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Satvat for Elisabetta Limonta Vibhuti



E 'for a long time that Elizabeth Vibhuti Limonta has the heart shape as an icon of its unique artistic experimentation. I suspect that, when germ, this is already begun in the womb, with the formation of his own heart, with that sudden spark knock that unites every great new life to the beat and chorus of the Living. He must have kept that ancestral memory in silence, until they found him - certainly a surprise! - The dance of his brush. As in a satori instant illumination, she said, and since then has multiplied the pulse of the heart in countless paintings. In fact, I see his enthusiastic thematic repetition as the mark of the One Heart beats multidimensional, universal symbol of the miracle of Love that creates and preserves the Creation. The artist told me to conceive it as a huge heart crystal formation in the center of the Earth, a beautiful picture and important, because only by recognizing the flow of love that sustains us, between us and joins us in communion with the all reconnect to Mother Earth, we heal our desperation of orphans volunteers. This commitment on sentimental, naturalist and environmentalist, is reflected especially in the hearts drawn like leaves, like those marked by an earthy materiality, or made fluid by a swirling blue that echoes even more that in a shell, the hidden sounds of the ocean.

In every picture he paints Vibhuti Elizabeth's heart, which is not only because his heart does not have a sense of private, exclusive, but exist to share, and glorify the whole. Heart that is hope, promise, research, investigation introspective revelation, through the whole rainbow of emotions, images, innermost thoughts. Just like a crystal heart, the artist's work is rich in nuances that glow different perspectives, from the conceptual, expressed particularly in the works several different materials, up to pure pictorial lyricism. I am pleased to know the artist and his work for several years, so I witnessed the unfolding of the thread of his tireless research, without ever broken or was tied in a tired repetition, and this gave rise to almost a labyrinth of images synchronized to each other, yet dissimilar, precious and perfectly autonomous . The key to this labyrinth is in ourselves: that heart, made by the artist with so much feeling, infects our inner source of love, often dormant, to revitalize.

guess the secret hope of Elisabeth Vibhuti is that his heart and the hearts of us all, you may fill so much of love to explode, eliminating the illusion of boundaries that restrict us in selfishness. I have seen his hearts become more and more swollen, dilated, gradually occupy the maximum space narrowing the margin of the picture and thereby herald the hope of the imminent explosion. But not with superficial optimism. Although they are often transformed in emphasis color them outside, keep the heritage of visceral survey, a meditation on the painful experience. This seems to intimate pulse of the heart itself, but also in the dialectical relationship between it and the space that surrounds it, never casual in the selection and color texture. Understanding the dramatic artist, exercised in the relationship between inside and outside, is essential to conceive the true value of his dream, to give body and root. Eros and tanathos are two sides of the mystery of life, but Love that is ineffably governs, and ultimately, to be able to really love, which states that Ego must die separation. Regarding this, a recent painting that is emblematic, with the fundamental polarities of black and white, shows a heart containing a skull, not a grave warning, such as vanitas, but a call to transcendence.

Artist of our time, Elisabetta Limonta Vibhuti favors an icon that is timeless, but with a contemporary language that carries the apparent contradictions, and sometimes surprising materials.

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Satvat for Corrado Nucci and Walter Ambrosini

Show: ANGELS IN CONCERT MUSICIANS

Satvat for Corrado Nucci

exposed to the elements, the trees dance and resonate. Their very essence is harmony, perfect for building musical instruments. Wood sculptor, Corrado Nucci hears the inner vibrations that reveal what lurks in the art god. Then, the passion of the artist strives to liberate Epiphany of form, separating what is vital, and has meant, from the dross. The "wood-talking" Nucci show us that the art form is not arbitrary but rooted in Being. In fact, the sculptor does not create from nothing, from a barren dream, rather, as Gaudi said, continuing the creative work of Nature. Realizing that the Art is a place of extraordinary meetings, Corrado Nucci builds a forest of characters. They are figures carved in the round, as a staff universal dall'immaginifico score of their bodies, draw earthen echoes of music, composing a concerto. The flute evokes the magic forest, that his companions erected to heaven, just like the trees. By entering this enchanted forest, enjoying the invigorating mythical sense of Nature.



