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2011! An exercise in art therapy

Satvat - Celebration! - Acrylic on canvas, finished yesterday

My wish for the new year is a year that is for all art, that is full of soul.
What is precious and beautiful as a work of art, like this full of inspiration and food for thought, and of intimate affinities, and poetry.
What a work of art know to attract and unknown shores of the "feel" to bless the perception of the subtle breath of the Elsewhere: close to us so far as to appear with the ineffable ethereal elusiveness of the rainbow. Who knows
surprise, giving opportunities to wonder where the soul can taste suspended its natural heritage and essential mystique. What gifts
many colors, all ranges to enrich the emotions.
Che prenda forme che siano scrigni di saggezza, in cui sperimentare creativamente nuove dimensioni del vivere. 

UN ARTISTICO 2011 A TUTTI NOI

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meditative

IL CONCERTO DELLE EMOZIONI

Per fare questo esercizio di arteterapia meditativa bisogna disporre una tela, un pannello da pittura, oppure un foglio di carta da acquerelli; in ogni caso la superficie da dipingere dev'essere sufficientemente grande, almeno di cm. 40 X 50. Il supporto della pittura dev'essere posizionato verticalmente, in modo da poter rispecchiare le attività energetiche che promanano dai chakra del pittore; nel caso di una tela o di un pannello basta the stand, but if you choose the card that is also mounted on a plywood board. I believe that the most suitable colors for the financial year is the time, but you can also use watercolors or acrylics. In summary, you need: a support on which to paint large enough, to be placed in vertical orientation; a tripod (alternatively it's OK to hang on to the wall) if you use the card, a support on which to secure the plywood sheet; colors, brushes, a container with water and containers to dilute the colors.

Before starting to paint, you have to write in a notebook a series of at least 12 emotions such as love, anger , shame, compassion, joy, peace, sadness, jealousy, pleasure, satisfaction, sorrow, sadness. Having prepared the work station, take the first word entered and, looking at the white section of the paper, it establishes the point that he feels most appropriate to represent it with colors and brushes. The representation of emotion can be a simple game of strokes, running intuitively colors and strokes, or it may take a more precise characterization (a geometric shape, a symbol, a figure), but in any case, the act of painting must be internally motivated, and empathy with totals. We work with intensity and playfulness, without any anxiety about the result. Then you shall do the same with the emotion the following: you decide where to place it and you go to develop it with painting. And so on for all the emotions that have been written. During the work, the game can get to lick the brush a painting already done, but no smear or cover it only partially.

the end, the artist has painted a geography soul which reflects the flow and reflections of different emotions. Contemplating the panorama, he will examine the different focal points and the way they are next to each other, hence can draw many insights. With detached contemplation, osmotically absorb content animici espressi istintivamente con il pennello e i colori. 

Una fase ulteriore del lavoro consisterà nell'armonizzazione complessiva dell'opera, che apparirà slegata in episodi distinti; nel far questo, egli dovrà trascurare le parzialità delle diverse emozioni ed elaborare un quadro unitario, apportando in modo significativo le necessarie modifiche. In tal modo reintegrerà e svilupperà alchemicamente il tessuto animico già formato, tanto nella pittura che nella dimensione interiore.

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Su satvat-pensierocreativo il mio nuovo post su Odilon Redon.

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Love and do what you want

Satvat - Noi siamo il mondo - acrilico su tela, 2010

Da un paio di giorni mi ronza in testa una frase di S. Agostino: Ama e fai ciò che vuoi. Bellissimo! E liberatorio; se lo si comprende a fondo non c'è bisogno di nient'altro. Quando ci si arrovella tra il giusto e lo sbagliato, soffrendo dannosi sensi di colpa, è questo che va ricordato; il problema si crea perché ci si pone ad agire in modo personalistico, scegliendo, e la scelta non solo è illusoria ma è la madre del conflitto. Se si sceglie non si potrà essere totali, resterà un doubt, an inner contradiction thorny. Instead he loves, and loving what you desire will flow as it will not be egotism, but a fragrant fruit of love.

love becomes the source of action, and compared to that free flow the result is important not to get in the middle, trying to control it in some way: it is overwhelmed, I wiped the energy alive, and only in this way is truly total. This should always be remembered, both in life and in the practice of, if we look at our feet are motivated by love, this is the only discriminator. But it must be understood well, because they are committed in the name of love crimini orrendi. Innanzitutto non si può prescindere dall'amore per se stessi, come purtroppo ci insegnano le Religioni della contrizione, poiché, se non ci amiamo, come potremmo muoverci nell'amore? L'amore è una celebrazione dell'Unità che non si può fare a capo chino, è un'enfasi vitale che aggiunge espansione all'espansione; un essere contratto non può muoversi autenticamente nell'amore, può solo ingannarsi e ingannare. 

