Acentrism, the Superconscious and the ART OF THE SPIRIT
The work of Mya Lurgo is configured as an evolutionary system of consciousness: an experiential architecture in which the artwork is never an end in itself, but a cognitive device and a perceptual threshold.
Art is not understood as the production of forms or the transmission of content, but as a transformative practice capable of making visible an invisible process of maturation of being.
The research unfolds through three interdependent fields — acentrism, Out of the Blue, and ART OF THE SPIRIT — which do not correspond to chronological phases or successive languages, but to operative states of consciousness, generative of one another.
Each field integrates the previous one, passes through it, and reabsorbs it at a deeper level of presence and inner coherence.
Within this continuum, the artwork does not present itself as an object to be interpreted, but as a field of resonance: the visible manifestation of an inner process and, at the same time, an experiential space open to those who pass through it.
I. Acentrism – Subtraction as a Foundational Act
Initiated in 2007, acentrism arises as a radical gesture of subtraction: a process of disidentification from the centrality of the ego and its perceptual, emotional and symbolic automatisms.
It does not take the form of a formal poetics or a stylistic movement, but instead of an operative methodological paradigm, aimed at freeing the creative act from the centring structures of the personal self.
Acentrism does not deny the existence of a centre, but dissolves the isms that rigidify it. It is an exercise in conscious emptying that restores to the artist a non-reactive inner space, available for listening to the immaterial.
The process unfolds through four passages of consciousness.
Phase I – Reset | Knowing that One Does Not Know
A phase of radical subtraction and conceptual and perceptual grattage. Artistic language is eroded until it loses its automatisms; form is questioned and stripped of its operative certainties.
Phase II – Glimpsing
A first supersensible perception emerges, fragile and not yet stabilised. Not a completed vision, but an opening: a threshold of consciousness that requires silence and the suspension of judgement.
Phase III – Free Flow of the Immaterial
Access to creativity no longer deformed by personality. In this phase, digital art — devoid of weight, matter and centre — becomes a privileged instrument for an aspacial and atemporal vision, in which the artwork manifests itself as a field rather than as an object.
Phase IV – White Phase | Self-Consciousness
Stabilisation of presence. The artwork no longer arises from the artist’s intention or identity, but is traversed by a superpersonal consciousness.
Art becomes the testimony of a stable state of being — shareable, non-performative.
II. Out of the Blue – Traversing the Immaterial
The Out of the Blue cycle originates from the need to investigate emptiness not as absence, but as a field saturated with potential, a generative principle and causal matrix of form.
In profound dialogue with Yves Klein’s research into the immaterial and the Rosicrucian tradition, blue is understood not as a colour but as an initiatory threshold, a space of transition between the visible and the invisible.
Within this field are situated the seven researches, an advanced laboratory of exploration of the superconscious, in which the artistic act precedes form and the artwork acts as an event of consciousness.
Art ceases to be an aesthetic object and becomes an experiential condition, enabling the integration of the immaterial into embodied presence.
III. ART OF THE SPIRIT – The Artwork as operAction
From the integration of the previous fields emerges the ART OF THE SPIRIT, not as a new language, but as a permanent operative mode.
In this domain, art does not represent: it incarnates.
It does not communicate: it operates.
The artist acts as a conscious individuality — I Am — unifying gesture, word, form and silence beyond the dialectic of opposites.
The artwork becomes operation: a living act that does not describe reality, but manifests a quality of presence.
Within this context, certain fundamental concepts are redefined.
The Superconscious
Not a psychological dimension, but an acentric and non-reactive field, accessible through the integral alignment of the vehicles of being: physical-etheric, emotional, mental, and causal or soul-level.
The Archetype
Not a symbol to be interpreted, but an operative energetic structure: a causal matrix that informs the artwork and generates a coherent field of presence.
The Function of the Artwork
The artwork transmits neither content nor messages. It does not add meanings, but subtracts interference, creating the conditions through which the consciousness of those who pass through it may recognise its own origin.
CONCLUSION
The creative architecture of Mya Lurgo restores to art an original function: to be a threshold between the visible and the invisible, between the human and the SPIRIT.
It is a posture of non-identification, an invitation to pass through form without inhabiting it, to dwell in the threshold until recognising that which, in essence, has never ceased to be.