58 . Could time be patient?

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Let us not remain anchored in the quicksand of a waning past, and lose the war on obliviousness, but let us listen to the bracing sounds of new horizons, grasp the enchantment of the fleeting instants and seize the cleverness of the moment.

A door, a closed doorway must not intimidate us or frighten us from walking our life.

A doorway is an ambiguous phenomenon, a liminal spot in a person's life. A door can be a choice, a possibility, protection or an aperture to new-fangled values. It can mean a barrier, a prison or a gate to freedom. It can, however, vanish in the mist of unawareness by lack of social concern. At that moment, our freedom has become our jail, and we feel locked up in our liberty. Any exit has waned: the doorway has been absorbed in the stupor of our infatuation.

As our life is our main provisional value, taking the time to interpret our experiences is a momentous choice. Time, life and choice outline a trilogy that can solve and unite to vanquish the powerlessness which we might have to face on our path.

Ludmila Krasnova : "We see a door, a figure with a small bag, the crossing stripes, and lines. We read the title, and the visual content of the painting is transposed onto a philosophical scale. The rough and schematic manner of the painter deprives the represented figure of any particular and personal feature, thus making it easier for the beholder to imagine himself at the place of the figure.

The small bag might suggest the idea of leaving, and the door becomes a symbol with many facets. It can open into another room, into a corridor, into a public space. Maybe this door is the last door in life. You only need to step across the threshold, and you reach a place of "nothingness." Unless you meet some signs of existence human beings, have been dreaming of since the beginning of the world.

The transverse lines bar the space where the figure appears, or perhaps it is the beholder who is expelled from the scene representing the very last moments. Those lines distort in some way the picture and prevent the spectator from seeing the perspective distinctly. Are not they a graphic metaphor suggested by the painter for the time introducing the fourth dimension?"

 Are not they a graphic metaphor suggested by the painter for the time introducing the fourth dimension?"

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