Per essere nell'amore si deve essere come dei danzatori che gioiscono nel seguire la musica: è spontaneo, senza pensamenti, e sarebbe la cosa più facile del mondo se non avessimo le nostre idee su come dovrebbe essere e se non we continue to pose limits. Sometimes we try to dance with love, but the judge in our minds can not appreciate the music and moves us in directions not synchronic, making us fall. It must become musicians capable of vibrating with the transport harmonious existence, and so it is necessary to train the inner ear. You must learn to listen to ourselves with our surroundings, capturing the rhythm secret assonance, finding an echo that amplifies the essential part of the Whole.

This is also what he should do 's artist, with works in mysterious resonance of love and wisdom through it. But our art is still too influenced from "do against" theorized, for example, Picasso is not based on a kidnapping in love, but by a desire often angry. The desire for self-determination that began the modern art is necessarily passed through the narrow passage of the self, as happens in adolescence, to escape the artificial world of tradition, but, in my opinion, intended to culminate in the large contemplation of the valley, where it would expand enormously found love. However a large extent is it that we are mired arbitrariness of volition, and there is love, and turned into surrender. This is the key challenge facing the artist today, like every human being faces: AMA E FAI CIO' CHE VUOI.

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Su satvat-pensierocreativo il mio scritto su Tarshito

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Ten Thousand Buddhas

Satvat - Spirito/imperturbabilità - 2009

Sto seguendo l'ispirazione a lavorare ad un nuovo filone pittorico, che riguarda la figura del Buddha. In senso affatto religioso o canonico, ma con quella religiosità intuitiva che è connaturata all'Arte. Perché proprio il Buddha? Non sono buddhista, solo a free soul.

First we must consider that the Buddha is not a god, seated in a high sky and far from being human, the Buddha-nature is essentially what we are, our birthright. We have forgotten, but in us there is that same awareness, that ineffable and unabashed freedom, is in us, always present, even if the coat it with a myriad of thoughts, identification and projection, so as not to see it. It is like the vastness of the sky that is obscured by clouds, often stormy, produced by the mind, the sky, while not visible, it is always there, and remember it helps us to relativize the dramas full of thunder and lightning, which sometimes shake our lives, understanding that are transient. Here, I intend to paint the figure of the Buddha to remember, and to help to do so.

In the East of sacred images of the Buddha has been for millennia esoteric art, with different understandings of the sacred images of other religions: it tends to lead man to a religious model, to be placed outside a holiness which is prayed to intercede on human destiny. The statues and paintings of Buddha are meant to be the yantra, the tools to awaken in the individual the feeling of peace and truth that essentially belong, in this sense, the canonical approach was always secondary, and the aim was rather to provide an opportunity for an assonance deeply artistic and spiritual. To clarify this, my Buddha paintings will be even less canonical anarchist rather transformed by the force of intuition and wisdom, using the language of contemporary art, I have always hated the holy.

will

Buddha images for inspirations which express emotionally, not for drawing illustrations. I see the picture above, with the classic Buddha against a background of stormy Depero style, just a starting point for adventures drugs. Since 2000, I abandoned the representation, except for a few figurative incursion for special exhibitions, and the abstraction of the Mu-painting remains a permanent floating port of my artistic feeling, but in some ways the design of these pictures is my intention beyond the dichotomy between figurative and abstract, as well as Buddha is beyond all dualistic logic. Zen says that at the beginning of the trail in the mountains are mountains and the river is a river in the middle of the road around it is indefinable, somewhat abstract, and finally back to the mountains be mountains, the river and a river. But I think the vision, then, is full of a totality that transcends the usual possibility of definition.

This is what motivates me to create paintings that will inspire, in a difficult time, a shiver of nourishing compassion and spiritual celebration.

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Satvat-pensierocreativo on my paper on Henri Michaux

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The watercolor

The watercolor painting technique is wrongly regarded as the simplest, but rather, is one of the most difficult, because the errors are easily correctable.
In fact, in this technique, obtained by overlapping several washes, the color remains clear, then the error bound remains visible.
The colors are obtained with the pigments together with a binder, usually gum arabic, and diluted in water. They are available in different sizes, the cheapest and the pads are used to color dry naturally diluted in water.

The paper is important because if you use the regular drawing paper, because of water use, it tends to crumble and fold the edges, you should use paper with a high concentration of cotton, and you can also add additional support, or a wooden table, on which the sheet is fastened to the edges (especially if you use the method the wet sheet).

brushes are used more than sable, but you can also use the synthetic ones, it is preferable to use those rounded tip, as they absorb water better and with the tip you can refine the details. They can also be used flat brushes for larger drafts. E 'need to clean the brush each time you switch to using the next color, otherwise you might start to mix the colors in the palette.

E ', finally, important to use two containers for water, even simple glasses, serving, one to clean the brush, and the other to fetch water for the next color.
order to implement the technique, you can use several methods, such as the preparation of the design in pencil first, and then drawing up the colors, the design will always be visible, as the watercolor as we have said, it remains transparent.
Another method is to wet the paper, where the sheet is just wet, and the color is laid directly on it, expanding the most. According to the effect that you want to give to the drawing, it changes the way where you stand: If you are based on a plan, the color will be better managed by those who made the drawing, but if you put up, and the sheet is placed on a tripod, the color will tend to leak, which is more difficult to manage, as it must be quick in drawing.

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