Satvat for Walter Ambrosini

Painting and Music, as sensed Kandinsky, languages \u200b\u200bare more than assonant because entambe base their magic on vibration, tone and rhythm of speech. The painting consists of the agreements appearing visible cause in us an intimate resonance, while the music does the same with a dance invisible, without a trace. So, doing a pictorial tribute to the music, Valter Ambrosini evokes a path filled with reflections safe brushstrokes, the artist portrays musicians who are busy in giddiness of the jazz harmonica, showing almost an epic of passion, sound and mood, a phenomenon fully human , liberating, Dionysian. At the same time, he associated with his counterpart this invisible, angelic referring to a plan that is complementary, in the archetypal sense, to that of humans. Angel musicians, taken from the Last Judgement by Luca Signorelli, alongside jazz musicians, but so solemn, distant. Their heavenly music is inaudible to the ear, However, the intuition of the artist reveals that dense and volatile are reflected, so that those angelic psalms of worship can be incarnated by human inspiration. Certainly, the man translates that inspiration with his own transcendent heat, in a dynamic, engaging and even orgiastic, but, in hindsight, it's the same music, same hymn of praise to life, which can be as ethereal roaring, showing beauty in a different way. Freedom from moralism, as deeply felt in their true, the Arts announces that there is an unbridgeable distance, the summit and the abyss can meet in harmony ineffable, that is the essence of salvation Unit. Therefore, after dreaming of nine paintings in the blue sky and peaceful, Valter Ambrosini does not omit to inflame a work in red, a reminder that seemingly inferior indeed used to establish a balance, being a device that recalls the unique alchemy of the Whole.

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Satvat on Futurism / This

"FUTURE / PRESENT" - Exhibition held in Orvieto

On the occasion of the centenary of the future, I conceived the project of this exhibition, which was signed by many talented artists of Orvieto. Carryover below the reflections I wrote for the occasion.


early '900 the Futurist movement lit the fuse of a radically innovative ferment. He did it with indomitable pride manly concentrating the energy until critical point where it explodes exploding; amplifying sensory stimuli through a simultaneous perception, processing capacity synergistically different space-time activities, celebrating the dynamism extreme, futuristic technologies, the hype, friction, antigraceful. In art, he praised the vivid flashes of color and geometric projective who was able to describe the multi-dimensionality of the existential view, conceiving darting forms with which he recounted heroic deeds of men, and machines roaring metropolis. He imagined that, under these water hammer, the world of that time, considered decadent as stale and conventional, could not stand, would rise from its ruins the "reconstruction future of the universe. "A whole new world, young and old stuff from the purified, in order to deceive the consciences, the raddled vacuum romance. Opposed the" moonlight ", Futurism preferred the gaslight and electricity lightning , accomplices of phantasmagorical visions disenchanted and yet, because of the vertigo-oriented progress. Every new milestone achieved, and every discovery of science, helped to strengthen the progressive myth, which was right in fervent industrialization process, which promised more work and enhancing their welfare. We, who guzzle the cup of progress until the scum, finally discovering the bitterness, we can see the future prophecies have been betrayed. While the future crowned the individual as a free creator, the logical imperative of profit does not respect the individual, nor the people nor nature. The progress has ruled that a system has taken chiefly passive, docile, obedient producers and consumers. Fall asleep in consumerism, we shut down our passion so, contemplating the Art Futurist, we can only wonder where they got that pride and quell'edonismo vital, innovative and fervor, the nonchalance, the optimism. On the centenary of the birth of the future and felt the extraordinary celebration of this art, we are thinking about all this. In this sense, the artists involved have worked the Futurist exhibition / PRESENTATION as Orvieto, in Umbria that they were sons of some of the great Futurist painters such as Gerardo Dottori, Presenzini Alberto Mattioli, Alessandro Bruschetti, Leandra Angelucci Cominazzini, and others. The artists did not confine themselves to a memory, but have resumed that wire with which the Futurists brought so much momentum propelling and many creative sparks. From this they drew a deep meditation on the present, reviving enthusiasm young man who is ineffably true virtue of human soul. Today, as then, we need a new vision of the world that can restore hope. Learning from past mistakes, we must seek in ourselves the primary source of energy and irrepressible life, finding the courage and determination to innovative ways. Tyrannizing Nature, we are scattered and we have abdicated our true identity, making us painfully orphans. If the future we had had too much speed, making us dream of a perfect mechanism and sovereign alchemizzare capable of the highest degree the nature, this invites us to ponder our innermost resources, to learn that we can and must integrate itself creatively with Nature .

