The expression of the artist is immediate and embedded in the forms in physical pattern. Empathy is established in the structural forms, as a place, where two different spheres, the mental and the senses, meet. The creative process originates from the artist’s unconscious mirroring his impulses of creations. The artist’s personal motives are reported into the canvas like a personal investigation into his own unconscious, his existence, possessed by the status of creativity.
The forms are permeated of his instincts, establishing, as it occurs in the dream language, a statement of figures of speech that can be understood in relation of meaning.Therefore, the artist’s intuition is to be privileged and his tracks and signs left on the canvas could be seen as, in terms of Lacanian archetypes, the basic instincts and desires that he wishes to satisfied .
Some forms, signs and gestures can show the ambiguity of the state of anxiety of the artist and recall destructive powers. For example, this is visible in fragmented forms that convey a sense of disorientation and loss in the viewer, reflecting the artist’s state of ‘anguish of fragmentation’, to which Freud refers as a state of emptiness, lost of identity, and boundaries of the self, accompanied with a desperation for the perception of the loss of space and time. Therefore, forms can cause disorientation, the same that the artist might have felt, and at the same time, other shapes, movements, sounds, that appear more stable solution can convey a new awareness, a rebirth that affirms in its shape, imprinted with human delicacy and at the same time divine supremacy.
Again, a duality can coexists in one form yet confers the feeling of a divine and peaceful presence that seems to win over the human. Chaos, desperation, death, destruction where our eyes quickly moves from in search of a new, simple, order, stable, still, form.In fact,the eyes are directed toward tidiness and order and simplicity, regular, and more linear shapes.
The observer is disoriented in order to be re-oriented in a new ‘life’. It is like a vision, yet we enter in a separated dimension, where all one-can breath is pain. We come to, gradually, experiencing all the shapes, in a crescendo of emotions that always more detaches us form the external world; an internal journey toward consciousness. Shapes and color help to convey this feeling. The perception of the artist’s “inner necessity” lead in a path of sufferance, that we make experience of through the study of the forms, for a final release and birth of new awareness in the viewer.
The exploration of the mystical capacity of the image, the healing path in which the artist guides us, however, also seem to detain the iconic value in it. In fact, the artist seems to express in a single work of art, sublime, iconic, and mystical elements. In fact,the artwork, or the movements of the performer himself, not only becomes a place where his experience is present and perceivable, yet where also the viewer experiences the mystical revelation of the artist’s invitation to live in, for example, the sharpening, blurred, distortions, screams, curves put in scene and be disoriented in the light of new vision he is proposing.
The destructive and vital forces that can permeate a work of art or a performance, suggest, in the creative act itself, the artist’s quest for a new awareness toward life, a new oriented existence born from the experience of suffering .We are removed from reality, in a silence that affirms itself and its drama through its contrary, the rumor of destruction, the noise of loss and death. In this act the artist seems to establish an appropriate ground to allow the listening of every individual existence.
Silence becomes the highest place of being. The existence in silence is also confirmed by the denial that the artist affirming with his worlds about the value of his art, confirming one more time how only silence makes things alive, while words destroy. Maybe art sometime can embody internal struggle; but in the experience of suffering the artist shows how to find release, through denial to find truth, in death rebirth. This emphatic way of feel, will open the door for a sincere experience of the forms, accompanied by a moment of ‘resolution’, ‘healing’, that will occur inside us. What it is left to us? Have we sensed the artist’s sentiment or nothing changed in us? If this reasoning finds the right applicability, our experience of all the elements present in the image will have opened a ultra sensory dimension in which, trusting our eyes, the forms freed from the preconception in their reading, will guide us in a path of liberation trough sufferance, escape, fallacy, and victory.
A ‘devotional attitude’ toward ‘the image’,’the space’ created, is needed and will imply a movement toward it and beyond ourselves, to live the world of sentiments that the image detain. In this concern, the “transcendence” of the image allowed by a new ‘dialectic’ based on imagination,welcomes a “divine intuition” where the creative process itself becomes the mean, the ‘visual space’ to make experience of the disorientation, loss, pain in the ‘non reflexing’, ‘non distinction’ between us and the work of art, and where eventually, we are brought to ask for the revelation of the divine.