'Anointing and Annunciation of Being'

The visual artist can encourage a type of deductive gaze or an instructive gaze. Depending on this, 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 threshold of these two ways of approaching the object of the gaze, and then this gaze will be breathable, dual, doubly simultaneous. A duality or ductility of the gaze that is still an exercise of overlapping and blurring that has a certain danger, since 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, something that should not dissuade artists from persevering in such a guideline because many times the object or artistic event of interest results from challenging difficulties. Difficulties, however, that once resolved, the most logical thing is that they end up culminating in the singularity of a novel form of expression. In this sense, Daniel Verbis ' painting is another example of that daring 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 materialize the heterochronies of a gaze that is not satisfied with the fixed photos assigned to it by the temporal context.