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Satvat about Vincent Van Gogh

Vincent Van Gogh - Cypresses - 1890

THE EXHIBITION OF VICTORIAN LONDON
Van Gogh: Country timeless and modern city.

Taking the cue from the Roman exhibition on Van Gogh, I'll be talking about this extraordinary artist, which I mentioned on many of my books. In him are reflected in all the untamed dreams and the inspiration of heaven and hell, the conflicts, the insights of the secret forces to the subject, inspired vertigo that belong to each artist. Van Gogh lived all this with courage and catharsis primordial sacred tremor, paying a heavy tribute to the birth of identifying individual / artist, but his work, but tragically the flesh, has found the path of an asceticism which still moves and teaches. Not as a spiritual dreams, but as intense alchemy that has deepened with the bowels of man as the strength of the painting, the painter has excavated there, rummaging through the waste up to transfigure into the light. This is why his paintings are not extinguished, but hidden like embers on the canvas, sensitive to every breath to stir up and spurting contemplative wonder.

The painting of Van Gogh lived deeply his time, taking root in the lava with incredible tenacity and desperation, but what he drew a gasp of vision that has transcended time, becoming immortal. And deeply joyous, in spite of everything, showing the inalienable treasure of art, no artist has ever forget. Then, at the dawn of Modern Art, the light a little material and truthful, thrown by the brush, it was considered rude by right-thinking people who wanted mainly anesthetized art, traditional aesthetic feeling reassured, but that primitive force, detached from the compromise was a pulse of life that nothing has been able to choke. This welcome, enjoy sensually, spiritually recognize, feeling intensely grateful.

front of the paintings by Van Gogh, squeezed by rising chills colors, lively and full of juice as a ripe fruit. In this way the painter has represented his visionary dreams: Shaping the swollen flesh, opening the seal of his bowels and down at the bottom the mine, to draw the shiny gems. He has tried the ancestral thrill, finding a dynamic sinusoidal soul that has lifted all severity figural, everything is in motion, nell'irrefrenabile mutation of Life, more fearful than men have tried in vain to restrain. The artist, son of that time, could not bear all this in his own personality, kept a stiff sore, a little meditation, however, did not recoil, until being broken. But his courage adventurer has at least provided the prayer of his painting screaming far more valuable and more real each psalm, each acting rectory. The drama

s'avverte more in urban visions of Van Gogh, the scene of bitter confrontation and exclusion, but even in these the artist has dropped a mood intimate, deeply human and infused with compassion. Yet the modern city could not limit the proliferation of the interior, which is glorified in rising and swirling starry nights.

reflected in the nature setting, Van Gogh has been discovered more Eastern transfusing his love for Japanese prints. His exploration of natural forest has un'afflato not flat, but suffused with a lively sense of satori, Zen revelation that the artist had unconsciously breathed along with art from the Far East.

Ultimately, the exhibition is an occasion of the Victorian to open the heart, taking part in the powerful visions of this great artist, patriarch of inadvertent detection brave man and Painting.

