The momentum
The act of Drawing stimulates certain forms that should be put in order to create a field of magnetism to the surface and also the media I use. I discovered that in all the masterworks of art there is a sense of predominant illusion through which visual expression of outside subjects might occur, due to restricting the forms. I used my own prudent eye to perceiving these magnetic fields from which emanate the dual energy and the rhythmic perception of drawing.
I had infatuated science with those rhythmic perceptions in my art, as well in the ritual dances of my land. As if each natural existence reflects its own rhythmic internal, that pulses – meaning through its tension created. The dancing figure, in an empty space, which has no boundaries, and which the human form becomes in a moment of the existence a rather hectic circle to a grain of sand. The recalling of the natural forces to act likes drawing.
The tree trunk exposes much tension and sublime internal life, which activates a certain inner experience for the memory. Those activities of the natural sources which consternation thorough every content shows much as the same in the act of drawing that I activate in my drawing to share those forces its impact upon our memories to outer existence. So my drawings are to catch the dynamic aggregate reaction to each solid, passing from sight to vision.
This dynamic activity for both nature and human becomes my raw material for drawing. I don’t want to draw a tree; I want to catch the potentialities of the tree’s dynamic content, which hold the tree as a grammar for nature.
I am not portraying, rather concentrating that state of mind for the portrait or the figure. So many of my drawings as well become those sequences to peculiar states of mind. Simply, I intensify my material to a very transparent movement in the charcoal, which I draw, like the dancer or the tree draws its content to the spirits.
The charcoal transcends these saucy exuberant vibrations that the inside, catches in every instant of conscious, so that many of my drawings create attracting the viewer towards “the internal blare of life.”
Like all other forms of art, my art had its own visual field. That concerned me. I intended to divide the space of a blank white paper to breathe for recalling that natural force to act upon the viewer. That could be much enforcing to do with our memories of the outside experiences. So I’m looking to the unstable and unsatisfied center of the nerve, which give the viewer pulses of uncomfortable senses. My spiritual process to that stream of shapes achieving all the states of mind I begin till the end of drawing pulses. And toward this central perception, I act the momentum.