by Carlo Borloni, Ninfa.io
"Even when physical sight fades, true vision remains."
For Jesperish, vision was never limited to the physical act of seeing. Since childhood, the eye has been his portal to the world: the first gesture drawn, the silent companion in times of solitude, fear, or wonder. Not a mere symbol, but a living presence.
Much like Alex Grey, whose art visualizes spiritual energy and interconnectivity through the motif of the eye, Jesperish approaches vision as a revelation: an invisible network of emotions, memories, and intuitions.
His works in NETRA pulse with this sensibility. Each piece is not designed to describe the world, but to feel it. To be it.
In the sacred traditions of Egypt, the Eye of Horus protected the soul in its journey beyond death. In Christian iconography, the Eye of Providence surveilled the living with divine omniscience. In NETRA, however, the eye is neither judge nor guardian. It is a silent witness. A mirror held up not to the world, but to the self.
Jesperish's process begins with hand-drawing, a primal gesture rooted in touch, intuition, breath. Then, through digital painting, these primal visions are refined, layered, illuminated, and made eternal.
Parallel to Dalí’s surreal exploration of subconscious visions, Jesperish reveals dreams not through distortion, but through radical stillness. His eyes do not melt like clocks, they endure, they anchor.
Living Mirrors
"We are all living mirrors," writes Jesperish.
In a time when images multiply endlessly, scrolling, consuming, forgetting, NETRA demands a return to slowness. To intimacy. To sacred recognition.
Much like the visionaries before him, Grey, Dalí, and the ancient mystics, Jesperish uses the eye not as decoration, but as invocation. Not to watch, but to witness.
NETRA is not a gallery of works. It is a constellation of invitations. To stop. To see. To remember who we are when no one is looking.
"Reflecting. Remembering. Becoming."
Living Mirrors
"We are all living mirrors," writes Jesperish.
In a time when images multiply endlessly, scrolling, consuming, forgetting, NETRA demands a return to slowness. To intimacy. To sacred recognition.
Much like the visionaries before him, Grey, Dalí, and the ancient mystics, Jesperish uses the eye not as decoration, but as invocation. Not to watch, but to witness.
NETRA is not a gallery of works. It is a constellation of invitations. To stop. To see. To remember who we are when no one is looking.
"Reflecting. Remembering. Becoming."
