Paint as you draw, draw as you paint; 1.10.23:

PAINT AS YOU DRAW, DRAW AS YOU PAINT; 1.10.23

An aphorism created by an author and artist from one of the books he read in the spring of his youth - about painting and drawing - said:

"One paints as one draws; one draws as one paints".

Understanding this aphorism, which as such contains an ocean of knowledge, allows drawing and painting to be conquered, in a paradoxical relationship of approaching one through thinking about the other: turning the pencil into an imaginary picel, the brush into a pencil that "draws" through painting. In the past, the relationship between what is opposite in appearance, but which subtly harmonizes at a given balancing point, was called gnosis, that is, the relationship between the one who knows and the one who is known. A pencil that tries to simulate a brush, therefore, will draw with the power of a monochrome painting, but in the end it will still be a drawing (composed of the graphic element); a brush that aims to simulate a pencil, will manage to extract a synthesis that will unblock all the steps that prevent spontaneity, thus opening up the paths of painting. As drawing and painting are in fact complementary, the latter being the flora of the former, which will be its root, the aphorism drawn in a philosophical sphere ends up in fact touching on praxis. By drawing as one paints, one makes the root extend to the crown, in a vital flow to realize the drawing; by painting as one draws, one extracts this same vital flow from the root, achieving the flowering of the painting. This aphorism could very well be placed within the symbol of the hexagram: a triangle upwards to the drawing that rises to the painting, a triangle below to the painting that descends to the drawing, in a gnosis of understanding and creation, thus resulting in the work.

Internalizing this aphorism from an early age allowed me to walk through both worlds of expression, seeing the colors and their tones in the graffiti on the paper, as well as seeing their primordial substrates in the colors on the canvas. From an early age, I also used to copy works from Renaissance paintings, simulating their tones with graphite tones in drawings, which I admired for their realism; I was also able to solve problems in drawing representations by the way they were solved in paintings. When I start painting, I don't look for the diversity of tones, but I look for the design through the colors, the tones, complementing and expanding them in the process. That way everything becomes simpler and more expressive.

PS: Two recent drawings that I drew as if I were painting them: