Acentrism: The Philosophical Foundation of a Téchnē of Transcendence
Within the landscape of contemporary art, Acentrism, as theorised by Mya Lurgo, emerges as a radical aesthetic and philosophical experience that redefines the essence of artistic practice. It is neither a style nor a movement, but rather an operative approach: a process of disidentification from the egocentric structures that have traditionally governed the creative act.
Acentrism entails a detachment from all identitarian centrality—a suspension of self-affirming dynamics that reduce the artwork to a projection of the ego, sometimes even to a form of art therapy. It presents itself as a téchnē of inner liberation, dissolving the separation between subject and object, artist and work, the visible and the invisible. It does not negate the centre; instead, it multiplies it infinitely, rejecting the circumference as a formal and mental boundary. This vision resonates with the Hermetic–Neoplatonic principle:
“God is an intelligible sphere whose centre is everywhere and whose circumference is nowhere.”
The acentric artist does not place themselves at the centre of the work, nor enclose it within controlled perimeters. Instead, they open themselves to a diffused centre that coincides with every point where the Immaterial chooses to manifest. From this perspective, art becomes an epiphany of the invisible—a revelation that arises when the ego recedes, making space for an impersonal, silent and superconscious awareness. Acentrism is the absence of an egoic circumference: a relinquishment of the self as the sole reference point, and an opening to that which surpasses and transcends all fixed identity.
Mya Lurgo articulates this vision through four operative phases: painting, light art, digital art, and video installation. These do not signify a technical progression but rather stages along an inner path—phases of perceptual and spiritual refinement in which the artist gradually sheds the personal to become a vessel of the formless.
Acentrism thus reveals itself as an ontology of the fertile void, where the work arises not from intention but from receptive surrender. The artist ceases to act as creator and instead becomes a channel—a point of passage through which the invisible condenses into form. In this state, art becomes an impersonal liturgy: a secular rite through which the transcendent erupts into the visible. Allowing things to happen means letting the Idea fulfil itself—to collapse from wave into particle, from pure potentiality into apparition. It is not the artist who shapes the work, but the work that transforms the artist, dissolving the boundaries of the self. The creative gesture becomes an act of surrender. In essence, Acentrism calls for clarity of being—for art as the creative renunciation of the self—to foster a communion with the Immaterial: that infinite which animates, precedes, and permeates us. Every authentic act of creation becomes an act of listening, service, and co-creation with the unmanifest.
Over the years, this philosophical and operative framework of Acentrism has further evolved through the in-depth study of Yves Klein’s Manifesto—a pivotal moment that gave rise to a new creative cycle titled Out of the Blue. In this phase, the dialogue with the Immaterial became more intense, extending day and night, including lucid dreams, and expanding Acentrism towards a syncretic exploration of colour, astral immateriality, and initiatory symbolism.
Subsequently, this process matured into what Mya Lurgo defines as ART OF THE SPIRIT: a creative approach that transcends the artwork itself, becoming simultaneously meditation, contemplation, vision, and creation. Here, the artistic act becomes an integrated path, operating on both the material and immaterial planes through the I Am, understood as a superconscious entity devoted to the Plan and the Mind that gives rise and meaning to all things.