Translations by ChatGPTPlus and Grammarly
Translations by ChatGPTPlus and Grammarly
The eBook “Out of the Blue. Yves Klein’s Immaterial Meets Acentrism” is available in Italian.
A summary of the main contents is provided below in English for international readers.
“Before crossing the threshold of Blue, one must unlearn. Acentrism represents that inner disarmament: a necessary purification, a fertile emptying, and a new way of looking — both outside and within.”e and within.”e and within.”
Acentrism takes shape in painting through a straightforward and foundational gesture: grattage. Scraping the pictorial surface is equivalent to breaking down inner mental structures. It is not merely a technique, but a reset operation that suspends automatisms, convictions, and consolidated narratives. The work develops in synergy with this destructuring process, generating scraped surfaces, sometimes down to the virgin canvas, crossed by vertical paths — invocations to rise above circumstances. Recognising the identity weight of the ego, the artist opens to a neutral, silent, and receptive space, both interior and exterior. The Free-Word Tablets, inspired by Futurism, become experimental language devices capable of generating new meanings. As Wittgenstein suggests, “the limits of my language are the limits of my world”: expanding language means expanding thought, renewing perception, redefining the value system through which we interpret and live reality.
This phase marks the beginning of supersensible perception. The artist learns to “see between the lines of matter,” grasping subtle signals manifest in the visible as transparencies, reflections, and vibrations. Light becomes an expressive medium and metaphysical referent, a bridge between the visible and invisible. In the Painted Glass Slides, the work exalts the principle of impermanence: the heat of the projector — introspective fire — activates a process of continuous transformation, a bubbling in which forms and colours generate, contaminate, and dissolve. The Glass Slides are never repetitive nor closed in patterns: magnified by a lens, they reveal fluctuating, synergistic configurations that make becoming visible. The work becomes a sensitive organism, mutable and unrepeatable, reflecting subtle reality in constant transformation.
This phase introduces a flight into the intangible. The artist moves in the digital domain, exploring immaterial territories where the work no longer leaves physical traces but manifests as vibration, impulse, and vision. However, this dematerialisation — however advanced — does not yet coincide with the ART OF SPIRIT since spirit is not exhausted in what is abstract, conceptual, or invisible. It is a living presence, a quality of being that crosses and orients beyond every form.
The Ascensional Stargates Series is a visual portal that leads toward non-terrestrial imaginations that are not traceable nor anchored to daily experience. Their vision generates a state of perceptual suspension: the brain, unable to code them immediately, stops. In that brief space of silence — a sort of satori — a crack opens in perceptual habit. Thought cannot enter, and the door to the Immaterial opens.
Clockwork Bubbles represent fragile and temporary mental habitats: perceptual spheres ready to burst, allowing new existential coordinates to emerge — unforeseen and incalculable destinations of being, orientations of an uncontrollable becoming.
“Clothes of Sancti(t)y – Soul Portrait” Series
This title plays on the dual meaning of sanctity and sanity (from the original Italian santità/sanità), evoking a vision of holistic well-being, both psycho-physical and spiritual. These digitally processed photographic portraits offer a transfigured vision of the individual that transcends self-judgement boundaries and connects with a more essential and luminous dimension of the self.
The artwork is no longer merely observed at this stage: it acts. The research deepens around the concepts of impregnation and osmosis, understood as energetic and vibrational exchanges between the artwork and the viewer.
In collaboration with health and scientific research professionals, biometric tests have been carried out — including GDV (Gas Discharge Visualisation) technology, the Hygenia Device camera and software, and bioenergetic field analysis — to detect the artwork’s effects on the human psycho-physical system.
This phase shifts attention from “what” to “how.” The creative act is no longer guided only by formal or stylistic intention, but develops as a deep integration between ethics and aesthetics. Hybrid techniques such as video art, sensitive environments, and experiential installations are activated to generate perceptual and inner resonance fields. The work does not represent, but accompanies; it does not narrate, but invites the spectator to a process of estrangement from the habitual self, to encounter the Self, understood as inner sky, space of greater vastness and awareness.
This text bridges my artistic journey — articulated in the four phases of acentrism — and the immaterial and initiatic vision of Yves Klein, a pivotal figure in twentieth-century art. Klein was not only a pioneer of the poetics of the invisible and unimaginable but also a Zen practitioner, martial artist, advanced student of Rosicrucian Cosmogony, and probationer of the Oceanside Order in California.
My encounter with his work occurred lightning-like, “Out of the Blue”. A spiritual and synesthetic shock awakened profound intuitions and dedication to research in my work.
