Anointing and Annunciation of Being

The visual artist can encourage a deductive type of gaze or an instructive type of gaze. Depending on the latter, his conception of art can be linked to more or less imprecise or more or less detailed proposals. But also, of course, his work can make its way into the middle of these two ways of approaching the object of the gaze, and then this gaze will be transpirable, dual, doubly simultaneous. A duality or ductility of the gaze that does not cease to be an exercise in overlapping and blurring that has a certain danger, as there is a risk of losing the point of view, erring in perspective or not correctly delimiting the depth of the field of vision. Many artists end up lost in this aporia of short- and long-range observation because the complexities of the binary gaze are many, which should not dissuade artists from persevering in such a guideline because often the artistic object or event of interest results from defying the difficulties. Difficulties, however, which, once resolved, most logically end up culminating in the singularity of a novel form of expression. In this sense, Daniel Verbis 's painting is another example of this daring of the gaze that is situated in the fluctuating indeterminacy of the changing form, in the indeterminate fluctuation of the change of form. His is a versatile painting because it attempts to materialise the heterochronies of a gaze that does not conform to the fixed pictures assigned to it by the temporal context.