Creator´s creed
Art does not reproduce the visible; rather it makes visible. And graphic control by its
very nature, pushes, easily and with reason towards abstraction. Beauty and the schematic, themselves of the Imaginary, are there first, but at the same time are expressed with great accuracy. The purer the graphic work, that is, the more importance is given to the formal foundation of a piece, the less the piece appears to be a realistic representation.

Pure art involves the visible matching of the spirit of the content to the expression of the elements of body form and shape. As in an organism, the articulation of the parts which contribute to whole lies in the relationship, based on simple numbers ...
The specific elements of graphic art are points, linear energies, flat and spatial ..
Elements must produce Forms, without sacrificing their integrity. Preserving their integrity. Preserving their identity.

Such an enriched orchestra of the forms multiplies the unlimited possibilities of variation and, together, the ideal possibilities of expression ...
In the beginning is the Act, but above all the Idea. And as the infinite has no clear beginning, like the circle is without beginning or end, it must accept the superiority of Idea ...

All progression rests on movement. In the "Lacoonte" Lessing gives great importance to the difference between the art of time and the art of space. But, on balance, this is nothing more than wise hope. Well, space is also a temporary notion ...
The time factor is involved from when a point starts moving and comes into view. As a line generates a surface to move. In the same way the movement of the surfaces leads to spaces ...
Only deadlock is timeless ...
The biblical account of Genesis offers a good parable of movement, thereby Creation gets a historical dimension. Equally a work of art is firstly a genesis, never capturing it , merely a product.
Similarly, for the viewer the main activity is temporary. The eye is constructed so that successive fragments are supplied to the ocular cavity. To fit in a new piece, and old one must be abandoned. Eventually this stops and then continues on its way, like the artist. If it looks good the eye returns, just like the artist.
In a work of art routes are laid out for the viewer to explore, such as an animal grazing the prairie ... The work of art comes from movement, itself fixed movement, but perceived as moving ...
(The main disadvantage for the viewer is suddenly being put in front of the result without knowing the genesis and so thus going against the grain of the piece. It seems absurd to make difficulties , instead of the enjoy it ... A musical piece has the advantage of being perceived exactly in the sequence in which it was conceived, but during repeated hearings, the downside is that you can tire of the repeated return of the same refrains. Works of art for the layman have the disadvantage of not knowing where to start, but for the knowledgeable, the advantage of being able to vary the reading order at will and be aware of the multiplicity of its meanings.) ...
In the `past, one represented the things you could see on earth, that one liked or would have liked to see. Today, the relativity of visible has become evidence, and one agrees that what they see there is no more than just a particular example of countless living truths lying dormant in the whole universe. Things are revealed to be broader more complex often appearing to invalidate the old rationalism. The accidental tends to move to the rank of essence.
The integration of the concepts of good and evil do give rise to the ethical sphere. Evil is not the enemy that oppresses us or humiliates us, but a force that contributes to the whole. A partner in the procreation and evolution of things. The state of ethical equilibrium defined as the simultaneous complement of the original principles of male and female. This answers the simultaneous combination of form, movement and counter-movement or, more candidly, simultaneous oppositions of objects .... All energy raises its complement to reach a state of motionless above power games.
Starting from the abstraction of artwork elements, through combinations that make them concrete beings or abstract things like numbers or letters, we enter into a artistic cosmos which offers such similarities to the Great Creation that it takes nothing more than a puff of air to bring the essence of religion up to date...
Art is the image of creation. It is a symbol, just as the terrestrial world is a symbol of the cosmos.
Release the elements from form, organize them into subdivisions; the displacement of this order and the reconstruction of a whole simultaneously on all sides, polyphony plastic, reaching a state of repose to balance the movement: so many important issues, critical to science forms, but still not art in the highest sense. In its highest sense, the ultimate mystery of art exists beyond our more detailed knowledge, and at this level the lights of intellect lights gradually fade .
It´s true, you can still talk rationally about the effects and benefits of art, and say that the imagination, at the request of the instincts, represents to us fictitious states that support and galvanize more than the usual terrestrial or notoriously supernatural places ; symbols that comfort the spirit by showing that there are no more than the usual earthly possibilities with their eventual intensification, to say at last that ethical seriousness is on a par with angels laughing about scholars and pontiffs.
Eventually established reality, even intensified, doesn´t matter. No given reality, even superior, can satisfy. Let´s leave the everyday world and the occult, they have no place here. Art traverses things, takes you beyond reality as much as the imaginary.
Art plays without suspecting ultimate realities and yet effectively reaches them. Just as a child imitates us with their play, we imitate art in the powergames that have created and create the world.
Stand up!. Enjoy this summer: a change of air and horizon, divert the attention in a world that disperses power for the inevitable return to the monotony of everyday life, much better: leave your mourning veil and, for a moment, believe in God, rejoice non- stop with the thought of the upcoming holidays in which the soul can sit at the table, his nourish his hungry nerves and fill their cups with fresh knowledge.
Let yourself go into this ocean, through vast rivers, or streams full of charms like the expressions of graphic control with their multiple ramifications.

Diverse routes in the study of nature
For the artist, dialogue with nature remains a sine qua non. The artist is man, is himself nature, part of nature in the field of nature.
The variety of number and gender of paths taken by men in artistic creation as in the joint study of nature depends solely on their attitude to the space which they enjoy inside the sphere.
These roads often appear completely new, perhaps without fundamentally being so. Only their combination is new. Or the real novelty lies in the number and gender of the roads compared to yesterday.
This does not take away from the fact that the novelty in relation to yesterday is a revolutionary sign, even if that is not enough to stagger the great ancient world. Or should we reduce the joy that is inspired by new routes, but the wide area of historical memory should warn us of the compulsive search for the new at the expense of nature.
The artistic creed of yesterday and the study of nature tied up with it consists of, what could be called, hard and detailed study of appearances. The I and You, the artist and the object looking to communicate by optical physics through the layer of air that separates the I from You. Thus an excellent view of the surface of the object was obtained, filtered by the air. Purely optical art is made in this way until it reaches perfection, while the art of contemplation and returning to visible non-physical impressions remains shelved.
However it is not appropriate to dismiss the achievements of the science of the visible, they must simply be broadened.
The one-way optic no longer responds to the needs of today, in the same way that it didn´t meet those of yesterday. Day after day the artist has more finesse than a camera , has more complexity, is richer, and has more freedom. He has been created by the earth, is a child of the universe: a child on a star among stars ...
Through our knowledge of its inner reality, the object becomes much more than its mere appearance. Through our knowledge of the thing it is more than its exterior would have us believe..
The sum of experiences leads one to conclude what is on the inside from what we see on the outside. This is intuitive, since the perception and the surface of things brings us to emotional conclusions capable of going deeper in differentiated ways . Following their direction the impression received of the appearance changes on penetrating the function. Beyond these ways of looking at the object in depth other roads lead to humanizing the set up between the You and the I , a relationship I that transcends all optical relationships. First, the path of a common earthly root catches the eye from below. Second, a common pathway of cosmic participation that comes from above. Metaphysical pathways in conjunction ...
An additional observation could nevertheless clarify our purpose The lower path goes past static order producing static shapes while the upper path passes by dynamic order. On the low road, under gravitational force, lie static equilibrium problems, whose motto could be "stand up against the possibility of falling" The upper parts drive the aspiration to negotiate the bonds with the earth to reach beyond swimming and flying, and free movement
All roads meet in the eye at a junction from where they turn where you turn in Form to lead to the synthesis of vision, external and internal. Rooted at these junctions are handmade shapes that deviate entirely from the physical aspect of the subject and yet, from the point of view of the Whole- do not contradict it

