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A talisman is used to protect us, from bad dreams. The circle flows through the feathers and allows good dreams to go to the person. Somehow dreams that haunt us are caused by problems in the physical world. Nevertheless, manageable and inexplicable. And that is when our reasoning tells us it is a mind creation to escape problems. So, in the end, faith is what counts. However, whether we remember it or not is avoidable to see things that will happen in the future.

Dream Catcher

Along the way, it is based on the experiences we gather from everyday life. Solving problems throughout sleep has been the best cure.

In ancient times the Greeks took it very seriously the messages the gods transmitted to them. As a child, my family recounts me as a sleepwalker. Not to mention that I talk in my sleep to a friend of mine. My brothers, they noted.

My family used to pull me back to the house. I used to reply that somebody was calling me. It was out of my control, for I levitated while asleep. Perhaps, being aware relies on making things better. So, let’s remember life is encircled by continuous spiritual fulfillment. Then I found people on the journey, friends, people with who we share the same experiences. So, it does Lead me to accept and get some control over it. Somehow, the dreaming part has left me disconcerted at times. For it is unpredictable for what we call déjà vu. I’m pretty sure one of us has experienced it. And when recounted, we ended up exhausted and perplexed to see it come true.

Sometimes It takes days when us sleep it over. And it could appear years later. For it’s a guide to feeling protected and secure from bad omens. Created from our inner as long as you believe is what is more important.

“Dream Catcher” Size 28″ x 36″ Oil on Canvas 2021

DREAM CATCHER

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Pilar Pascual

Pilar Pascual, on that day, came dressed and ready to dance. Indeed, pose for us four times every Monday for four hours. As a ticket of appreciation, some students gave her posing drawings.

Above is one best pieces about her under the teacher’s request to paint it over Masonite wood. It is a smooth material and works well with brush strokes. But then, in the end, the artist decides what the finish will look like.

The glow within came from another technique approach based on artificial light. Presently that adeptness gave me new ideas for future techniques I use in landscapes. Everything goes hand in hand; learn anatomy, and you can paint any other object from life.

Moreover, Pilar face is the focal point; the dress is in unison and flows with the rest of her body. Surprisingly she used to know Vargas, a male dancer friend of mine, Who participated [ate with a prominent guitarist called Sabicas.

Moreover, there is something about her subject and the painting. Years have passed, and it feels as if it was painted yesterday.

The oil painting justifies the shades. Its spontaneous quality; feels like velvet printed on a plank of aged wood.

We sketched her as a warm-up before the painting, and it would have been better to keep the drawing. Sketches are the best reference for a third study painting in the future.

Also, painting over masonite wood is suitable for achieving a smooth technique. My instructor at the art school suggested using it and gave me tips on how to gesso it—and sand it with the finest sandpaper.

Afterward, the portrait is unique, like the Cante Hondo; it ages like a glass of wine in a barrel as the years pass. Not ready to drink but prepared to be visually digested.

Also, these are the paths of life. It has a beginning without an ending. We could have an answer now. But, later, another person will create another situation where we will feel tense until it is resolved. The end will be us, but everything continues as the planets keep moving around the sun.

Lastly, while alive, we are the coil in the continuous path. And within the symbols is our transitory nature. Where we learn to accept it as a short infinite road full of beauty and tragedies.

“INFINITE” OIL ON PAPER 18″ x 24″

THE INFINITE

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Dream Catcher

DREAM CATCHER

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Pilar Pascual, on that day, came dressed and ready to dance. Indeed, pose for us four times every Monday for four hours. As a ticket of appreciation, some students gave her posing drawings.

Above is one best pieces about her under the teacher’s request to paint it over Masonite wood. It is a smooth material and works well with brush strokes. But then, in the end, the artist decides what the finish will look like.

The glow within came from another technique approach based on artificial light. Presently that adeptness gave me new ideas for future techniques I use in landscapes. Everything goes hand in hand; learn anatomy, and you can paint any other object from life.

Moreover, Pilar face is the focal point; the dress is in unison and flows with the rest of her body. Surprisingly she used to know Vargas, a male dancer friend of mine, Who participated [ate with a prominent guitarist called Sabicas.

Moreover, there is something about her subject and the painting. Years have passed, and it feels as if it was painted yesterday.

The oil painting justifies the shades. Its spontaneous quality; feels like velvet printed on a plank of aged wood.

We sketched her as a warm-up before the painting, and it would have been better to keep the drawing. Sketches are the best reference for a third study painting in the future.

Also, painting over masonite wood is suitable for achieving a smooth technique. My instructor at the art school suggested using it and gave me tips on how to gesso it—and sand it with the finest sandpaper.

Afterward, the portrait is unique, like the Cante Hondo; it ages like a glass of wine in a barrel as the years pass. Not ready to drink but prepared to be visually digested.

PILAR PASCUAL

“Pilar Pascual” Oil on Masonite Wood, 24″ X 18 ” 1995

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PILAR PASCUAL

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