How can I use a verbal language to talk about a visual language?

I ask myself: What is important?

The content?

The object?

The theme?

What does it mean?

Is the meaning important?

Is it good?

The begining is the light. The begining is the wonder, the dazzle. My language is colour. I expect nothing more than to work and celebrate. The discovery.

What road lies ahead?

What am I going to see next?

What will happen? What will it be?

The experience lives here and it inhabits colour. And it lives from me. If I start with a notion, I bring it here. To the atelier. But, what happens if it is something else? I may find out I don't like it, during the process. I may be in the position, or, in the mood, to know what will happen if do this or not. Will it happen? what will happen? It is then I have to confront myself and decide if I want it or not.

Many times a experiment with something and I anticipate the result. But, in reality, I will never know for sure what will happen. The chaos makes it dependent on the process. Above all I have to do my, absolute, best to throe down the barriers, the weights, the chains. My work almost manifests itself if I let it. And, it is it, now, that asks the questions, that has it's quests and demands. And they have to be answered. Everything just happens. When I step back and look, I surprise myself. I shouldn't calculate. But, I should be alert to what is happening.  What evolves when I'm working, when I paint. My informed intuition and my growing experience dictates what I am doing. Instead of being controled by an idea about what I'm doing, I base myself in the process as opposed to the concept. The concept. Conceptual Art. Sol Lewitt and his paragraphs shatter on the belief that I should know what I do before I do it. My common denominator is my reflexive attitude, the profound questioning of the mediums.

I have no idea of what is this or that piece about until I paint it. I, vigorously, refuse to express a theme that isn'te fascination for colour. Everything that is strange to the image per si. I think there is no intentional relation between something we can see and what, in fact, comes to be seen. There will always be different associations for every person, that, obviously, will be born of ones experience. They don't interrest me because I will paint. I risk making the worse work that may end up being the best work. My process is always of discovery. I make something and see what happens. It is a process of frantic decision making. Above all, I want to surprise myself.

It is like playing, but, it is also serious and focused. The more I commit to it, in a way, the less I am in my way, the less I become my own barrier.

I injured myself, and now, I heal.

I think, how can I play so that my work lives, speaks, breathes, exists, come to being. I breath into it. I can make it live ou die.

I injured myself, and now, I heal.

It is something of life or death. But, as long as I put something on that white surface, give it shape, blend it, I have that dicotomy at my mercy. I have that power. I have that life force in my hands. It is inspirations that makes it strong. It is from intuition that inspiration is born, and from immagination.

Decision making happens very fast. Everything moves, lives, breathes, changes very fast. Only the experience gives me the capacity to answer.

I injured myself, and now, I heal.

I want to challenge myself. I should consider everything and all. I have to breathe life into what I do, that didn't exist. That has a Life of it's own. And that neither I or anybody has seen it. And now, it stands by itself, it has a life of it's own. It's like facing an equal. It isn't filling a space between life and art. It is there, in front of me. And I am here, and, we are both important. My work makes me feel important as a person because it speaks to me, and, i connect with it.

I have to surpress myself. I have to be naked before it to communicate through it and with it.

I injured myself, and now, I heal. And I mov on smilling. It is all about colour. It is all about light. It is completely disembodied. It's for the eye and to see. G.K: Chesterton stated: "There is at the back of every artist’s mind something like a pattern and a type of architecture. The original quality in any man of imagination is imagery. It is a thing like the landscape of his dreams; the sort of world he would like to make or in which he would like to wander, the strange flora and fauna, his own secret planet, the sort of thing he likes to think about. This general atmosphere, and pattern or a structure of growth, governs all his creations, however varied.”

I injured myself, and now, I healed, and now, I move forward smilling like a child that as just said his first word. My word is colour. I am happy.