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Satvat for Walter Ambrosini

THE ART OF MEMORY:

A special exhibition, this one by Walter Ambrosini, and courageous. We live in an increasingly dehumanized, technological and alienated in a galloping globalization, of which much contemporary art and, unfortunately, the faithful mirror, suffering as an expropriation of the soul. Instead, this artist has focused the eyes of his painting in existential microcosm of his country, Castelgiorgio, working in this way a conversion of the same intimate motivation of Art, which is to reveal the mysterious roots of what would be visible only prosaic. For this to happen, you need to retrieve the existential sense of intimacy, of everyday experience, make memory not to forget who we really are. And in fact one of the great themes of art is the sense of identity of human beings, so we can recognize fragments are not lost in a chaos alien, rather than basing a sense of integration.

Walter Ambrosini has this search function of memory, which is also the memory of this, the territory closest to him, tracing the iconography exemplary and deeply human characters are far from characters that are not stereotypes but unique beings, seen with affective participation. Nothing is worse than being frozen in a character, trivialized with the tricks that the media have taught us, emptied of depths and contradictions. So far more fruitful, the subjects on which the author left eye for the rest of the painting are not lined up, dispossessed of themselves, in contrast, are caught in an individuality that is not plastic artificiality. The sensory contribution that the painter was able to exercise, dig the roots since the souls of the dreams that belong to each of them, showing how we can be heroes themselves, glorified by an extraordinary ordinariness that makes us the same as anyone else, and not codified. For this reason, each figure depicted is "true", and was pictorially immersed in a solitude almost lunar, which isolates it from everything, but will give the light of the preciousness of the one. Under the barber there are two people who have doubled in the mirror, indicating the importance of the social and everyday life in which the individual becomes united. This painting is actually full of implications, because it shows how everyone can act as a mirror, and even covertly witnesses the "function of mirror" that the paint itself should be able to exercise, whatever the artist will come to portray the canvas, the viewer must be able to evoke a self-acknowledged secret.

In this exhibition, which is dedicated to the memory of Castelgiorgio updated and current, meet again not only our neighbors, since this amplification of humanity, which can only evoke the Arts, comes to touch us directly, but reverberated by the individual, The theme extends to the sense of community that is living history of a country, but also it is also reflection on the meaning of human existence in general. For this reason, the painting depicts the wedding of the parents of the artist is strictly black and white, the device which crystallizes in an a-historical event that is timeless, so it becomes a symbol of parentage and ancestral foundation of storage, which makes this understandable and projects it in every possible future. At the same time it is placed as the tutelary deity that legitimizes an organic whole show, announcing that they love, for which transmits the heritage of life, and thus forming the collective life, to be protected by reciprocity and respect. Symbolically, Walter Ambrosini portrayed himself busy painting the marriage of the parents, and he does mean a deep understanding of the roots, memory transmission and archetypal in that he makes himself present, so he can observe with empathy the world around him , and then is made capable of telling a story with extraordinary effectiveness.

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Merry Christmas 2010 "Lindt - Chocolate Spoon"

3D animation created for the site through the agency of Lindt Curious Communication Design in Milan. The sequence opens the Lindt section of the site dedicated to new product "a chocolate spoon." Made in collaboration with Fabrizio
Scimè and PlaySys.

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Satvat to Mark Tobey

Mark Tobey - Red's passing - 1968

Speaking of Mark Tobey, I have the impression to talk about a close friend, both are similar, at root, our research artistic and existential. Somehow I find that my kaleidoscopic forms have flourished from the same pictorial space that he had meditated calligrapher. While this may not be obvious at first glance, the phrasing of the soul in expansion is the same, and embodies similar spiritual insights, which is why I find so much resonance in his paintings and connections, for example with what I experienced in theme of "universal web".

