights my gaze is what leaves me speechless with amazement”.

Undoubtedly. I have to step into a land full of intensity, articulated, modern, inspired by the effervescence of colors and summer textures, where the absolute creations in art begin, to find the full concordance between the painting and the symbolic sensibility (characterized by melancholy), and thus to give birth to the portrait. It seems, then, that I will have to focus only on the concept of the “All-Seeing Eye” in order to agree that it is in vain that I strive to put on canvas the image of a miracle, if the sublime artistic value of my vision is not recognized it exceeds in all directions the validity angle of an imaginary world, transfigured in the plane of creation.

In leadership, as in art, you will have to create a creation capable of capturing the image of a miracle. To discover that in fact what you see around you is a reflection of what you become through the emotions you transmit playing a double role: as an idealistic dreamer and as a bearer of a symbolic image.

With The Eyes Of The Infinite, Look At The World In My Soul to recognize the depths that only the admiration for beauty and the tendency towards unity can explain. And, also here, it is worth adding a quote from a recently read book, “The Egyptologist”, by Arthur Phillips:

Things erode over time. The sands grind, the gravel hides, the papyri crumble, the paintings are erased. Most of these processes are, of course, destructive. Sometimes, however, erosion clarifies, scraping away deceptive similarities, uncharacteristic errors, confusing and useless details. If, during the writing of these notes, I took it somewhere in the wrong direction, if I misunderstood or described something I saw or imagined I saw, well, in those moments you say to yourself: It’s fine, I’ll review everything when I get back…

And so I will.