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THE JOY OF CREATION

 

Creation

To me, painting has become a way to discover the path leading to the realm of the inner self. As the creation process is active, time and space seem to shift. Consciousness emerges as a new energy, delivering a precise content that manifests. This process is experienced as a kind of acceleration of thought. Everything becomes much clearer and more pleasant.

 

Detail of "The Jade door" © François SCHLESSER

Detail of "The Jade door" © François SCHLESSER

 

 

What I enjoy the most about this process is the inner peace that arises when I actually get to disconnect from ordinary reality. Something else takes over the continuity of moments in succession, bursting time into new units adapted to creative needs. Time expands, energy manifests, often infused with a sense of joy that seems to bear an extraordinary universal knowledge. Even space seems to be affected by this impossible to control “connection”. This beneficial energy regenerates me - it is my sanctuary, my reference point, my source of well-being, my guiding light. From this sense of eternity, time stretches and fits into space, just as described in the famous theory of relativity. And so creative power manifests, seemingly emerging out of the blue, like a wild horse galloping into the vastness of infinity, as if contained in the fundamental vibration of the universe.

Well-being and joy are signs. To me, they indicate that everything I do in the present moment is consistent with the Plan of Creation. They are manifestations of the future stemming form present sensations, anticipating the consequences of present attitudes – a direct communication with the eternal present stating that the undivided being, in a branch of space-time, is generating a positive trend in the collective construction of the universe.

 

Detail of "The Jade door" © François SCHLESSER

Detail of "The Jade door" © François SCHLESSER

 

Impulse

Years ago, my mind was repeatedly confronted to intense psychological shock, causing breaks in the continuity of my rational train of thought. I could thus experience peculiar situations in which inner silence would occur after a momentary collapse of the mind. One can achieve inner silence by integrating techniques linked to spiritual initiation, but the momentary loss of reason caused by unexpected events can also bring the mind to stop for a while. A gap opens into other dimensions in which a kind of universal consciousness can be clearly perceived. In this state, which becomes even deeper when the mind is almost fully disconnected, I could clearly perceive the emergence of intuitions that strongly encouraged me to live my truth. I knew with absolute certainty that I could now paint. This certainty allowed me to take action after I realized, without the shadow of a doubt, at the mere sight of a masterpiece in a museum, that I could express myself through art. I started working on my first painting right away, without any previous knowledge of oil painting colors and techniques. I trusted the fact that all would be well, as everything seemed so surprisingly real and certain. My first painting thrilled me and confirmed the factuality of this peculiar feeling.

 

 

Visions

In time, inner visions became clearer. I could already handle many subjects on a single canvas. The inflexible certainty that I had about my ability to paint was reinforced by the quality of the visions that came to manifest - I would simply copy them onto the canvas, my imagination and my memory helping me to capture them and turn them into paintings.

 

I believe that it is only possible to paint when a model for reproduction is available. This model can exist as part of spatiotemporal reality, manifest as an inner vision,  as a mind construction or result from a mixture of such possibilities. But in all cases, the artist must have a model to perform his work. Without a model, the brush does not move  and the canvas remains blank.

So I began by painting the outer space, feeling attracted by this immeasurable vastness where life abounds, where hundreds of billions of worlds, all unique, navigate to the rhythms of gravitational tides, lulled by the music of infinite light.

 My art was first influenced by symbolic Surrealism. Later, realizing that symbols were intrinsic to all art, I quickly gave up all intellectual representations to dive into what I most eagerly wanted to produce. And so I started to paint distant, unusual worlds, sometimes similar to those we see in space but from different points of view, as they could be perceived by creatures with additional senses. I would copy my nightdreams and the fleeting visions I had during my waking hours, or at least I would get inspiration from them, as some of the visions were moving and very difficult to grasp.

 

 

Causality

Sometimes I feel that my paintings are the product of cross-dimensional travels, revealing energy fragments that turn into concrete images on the canvas. In order for vision to occur, sensory information must be assembled on an internal “screen”,  in a consistent way. This information could very well be transmitted via moving energy, through a kind of resurgent universal memory, filtered and conveyed by the creative activity of the mind and translated into the scale of the individual. The idea of a universal memory contained in the substrate of the universe seems increasingly likely to me - a memory of the infinite so prodigious that it would have the natural ability to be conscious of itself. This is certainly what the processes around my work as an artist seem to suggest from the beginning. Quantum physics has already focused on the subject of memory as related to knowledge, it seems to me. It would be logical that the universe need to record continuously the total flow of its own multi-spatio-temporal dynamics. This recording would serve as the foundation enabling the perpetual construction of a multifaceted universal expression. This memory would somehow be the universe's Spirit/DNA, and each of us would have the possibility to connect to it and extract information relevant to our ideal personal development, bringing us closer to a universal law of harmony. In synch with universal dynamics, our attitudes and individual behavior might tend toward greater collective harmony. New realities would emerge, step by step, completely reshaping the energy configuration of our world. Our collective way of life would be based on the intuitive perception of accurate information, always delivered on time, thanks to this intelligent memory where the future and the past of the history of all worlds seems to be stored.

 

 

The vibration of the Eternal

Painting is an extraordinary medium in the sense that it helps develop one's sensory acuity. At the start of the creative process, all senses are stimulated. Painting requires to observe, contemplate and perceive in depth, so as to communicate with the universal energy. At first, we “look”... then comes the moment when we begin to “see” and feel. Somehow we hear infinity whispering, then sometimes we communicate with the matrix of worlds...

 

Painting has awakened in me the automatic and intuitive understanding of the principle of vibration, through the simple process of scattering colors on the canvas. One day, carried away by the revelations of the universe brought about through my work, I clearly understood that painting is like composing music – music to the eyes. With my brush flying over the galactic fog, I realized that the universe is playing a symphony in which each note is a key component, and each galaxy a chord, played by an incalculable amount of vibrational instruments that are its constituent elements, at all scales of magnitude. I realized that the entire universe is a song composed by an infinite number of multidimensional  notes, and that the universe itself is the creative principle behind this symphony of indescribable beauty, with its global consciousness being able to perceive this beauty and rejoice in a movement of continuous ecstasy. I would wonder at times: as ecstatic beings with an immediate consciousness of the infinite memory of all things, how could we not know and love something – anything - infinitely ? At that point, while my brush danced across the canvas, I would be in ecstasy. I had my answer. I would look at my painting emerging from the depths of consciousness as an oracle emerging from the ocean multitudes : the universe is indeed immeasurable poetry containing the greatest of love songs. I would be absolutely certain. My joy would know no bounds.

 

 

 

Detail of "Ocean of multitudes"
Detail of “Ocean of multitudes” © François SCHLESSER
 

 

I believe that we are the children of the creative father/mother principle of all life. We certainly deserve to be permanently consciously connected to the power of this principle because we are part of it. We are each a unique expression of this principle, and we need to translate it on Earth by expressing ourselves naturally – by simply being who we are. This is what my art has taught me.

© François SCHLESSER, June 13th, 2005

Translated from the original French text by Leticia Delboy

 




Friday, 24 November, 2017 - 15:11