artistic quest of Mark Tobey was born from an experience of spontaneous non-mind. It was 1918 and had just spread the news of the end of a war world, and he took to the streets and joined the cheering crowd. The focus of celebration and collective consciousness led her to a climax in conjunction with the All, blurring the walls of perception with which the mind defines the limited ego. For the whole day he remained in a state of ecstatic identification with the occurrence, without imposing filters alienating the rational consciousness. It was a state of mystical rapture, which he undertook to revive in his subsequent work as an artist. In fact, he designed the art as the possibility of expanding awareness, and to achieve dug deeply into himself, going too brave on trails that lead him to China and Japan, where he practiced meditation and the pictorial art of Taoism and Zen. In the East, however, did not seek the illusory dream of otherness, but the way to become more authentically themselves, and drew out a vibrant calligraphic impulse "that he celebrated with his" white writings. " Paul Klee once said that in Tobey's painting we are witnessing the genesis of writing ", and in fact his paintings are spiritual arenas of self-consciousness of the sign. Artist

high profile, however, remained at the edge of the booming American painting of the period. Tobey was "balanced" and meditative, and at all "macho American" (even socially despised for his homosexuality), and also his appreciation of the culture of the Japanese enemy "was suspected, all this for some time alienated sympathy from critics and the public. Even after the highest international honors, he was a little 'secluded, but very much appreciated in amateur circuits, just to see how little has been published about his work. Nevertheless, he inspired many, some of whom, like Pollock, they proudly refused. His teaching is extremely valuable, especially because the artist intends to bring the soul out of prison painful ego, free to dance with the impersonal and ecstatic arias of Inspiration, a prophecy that contemporary art has absolutely need to check to be spiritually regenerated.

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Satvat on Endre Rozsda

Rozsda Endre - Symbol airtight - 1974

Endre Rozsda, although troubled by a long life in despair, was unable to participate along with the major artists' 900 to the revolution of modern art. He went through the suicide of his father, the most severe poverty, war, anti-Semitic purges of the Nazis, the Stalinist censorship, segregation in Hungary (the country of birth), although this has kept the fire of his brimming creativity, and this just pushed it as a bold and clandestine traveler to freedom .. Like a moth attracted by the creative lighthouse was then in Paris, several times and had to retrace his steps, but not discouraged continued to force the hand of an unpleasant fate. Finally won the vibrant freedom of art and an intimate inner satisfaction, as shown in his extraordinary work.

In art, he dreamed of a world where you can walk back and forth on the "time dimension", and in fact went beyond their time, as every artist should do. In fact, the temporal dimension, as well as the esprit of an era, is relative and illusory, and the artist should strive to seek and express the ever-present. Rozsda felt "a contemporary of ancient events, because he had reached the world of the matrix, breaking the vision in tiny fragments to recover a vision not prosaic, but esoterically dilated throughout. Contemplating his painting shows me precisely the myth of Osiris: Divinity dismembered mundane in appearance and reconnect the investigation to be regenerated fragments. Therefore, as the great artists, Rozsda sought the baptism of Chaos, striving to create "a cloudy surface on which to start looking." This has broken his visions in minute detail, tracking, like a puzzle, which dovetailed with the spiritual.

In my opinion his work, was rather on the edge of the great celebrations of Art, is more contemporary than many other currently infest the tunnels, as yet effective means to respond with a burning question about the spiritual Contemporary Art tends to avoid. But I still dream that every artist himself and deepen its work, until he can say with Rozsda "illuminating objects and people. People sleep, wake the dead."

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Satvat on Friedensreich Hundertwasser

Friedensreich Hundertwasser - Mountain Home - 1993-94

As a boy in Amsterdam taken many postcards of paintings by Hunterwasser with which tappezzai my room, I was attracted by the imagination and lysergic spiral of this artist, but he did not know anything. I did not know, for example, of his philosophy and his commitment to artistic and environmentalist, his insights on the ante-litteram bio-architecture, its consistency in keeping free from the constraints of logic and materialistic art market. Deepening his knowledge in time, I appreciated it more and more, also having multiple connection with my philosophical journey, artistic and existential.

