memory fields & perceptive walls

The process of a painting is a metaphor of an unsure and dubious immediate future that might change at any moment and any time due to voluntary or compulsory actions that might result in a satisfactory or unsought result.
The application of paint is the utilization of an unstable and sometimes unpredictable tool in order to sculpt abstract ideas that in their turn, may change in any moment and at any time, in any direction and towards any type of visual field, regardless of whether the inspiring object is as solid as the clear-cut image of a fixed entity perceived by a set source of light, or as abstract as a blurred rainbow that disappears in the corporeality of minutes and seconds, leaving behind a memorable cognitive impact of multiple possibilities of interpretation.

Regardless the source of initial motivation, the memory of an object or scene changes constantly, whether we realize that change or not.  Rationality does not have its role in the perception of an image, unless the subject of evaluation is so rationally minded that fails to negotiate in his or her mind the thought and possibility of individualized interpretation and the potentiality of clustered, clotted, sometimes utterly confused and at other times partially perplexed and fuddled reality of evaluation of our surroundings.
When feeling overwhelmed by the potential direction of a painting’s visual and semiotic success, and signs don’t seem to connect with each other in any way that deems itself appropriate, and when repeated (and rightly done) experimentations seem to only deteriorate the overall impression of a desired theme, I have found that the only valid solution is temporary discontinuance.

This pause is perhaps the outcome of those noted numbers of the so-called ‘in process’ years that are often listed as a work’s data.  To bring up an example, Leonardo’s Last Supper of 1495-1498, could not have possibly been worked on for four years.. or 48 months.. or 1440 days ..  If so, the artist might have gone mad,… the work might have been seriously denatured,.. the theme might have been undulated … the canvas might have evolved into ashes of frustration or boredom.
The philosophy of symbolic forms is a philosophy of experimental extrapolations that are converted into an outcome that is only the flashing images and momentary interpretations of a single snapshot of a process of evolutions, that one must be wise enough to detect and ‘freeze’, exactly when realized.

A constantly worked painting is a constantly continuing combination of images and forms, that one must be perceptive enough to bring together in the right way and at the right moment, and then be clear-minded enough to step back and decide that in that fraction of time, the result is able to transfer some kind of a profound, well-composed and consolidated message.
Until then, the painter must suffer the consequences of unfinished work that once communicated a clearer language, and now stands baffled in an unknown direction, awaiting for inspirational edification to take place..

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