"[… ] The emptiness in the pictures, or the mental silence, that accompanies an existential situation, are the signs that you are on the right path: you are entering the complexity of the experience, and you begin to wake up, clapping your itchy hands, your heart rhythm is altered, until you see the footprint and smell it like a bloodhound, you go after it with the whole history of painting trying to find the hidden secret of its nature, and you begin to have the vision that things have a meaning, a precise meaning; then, and only then, your hands grab the brushes again and the painting begins to make itself, the colors and the lines begin to speak and to talk to you, that emptiness of before finds its precise content and you begin to paint with all your nature, with all the body of the painting, until the new tectonic track emerges, not confused or well defined, that leads you to the other; place where the geometry generates its own light, and the light dazzles its forms; so you find the way of encounter with the changing reality, but which is also changed by your 'doing', as you change yourself. [… ]
The terrible moment of fear arrives: you feel panic, you feel it when you paint, in the heart of the ego.
It is an experience of the Self, neither desired nor sought after.
It simply presents itself as a mortifying pressure on thought.
It is an experience that cannot be controlled voluntarily.
Fear that generates a feeling of blockage, which can lead to paralysis, almost an experience of death.
And although it may be removed, you have a confused conscience that you must remain in it, because you refuse to escape into memory.
And then the fright turns into silence.
[… ] Not illumination nor naturalistic enjoyment, but living light that frightens people, that creates in it a feeling of fright; it not only affects the eyes but the whole body. And this is expressed in qualitative perceptions which, at the limit of your effort, represent the ultimate threshold of life experience, and this is commonly called the state of grace.
Instead, the observer, as long as lingers to his usual way of looking, get to know it only as mere aesthetic enjoyment. This modality is however destined to be exceeded both in its value of subjective fruition and in that of objective verified physical data. Moment that initially strikes as an unconscious message that comes from the outside, and that, by naivety or effect of the primary reception, we do not realize to codify: it is the state of the colour as one 'instinctively' sees it, in the sense that you see it as you are used to looking at it.
But the light of your paintings cannot really manifest in the subject as long as it does not go beyond coding, until the subject receives messages other than those which the naive believe come to him from the outside. [...]
Sergio Vuskovic Rojo, The other side of paiting, Parol Quaderni d’Arte 3, Bologna March 1987