We both tried the meaning of life and art in the lap of nature in the heart of the maze psychic man. In fact, like Hundertwasser, I too have spontaneously drawn especially vivid colors and rounded female form, together with an uncompromising libertarian sentiment. Contemplating his paintings, visiting its buildings, and reading his writings, I could appreciate the value, not at all diminished by a false note of fanaticism, which supported him in keeping resolutely consistent. To get their way, rowing against the tide, it takes a strong character and a personality as it inevitably crystallized tough, unless it is resolved by diving into the vortex of meditation impersonal, blooming in innocence. Perhaps for groped to dilute the harshness of nature, the painter has instinctively favored water colors, which drew spirals and labyrinths faded, always placing horizontally in connection with the womb of Mother Earth. However, what is expressed Hundertwasser extraordinary relevance, and deserve a much more accurate reflection of what's been granted. Because he, like all true artists, showed prophetic gifts, especially about the massacre that was perpetrated against nature and against man himself, and that has now reached the critical point.

We trapped in the city vertically integrated generating disease, degradation and alienation, and we ran in a straight line and technology that has wildly away from our natural roots and soul, leading us to the edge of the precipice disastrous, just as he had since Hundertwasser then terminated. We packed our "three skins" (which according to the artist's psyche, the body, the living space) as straitjackets that there are artificial asphyxiated. Hundertwasser rightly objected to all this a flourishing creativity, fundamentally simple but wisely "curve" and named the colors of hope. He fought the darkness trying to feed the light, and I think this is the right way to operate.

In contrast, contemporary art often combines darkness on darkness, preparing a conceptual desperate dark, cloaked by impotent complaint. But the power of art is expressed in communicating creativity, recognition of the beauty and inspiration as they fish in troubled mind sure does not help, the artist who sketched his work on the sore resentment, on the evidence of injustice and social catharsis, lack of a genuine creative responsibility and helps to keep within the barbed wire fence of anxiety. Perhaps this is the most important lesson that Hundertwasser has left us: he had identified the ills that gangrene would be taking us to where we are, and also insisted on creating this positive art, romantic, "beautiful as a jewel" and ecologist .

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Satvat Pablo Picasso

Pablo Picasso - Guernica

Picasso I cordially dislike. Contemplating his work I find no vulnerabilities, no jolt of soul or female trepidation. However, Picasso is a genius, and I can not love him, love him But how can you love a harsh father who can not open your heart, but his way is deep and clever, full of character and authority.

To him we owe the precepts of an artistic revolution, the chance of a new male geometry, the formal religious arrogance of atheism, the "do against" the thrust of an unrestrained intercourse with the information. With him, we gave up the dream to be an artist to painfully learn to draw like children, to see with eyes wide open, staring at times but not entirely devoid of innocence. To him we owe the most striking judgments about art, still way off. All tried and location; insatiable Argonaut, snatched the golden fleece from the garden sublime art to make sturdy shoes with limestone in the impossible. He has produced work of genius with mediocrity and ugliness, all cemented by a personality that was able to build over a imperishable monument.

E 'was he the first "murderess of Painting," but there has bequeathed a thousand paintings, a thousand sketches bustling, thousand icons alienating false gods. Ultimately, his art has attempted to escape the laity in the death, and I must say that unfortunately we failed. In the sense that to overcome it, to proceed further, it was dramatically difficult and in some ways still uncertain.

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Satvat Richard Pousette Dart-

Richard Pousette-Dart - Bird primordial - 1944

A young Richard Pousette-Dart smiles in the famous photo of the irritable, explosive artists of the School of New York. In fact, although in his painting has experience from a gestural freedom, somewhat akin to that movement, he gave a vivid reflection and spiritual alchemy, which is spaced in elevation from the fermentation of the purely cathartic. His art has traveled the wilderness, where the sign is subjected to rituals of initiation into the vortex and the waves of change, and where the color has deepened in its intrinsic wisdom, to become the archetypal field and button. In all this, Richard Pousette-Dart has maintained an exceptional sense of proportion, it declined by reason but by the conscious spontaneity. He has boldly extended in all directions, but staying connected with the center, with the root of the meditative presence. For this pictorial structure is often distributed on a cross, intersecting the horizontal and vertical planes with terrestrial and celestial. For this reason his work is so present in the circle symbol indoor / outdoor, symbol of the Whole. Yet in pointillism color that spreads from his later paintings, we realize that none of the millions of points is random or distracted, but intensely and meticulously attended. Such work can only control the Artist Within, which is pure testimony to the creative life itself.