The impressions gained along the different routes and converted into work inform those that study nature of the level reached in their dialogue with the object.
This progress in the observation and the view of nature gives gradual access to a philosophical view of the universe that allows you to freely create abstract forms. Overcoming the schematic that some want too much, these forms reach a new level of naturalness, the naturalness of the work. So the artist creates works, or participates in the creation of works that are in the image of the prayers of God

Notes Diverse routes in the study of nature:
The nature of the cosmic Whole is a dynamic without beginning or end. Static problems appear only in certain parts of the whole, "buildings", on the surface of celestial bodies, when taken separately. Our adherence to the earth´s crust does not stop us being aware of it. For we know that all things are normally attracted to the centre of the earth ...
We can thus account for "us" as episodes within the whole, an episode under the relentless leaden law which when coerced relaxes in the sense of life or death. The static imperative of our earthly condition ... in which gravity imposes a finite motion, driving the movement towards an end by placing it under the hegemony of another. The strongest draws people to him. He is excited by the movement and drags his victim behind him. . But the oppressed don´t realize it directly, they need to find how to position their yoke, gradually creating an area susceptible movement, giving themselves a kind of autonomy if they are consciously organized. So in this way plants grow and animals and humans leave or fly away. .

Internal examination of the nature of things: reality and appearance
We want to be accurate, without being unilateral. This is a feat, but it should not stop us. Knowledge, as far as possible, is accuracy. But meanwhile, the imaginary remains indispensable.
We seek not the form but the function. Even there, we want to observe the highest possible accuracy. The operation of a machine is one thing, the functioning of life is another, and better- Life creates and reproduces. When has a machine ever had children?. The fundamental things of life have their principle within them, their being lies in the precise role that they play in what can still be called "God." Human assessments approach this, more or less, according to the criteria used. However, they soon set limits.
The formula for the function is a long way off but like the original point of emergence, must be found somewhere.
According to the principle that "the work is relates to its inherent law like the Creation to the Creator", the work grows in its own way, away from universal general laws. For it is not the rule itself, but the universal ahead. The work is not the law, it is above the law. As a projection, as a phenomenon, it is a finite thing with a beginning and limits. But it resembles the law of infinity, in which, even at its end, retains something imponderable. Art as the issuer of phenomena, projection of the original supra-dimensional background, symbol of creation. Clairvoyance. Mystery. Which further prevents accurate research.
The actual deserves benevolence; the present fact should not be deprived of its rights. But it needs to be adjusted to the eternal Principle underlying the passage of time, to the principle that periodically puts forward the motion from the manifesto to return to the original breast where, still dormant, an immense fertility is preserved: it is necessary to regulate all the processes of nature and its laws. This defends against ageing.

Everything happens and, nowadays, happens quickly. We do not define the present as such, we define the future in the past, what we broadly need, in a multilateral perspective. To define the present in isolation is to kill it.
Formalism is form without function. These days, all around us we see all kinds of exact forms. Whether you like it or not, the eye swallows squares, triangles, circles ... The formalists invite the admiration of the masses and uninitiated. In complete opposition to the living form ...
The initiated senses the original point of life. It has some living atoms, has five living pigments: the elements of form, and knows a little grey area from where you can make the leap from chaos to order.
It senses what is creation. Has some ideas on the original act. It is skilled at putting things into motion of existence, mobilizing itself, making them visible. They trace his movement, and it is the magic of life. And for others, the magic of reliving this.
The metalogic concerns the smile, the look, the smell, the whole range of the temptations between good and evil. The search for the functional bases must not stop, must never be interrupted, however, it still collides with many limits. Praise be to God!!. Faced with mystery, the analysis breaks down. But the mystery is the access to the part in the creation of the forms.

Paul Klee. Teoría del arte Moderno Ed. Cactus. Serie Perenne. Buenos Aires. 2008

PAUL KLEE 1879-1940
83*67. Oil on canvas