File:Could time be patient.jpg

Could time be patient , by Erik Pevernagie, oil on canvas. .xx

Let us not remain anchored in the quicksand of a waning past and lose the war on obliviousness but listen to the bracing sounds of new horizons, grasp the enchantment of the fleeting instants, and seize the cleverness of the moment.

A door, a closed doorway, must not intimidate us or frighten us from walking our lives.

A doorway is an ambiguous phenomenon, a liminal spot in a person’s life. A door can be a choice, a possibility, protection, or an aperture to new-fangled values. It can mean a barrier, a prison, or a gate to freedom. It can, however, vanish in the mist of unawareness by lack of social concern. At that moment, our freedom has become our jail, and we feel locked up in our liberty. Any exit has waned. The doorway has been absorbed in the stupor of our infatuation. Given that our lives are our main provisional value, taking the time to interpret our experiences is a momentous choice. Time, life, and choice outline a trilogy that can solve and unite to vanquish the powerlessness we might have to face on our path.

Instead of being trapped in the past, let us embrace the exciting possibilities of the future. Rather than succumbing to ignorance, let's tune in to the invigorating sounds of new beginnings, appreciate the magic of fleeting moments, and seize the wisdom of the present.

Ludmila Krasnova reviewing the painting:

"We see a door, a figure with a small bag, the crossing stripes, and lines. We read the title, and the visual content of the painting is transposed onto a philosophical scale. The rough and schematic manner of the painter deprives the represented figure of any particular and personal feature, thus making it easier for the beholder to imagine himself in the place of the figure.

The small bag might suggest leaving, and the door becomes a symbol with many facets. It can open into another room, a corridor, and a public space. This door may be the last door in life. You only need to step across the threshold and reach a place of "nothingness." Unless you notice some signs of existence, human beings have been dreaming of it since the beginning of the world.

The transverse lines bar the space where the figure appears, or perhaps the beholder is expelled from the scene, representing the very last moments. Those lines distort the picture somehow and prevent the spectator from seeing the perspective distinctly. Are not they a graphic metaphor suggested by the painter for the time introducing the fourth dimension?"

Phenomenon : Time, place, nothingness