In early works, intuitively already mature, he pondered ways with an eye (because of vision) and forms of bird (asceticism and liberation). He practiced in order elliptical orbits as cosmic and astrological charts, reflected in the painting to evoke the spiritual unity of the Above and Below, performing artistically Emerald Table. Richard Pousette-Dart has had the reputation of its less bombastic Irascibles friends, remaining secluded in their meditations. The unfathomable heights and moving of his paintings are not for mass, but sensitive to the estimator for the passionate lover. And his paintings are amazing live show, buttons, able to draw us in another place, this perfectly, in which we find the ecstatic vibration that permeates and unites us all and the same.

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Satvat on Wassily Kandinsky

Wassily Kandinsky - White Oval - 1919

Returning from a walk, Kandinsky was caught accidentally by one of his paintings hanging upside down. This banal event found him awake, turning them into an ambush of the spirituality that radically changed the conception of painting and worldwide. The artist felt that, although the picture upside down did not show anything recognizable, was not alien but more "real" of ordinary vision. In fact, getting rid of every iconographic descriptiveness, it could witness the mystery of the soul harmonies. Until then, the painting was an engineer to represent objects, but Kandinsky, in that moment of pure intuition, he understood that the object is damaging to his paintings. In the eyes of a painter, opened an art world that was made of wood esoterically, expressed by shapes and colors, redeeming the obvious description of a painting of figural objects.

was starting to Kandinsky and for every human perception of art and adventure of immense scope. No longer bound to the description of the existing paint is made the creator of devout spiritual creation, so deep that culminate in the 'abstract . But it also became clear that if the artist is free to follow the new, yet has become intensely responsible for himself how much of his own creation. In fact, to create something valuable and authentic, the artist must enter meditative in itself, until convibrare with the original creative impulse, which is not arbitrary but universal individualistically. This recognition of "the Spiritual in Art" is the great contribution of Kandinsky, and the corollary of his valuable insight (still not really understood) that the work is legitimized only by its "internal resonance", otherwise it remains dull decor. He went in with all this research, targeted by all the means that were viable philosophical and reconnaissance in his time, along with its intrinsic religiosity. The work first abstract works (such as "First Abstract Watercolor) are bold and ungovernability fluctuating, but then, to proceed as a pioneer into the unknown, Kandinsky had taken more than complied languages, geometric and tracers. With the commitment of the detached scientist, he praised the grammar of the narrative within. unfathomable magic source, has deeply observed, took notes, tried to decode the inexpressible, drawing maps of the arcane animated landscape that is abstract, but always consistent.

Certainly it was not art magician or shaman, a priest rather than inspired. It has not thrown headlong into the abyss, trusting in a renaissance beyond the ego, however, there came down boldly proceeding step by step, making sure the rope of Reason. Art did not drink the cup until the dregs, but has remained sober for preserving the meaning and extent of travel. At that time, laboriously opened completely new paths, trying to orient the compass Spiritual esoteric you could not afford to get lost in abstruse wanderings. It was not the cathartic moment of vertigo, the creative chaos of wild gestures. All this would come after a few years, messing what the "Spiritual in Art" Kandinsky, and others had built. Evolution will proceed in stages, creating, destroying, and recreating a new level.

However, it is visible that something has gone wrong in the human being and art: on the road has succumbed to the lure of materialistic cynicism. Without maintaining the reference to the inner resonance (only constant really necessary) and suppressed by a negative hedonism, Art has been lost on the surface. Similarly, rejecting the spiritual dimension, the man was orphaned Existence. Thus, contemplating the bleak landscape of contemporary art, we are inspired to regret the aristocracy of the soul that has made clean, Kandinsky and his work.

