The spiritual in art is ART OF THE SPIRIT

From these practices, an active void has become available, in which form withdraws from circular repetition — the circo-stanze — and turns toward vertical alleys, interrupting the cycle and activating a spiral movement.

Grattage becomes the necessary effort to remove the calcifications of the self, both internal and external, deposited in the pictorial matter.

In this first acentric phase, initiated in 1995, the process found expression in two series of works: Circo-Stanze and Vertical Alleys.

Within this subtraction, a foundational clarity emerges, becoming vision in the heart and light within the work. That light has grown into a constant presence — an atmosphere I have learned to recognise even in the most critical conditions — illness, loss, hostility — and which, on an artistic level, led to the second phase of Acentrism: Light Art.

The inclination toward the immaterial and the metaphysical finds structural synthesis in the development of Digital Art, understood as the third phase of acentrism.

This transition matured through a dialogue with the work of Yves Klein, in particular his Chelsea Hotel Manifesto.

The research progressively extended beyond the theoretical plane, becoming a long-term study of the Rosicrucian Cosmogony of Max Heindel, undertaken in resonance with Klein’s own path, connected to the Order in Oceanside, California.

This traversal — both speculative and experiential — reconfigured digital practice as a space for investigating the immaterial, where technology becomes a medium for direct access to the spiritual dimensions of being.

From this convergence emerged the eBook Out of the Blue: the immaterial of Yves Klein meets Acentrism, conceived as a dialogue at a distance with his Chelsea Hotel Manifesto.