Of all the professions, the painter is the one who must seek with more clarity the science of being present. Only if endowed with all his energy turned to the present he will be able to see what is in front of him.
The act of seeing colors can only occur in a specific moment of time, not being possible to be realized genuinely neither with memories nor with projections.
The nostalgia of the Past saturates the colors too much, distances them from each other, making become caricatures of a moment and no longer the moment itself. On the other hand the Future maintains the gentle colors but destroys the harmony between them, since it is not possible to project the complexity of nature through imagination.
A picture can only be good if it is sincere, there is no other possible condition for its existence, but don’t be fooled to think that an artwork occurs only in the Present, the understanding of the three times is fundamental for the execution of a harmonious and true painting.
Still talking about the importance of the Times in the painting, it is time to put the Future in the spotlight now, to use it well it will be needed to fight against Anxiety with Coldness.
To guarantee the maintenance of your goals will be necessary a sealed commitment with the coming destiny while your work is in transition.
Remember, we don’t judge the beauty of a house by the color of the clay of its bricks; In art, it has the same logic, each stage has a function, don’t be silly to think they all will be aesthetic.
In direct technique, the purpose of each session is to be the best possible preparation for the next day.
The painter’s obligation to Beauty must come only on the signing day, any prior commitment to the Beautiful will only be vanity, insecurity or flurry.
Here’s the first drawing I made in this Expedition. It took 5 days in it. None of them was spent for the purpose of visual pleasure, I just tried to find the harmony between the spaces and the tension among the elements. The hierarchy of information will come later, through the arrangement of values (light/dark).
The social media have created a commercial alternative for painters, but there’s also a trap: the false impression that all steps should be for the visual delight of the viewer.
This is an error. If so, imagine how Da Vinci would be treated today, after posting his Monalisa for the umpteenth time, in order to continue the refinement he made during the countless years he worked on the piece.