Instead of continuing to do, do, do, it might be appropriate to reduce a little what you do every day and take the time to be.
Have you ever thought about how difficult it is to give yourself time to stay, reflect, meditate, look at life in a sunset, observe a cat, a flight of birds.
Can you answer the question "who are you?" without limiting yourself to the name, and to the work you do?
The "doing" often coincides with the "doing by force" which at the body level can be translated with a state of tension or with a general feeling of frustration.
This feeling, in words, is often defined with phrases like
"I have little space" or "it's all too full" "I miss the air" or "I feel back against the wall".
In all these cases one must return to one's own time, to pauses, to one's internal spaces, to those areas made up of borders, areas of contact and withdrawal from the environment and on the other that mark not only our internal times, but above all our needs.
What do I really need?
There are artists who paint what they see, others who paint what they remember or what they imagine. Our brain changes in the face of reality but, at the same time, it is capable of changing it: a "different" brain must therefore have a different relationship with reality.
In art this "process" can lead to the creation of new realities, which will only partly depend on "sensorial information"; our brain, in fact, does not necessarily need the continuous "information flow" coming from our senses. Dreams, memories that "revive" in mental images and also representations "simply" created by our mind testify to this event.
In this sense, art amplifies reality, creates a new "mental channel" capable of opening up to new experiences. The visual stimuli, real or evoked by memory, which excite the nervous system of the artist at the moment of the creation of the work of art, transformed by his hand into colors and shapes, will stimulate the nervous system of the observer. The work of art must be able to arouse in the observer's brain sensations and emotions that were present in the artist's brain. Approaching a work of art, looking at it, perceiving it, understanding it and appreciating it, implies the involvement of many brain structures and the activation of very specific mechanisms, starting from the functioning at the basis of visual perception, to those involved in the so-called "psychology of see ", in the aesthetic and emotional experience. This refers not only to the emotion felt by those who enjoy a painting but also to the creative moment that involves the artist to create his work.
Some researchers, especially psychologists and neurophysiologists, have been fascinated by the possibility of studying the properties and characteristics of the brain that are part of the evaluation of a work of art and the pleasure it can give; persuaded by the idea that the understanding of these cerebral mechanisms, together with the knowledge of the events of the life of an artist and of the culture of his time, can favor a greater "knowledge" and appreciation of the work and of those who created it.
A work of art is born from the combination of what the artist experiences "visually" and how he interprets what is communicated to him from the outside world. Both the acquisition of visual information and its internal processing can be altered by pathological causes.
The effects of serious mental illnesses, often altering the artist's perceptive and emotional abilities, can affect his pictorial expression and testify how the painter's life story becomes an integral part of his work.
All this emerges in the paintings of some great painters in particular moments of their life.
Unfortunately, from an early age, especially us women, they teach us that happiness is found only by finding another person to love, or who loves us, and this leads to a whole series of deviations from the path of well-being that sometimes become destructive for us or for others. The educational field should be enriched with this component which concerns the construction of self-esteem created by oneself and not by the contribution of others. Perhaps in this way we would avoid making many mistakes and always seeking in the other what we already have in ourselves. A long time ago, I was building inner bridges to reach out to others. To get closer to their world. I wanted at all costs to be part of it, to feel something, to be seen, to be friends with many. I envied those who had so many friends or acquaintances. Then I found out that it’s not a great thing to have friendships. In the end, you always have to reciprocate in some way. You have duties as with relatives. Then if you understand that they exploit you it is even worse. My presence has sometimes been used and that’s not a nice thing. Now I don’t build bridges to anyone anymore. I like it as it is. I believe it is better. They don’t disappoint me. I’m not looking for anything. I don’t have to reciprocate. I don’t have to feel compelled to do anything with anyone.
THE PRODIGY OF IDEAS 