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my friend Daphne

I write this article about Daphne today because I just got confirmation from his sister Amanda. On September 30, already received a visit from my friend Daphne. He communicated his decision. "I decided to return to the Father's House." What I said was clear, he wanted to continue its development elsewhere. A tiny part of me wanted to ask you to remain a voice in me wanted to get out of the throat to make her change her intent. That voice from my throat has been unable to get out. Rather, the voice in me spoke, "Just as you decided in your freedom my friend, bless you." There were no words that could fill that time, there was quite a silence, a communion of souls. I was here, on the other side of her veil, and we had fun as hell to note to what Daphne was not an absence, in fact, the presence of an unimaginable wrapped in Light. Smashing because the two of us could testify that the Father is all life. I know that few will believe my dear friend, but who cares? I had the privilege and honor by Life to follow your development and accelerate your awakening, and as if the surprises were not enough, she appeared one day, remember? Your sister Mary, who want a good crazy, now I know that you are together and send you a big hug. You know, I am laughing as I write, I still remember this day. I was wondering if you were crazy, if what you had before was your sister who adored him for dead. No, you were mad you were not just wake up my friend, now you know that death does not exist, is just a game invented by us, a strange game but suitable for a humanity that otherwise would not be able to drop your attachments. And I laugh because I remember when you told me you could not tell it to your older sister, or I would led by the shrink (psychologist). That day we decided that that would remain secret between you and Mary. Now that I look at you I see you with the same radiance, you have a wonderful quality of light and I understand why you miss them both. I understand why in this life were born as twins, you are indeed and soul. These will bring your choice a lot of suffering in your family, but also strong growth and in the end but the suffering goes growth, that is, it remains forever in what we are, a pure gem. I know that your family these words appears to lack a sense, I am aware and understand them, love them as my family and am close to, and dear friend if you want to suggest this to their ears while they indulge in sleep: "The light for us to evolve often disguises himself as a shadow ... but it is always light. " Of course, Daphne, and maybe do not need to be clarified, our friendship is not over, just keep on getting, I, you and Mary, and every time you want to know how to find me, not mica friendship aside for a fleeting thing like death, is not a true friendship that held firm only in space-time, and in this great and eternal Here and Now that combines past, present and future that we do not want to review from time to time? The people we love never go away, neither side really pretty in this game Mirrors the changing life and death masks, but behind them there is life flowing perennial and inexhaustible. I love you my friend, and here, along with all the readers of this blog I want to do one last thing in my small for your family that is now mine, I ask all readers to pray to the Father of bring confidence and hope in their hearts, especially to your mother. Thanks to all of you who supported us, Daphne thanked all those that were close to her heart and thanking you for my part, dear Daphne, that your life have you been a witness of life. With brotherly love, Riccardo.

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message a friend from Venus

not asking you to be great men and great women but Humans authentic. The greatest achievement of the next centuries by human brothers will be to discover to be part of a larger family. It 's the time when we discover that the only geographical boundaries are those created by the mind of man asleep inhabit this immense stellar floor, we are citizens of the cosmos, the inhabitants of one house. The brothers expect human immense technological achievements, but remains the largest the conquest of self. From Brotherhood of Venus, and the entire Galactic Federation aid arriving on Earth, but the help will arrive only by your decision to mass. There is asked to decide the fate of your humanity, but of the entire solar system. All eyes are on Earth, everything that happens will change the order of the solar system and nearby galaxies. We are with you, have you in our youth when we will pass and you are a teenager, we are one since the dawn of time. look and drive your evolutionary leap without interfering , your growth is our growth. Bring light to shadow and light, but dare not admit the shadow is that which has more hungry and need light, not neghiamogliela transmutation into light. But woe to the light that is proud to be the light, forgetting that as the shadow, is also in need of Great light radiation, eventually stagnate and lose brightness becomes shadow.
Be the Light that you and devour the shadow, if you need to nurture it and it will disappear. Peace be with you a friend from Venus.