It’s hardly pointless, but it has no other point than itself.
The point of the things we do are the things we do.
Fundamental is pattern and relationship, not the entities that are patterned and related.
Real art may reorganise your mind.
Great art may undress your mind.
New Unity
Reincarnation Inshalla.
Because by indistinct things the mind is stimulated to new inventions.
Don’t look for something. Instead, rest your eyes on the paintings and let become.
They have no place to be because they themselves are that place.
You see something when you have the right metaphor to perceive it.
Let this be a spark for your imagination. Stare at it when lost and you shall find.
Everything is what it is and not another thing.
This does not hide, represent, or body forth something else that must be therefore decoded: it is precisely what it is.
Keep it real.
A slave to consciousness and a passenger of unconsciousness
Every time you see and categorise something you do that in relation to something you already knew. You build a network of references. Rest your gaze at one dot and let it decide where to go next.
Everything looks like something.
Without references your world will shrink.
With references your world will expand.
Metaphor is the only way to come by knowledge.
Cognition is akin to recognition
Life is suffering, bathe in it.
40 million colours are discriminable by the human eye: if we had 40 million words for colours that would not be an improvement.
The devil is in the detail.
Language relies on approximation: a language with a word for every distinguishable aspect of the world would not be a language at all. It would be like the map that is the same size as the world it maps.
Language always shrinks reality: the one exception to this is poetry, which absolutely depends on ambiguity to escape.
Language neglects the unique.
The fulfillment of a wish, a correction of an unsatisfying reality.
Nature rules over nature.
I am by nature, part of nature.
This is more like a tail, an arm or something that is me, than something “other” that is not me
Trying to explain it is like asking a fish about their relationship to water.
What water?
Beauty is seeing to the depth, through parts. See the w()hole.
As in a healthy organism, as in anything beautiful, there is a proper relationship between the principles of differentiation and unity.
The beauty is in the gestalt.
Harmony cannot exist without just the right degree of otherness within the whole.
The Devil is in the detail. The beauty is in the gestalt.
The attractive combination of geometry and pure chance.
If you pay infinite attention to the now, time stops and eternity appears. That is what we call flow.
Every deep truth has an equally true opposite.
It means that the world feels bipolar, not binary. Like quantum physics.
If you read this then the place from where I wrote this is real.
Words make the uncommon common.
Exploration is best made between words, between worlds, in between. Let these paintings inspire your mind and heart to move and change in an harmonious way that makes sense.
Inspiration in translation.
Symmetry is about relations between parts, but asymmetry is about the relations between symmetry and its absence, something still deeper.
You are beyond your self.
If the human brain were so simple that we could understand it, we would be so simple that we couldn’t. Trying to understand your full capacity by looking at your self is as useful as a mirror trying to see it self by looking at its own reflection in the mirror. There is nothing there.
Meaning derives from the existence of, and a proper delight in, recognisable patterns.
Truth is uncertain not because it is empty, but because it is full – rich, complex, manifold.
We can’t live in a post-truth world because truth is not a destination. He who decide to arrive shall soon stand restless and hopeless. Truth seems more like water, changing form, moving, transforming.
He who is creative can find it in harsh conditions. Even in the dessert. Truth, like water, is an unlimited and re”use”able source of creation. Lifes greatest enjoyment is to seek truth.
Hold what you find important, but secondary. Keep the act of seeking joyful and primary.
The essence of beauty is harmony, including its judicious violations:
appreciation, therefore, not of things, but the relations between things that are simultaneously similar but different.
The beauty is in the gestalt.
The beauty is överallt.
The beauty is in the lot.
The beauty is not a lot.
The beauty between the beauty.
The history of the cosmos looks like one of constant divergence into multiplicity and uniqueness, yet a uniqueness that is always subsumed within, and understood against the background of, a coherent whole.
Here only one thing matters: what cannot be explained.
Most theories of beauty from Plato to Nietzsche and beyond share the same concept of beauty: an organic whole which shows harmony between the parts.
Eternity has no center.
An unapparent harmony is more powerful than an apparent one.
The future does not exist in the future.
Time does not appear linear. The future is not an illusion neither a certainty. The same goes for history. You have to be there.
We do not live on a line. It is more like in the stem of a tree, the past are roots, fungi and earth. The future is branches, leaves and air.
My Process is simple but not easy.
Improvise,
repeat,
improvise,
repeat,
improvise…
Harmony.
The idea that numbers are relational, rather than absolute, is also embodied in colours: colours have frequencies, and those whose frequencies do not ‘harmonise’ are said to ‘clash’.
For Pythagoras, there was a natural harmony in the universe founded on numerical relationships, and it was expressed as the music of the spheres, a belief that the numerical proportions – the relationships – of planetary movements expressed a music inaudible to our ears.
It is a space that is the opposite of empty.
Enantiodromia means literally ‘running in opposite directions’; Jung used the word to refer to the emergence, in the course of time, of the neglected opposite, the one of which we are unconscious.
Anamnesis.
‘Where would the difference be between great art and pure fancy?’, wrote Bergson. ‘If we reflect deeply upon what we feel as we look at a Turner or a Corot, we shall find that, if we accept them and admire them, it is because we had already perceived something of what they show us. But we had perceived without seeing. Good art and philosophy is of this kind. This is what Plato called an un-forgetting: anamnesis.
