Experimentation is one of the central axes of Mya Lurgo’s research. Together with study and artistic practice, it defines a working method based on observation, inner listening and the verification of experience.

From this perspective, the artwork is not only a completed form, but a field of inquiry: a space in which perception, consciousness and matter enter into relation. Each experiment arises from the need to investigate what usually remains invisible, subtle, or not fully measurable: the energetic quality of the artwork, the viewer’s response, the relationship between form and information, and the possibility of the creative act becoming a vehicle for transformation.

Meditative writing accompanies and orients this process as an ongoing practice. It is not a closed body of work, but a true modus operandi: a form of intuitive dialogue through which the artist enters into relation with SPIRIT, receives indications, questions the creative processes and allows intuitions, visions and preliminary structures of the artwork to settle.

The approximately thirty handwritten volumes of The Golden Book constitute the material testimony of this practice: a living, intimate and operative archive that documents, over time, the relationship between writing, the superconscious and artistic creation.

The experiments gathered in this section document several stages of a broader inquiry into the ART OF SPIRIT. By this term, the artist does not refer to any confessional belonging, but to the living principle of consciousness, breath and presence that orients the relationship between the visible and the invisible. These experiments are not intended as dogmatic demonstrations, but as devices of observation and sensitive verification: practices through which to investigate the artwork as a field and perception as a faculty that can be trained beyond sight alone.