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The myth gets in Apophatic Evidence a connotation, a meaning of life already embodied in himself, the human existence living the myth in the stages of predetermined transcendental. The simultaneous appearance of universality and personality coincides with a transfer of ontology that passes from the myths’ exteriority to the consciousness in itself understood as a transcendental reference, as an expression of a profound anthropological structure. The supreme example of sacrfice, Christic example, was the crucifixion of Jesus that watches us in eternity, whispering in His hyper-humbleness that He stretched His arms in crucifixion in order to embrace us always, in eternity, in each moment. “ Man belongs to the skies as well as he belongs to earth; he is the son of both. Man has detached himself long ago from the skies … We leave a solar frame of time to enter a tenebrous frame – The Sun has darkened its light “– written somewhere in the Apocalypse.
The Sacrifice represents the transformation of the Creation process into a Sacred process. Through the sublimation of the inner feelings, the sacrifice becomes a continuous spiritual growth into the eternal abyss of Light, the very spiritual growth of the nucleus of light we are all born with.
This alchemy found in the creation process, these explorations of an abyssal dialogue between the outer and the inner world of the artist can be more or less painful, when the artist is haunted by contradictory anxieties, by existential anguishes and obsessive dreams. We could say that this alchemy starts with a type of introspection that could also be a meditation made through inner censor. This self-censor is in fast an act of ‘cleansing’ the inner light from shadows and dark. The side of the undertaken sacrifice is equal to a breath, being in fact the cause for why the creator disappears gradually within her/his own masterpiece, being the side of the energetic dimension that transfigures everything. The breath of the creator is the created masterpiece itself, the creation being nothing else than and transcendental exercise of continuous dance of life and death altogether, where a universal symbiosis is created for the creation of the masterpiece in the Infinite.
Concluding, we could affirm about creation that this human basic phenomenon can be identified in an essential dimension of human existence in universe, dimension located at the borders between lucidity and mystery, between science and religion, between death and immortality. The creation is the natural breath of renouncing the earthly limits, the sterile ephemeral, the natural breath of gaining self-consciousness and consciousness of the other in the abyssal profoundness, is the ascendant transfiguring act of cultural value amplification. The creation is the second half of the sacrifice, as the sacrifice is the other half of the creation. The masterpiece is the fruit of this communion emerging when the creator is merged with this antinomic entity.
This subject is permanently opened and inexhaustible of the existence of sacrificial phenomenon in creation, placing us in the ethnic concept universe of creation elaborated as supreme meaning of human existence according to which the historical destiny of people, full of vicissitudes, proposed to us a unique way to keep our ethnic identity, essential value of any civilization – surviving through culture. The destined historical unfulfillment could have been counterbalanced only the amazing vigor of creation, creativity feeling awareness, accomplished with the price of assumed oblation, condition of surviving.
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