Since then, his Chelsea Hotel Manifesto has become a reference for study alongside Max Heindel’s Rosicrucian Cosmogony — a text that Klein knew well, as his wife Rotraut confirmed, given the numerous underlinings and marginal notes. In retracing his Manifesto, parallel to Rosicrucian studies, reflections emerged that brought into focus an acentric modus operandi with specific points of contact:
Yves Klein: “Due to the fact that I have painted monochromes for fifteen years,
Due to the fact that I have created pictorial immaterial states,
Due to the fact that I have manipulated the forces of the void,
Due to the fact that I have sculpted with fire and with water and have painted with fire and with water,
Due to the fact that I have painted with living brushes — in other words, the nude body of live models covered with paint: these living brushes were under the constant direction of my commands, such as “a little to the right; over to the left now; to the right again, etc.”
By maintaining myself at a specific and obligatory distance from the surface to be painted, I am able to resolve the problem of detachment.
Given that I have invented the architecture and urbanism of air — naturally, this new conception transcends the traditional meaning of the words architecture and urbanism — my original purpose is to renew the legend of paradise lost.
This project has been applied to the earth’s habitable surface with the climatisation of large geographical expanses through fireproof walls and watertight water walls for absolute control of atmospheric thermal conditions in their relationships with our situation as morphological and physiological beings…”
In acentric art, the artist, to overcome the problem of detachment from the work, reduces himself to minimal terms with the intent of attracting pure expression without contaminating it with the filter of his personality and objectives; inner emptiness is aroused primarily by removing the centrality of one’s attention from beliefs that are no longer useful (meticulous and assiduous investigation), secondarily through various meditation techniques, implemented to prepare for the creative moment, that knowing how to receive art at its birth in the tangible world. Through interior and exterior grattage, the work purges itself of the artist’s personality and art-therapeutic expression connected to subjective experience, to advance without filters and embellishments toward the Immaterial. This dynamic of cleansing generates a highly receptive void.
Clockwork Bubbles Series | acentrism
This series of works sublimates the architecture of air in a metaphysical key, dismantling the chaotic urbanisation of the psyche.
Every human being, if still conditioned by unresolved issues from the past, lives within their bubble-atmosphere, understood as a subjective and unstable centre of gravity, to be purified and rebuilt.
Perceptual centring — often fallacious — is the first factor to be transmuted.
Perception is sensitive to beliefs that structure experiences and relationships, activating only random circumstances, which are psychosomatic mental state externalisations.
In this sense, everyone is the architect and urban planner of their paradise or hell: they inhabit a bubble-world shaped by their own choices, active or reactive. The bubble is “clockwork”: ready to disintegrate thanks to the implementation of consciousness.
“According to cosmologists, our universe is an inflating bubble. Other bubbles are other universes; it’s not certain, but they say it might be so. And therefore the set of universes is a foam made of immense bubbles that grow, shrink or burst” — Ermanno Cavazzoni, Cosmology of dream-bubbles, in “Domenica” supplement n. 242 of Il Sole 24 Ore
The Garden of Eden — also called New Jerusalem, New Galilee or Sixth Epoch — is not only a mythological place, but a real etheric space, destined for those who have completed their inner transmutation.
In this vision, humans develop their own body of light (or soul body, glorious body, soma psychikon, resurrection body, vital spirit body…), the fruit of a voluntary transmutation of desire and overcoming of bestial instinct.
The number 666 (6+6+6=18, 1+8=9), from the emblem of humanity still bound to bestiality, converts to the number of spiritual man: 9 as completion of evolution, overcoming of lower impulses through progressive control of one’s impulses and habitual proper behaviour or implementation of virtues that make one harmless to self and others.
Yves Klein: “From 1956 to 1946, my monochromes experiences in various other colors but blue never let me forget the fundamental truth of our age – that is to say, form no longer is a linear value but rather a value of impregnation”.
In acentrism, the artist becomes a sponge, a sensitive receptacle for in-form and impregnated matter, by conveying a vibratory intent in the work.
The acquaViva Imprinting* Series explores this dynamic through symbolic codifications: runic symbols, numerical sequences, or mantra vocalisations in water, which are subsequently used on canvas.
The pictorial gesture, reinforced by symbols and codes, is not exhausted in the act: it becomes a starting point for active osmosis between work, user and environment.
Inspired by Masaru Emoto’s studies on water memory and subsequently Prof. Massimo Citro’s (The Science of the Invisible) studies on water memory, this research aims to test the permeability of matter to will, including artistic will. This concept of impregnation has been perfected over the years to test the feasibility of objective art, as indicated by the Armenian master G. I. Gurdjieff.
In the experiment “SENSITIVE IS THE CLEAR LIGHT Between the fallacious appearances… Like a thunderbolt”, the artist, purified from subjective conditioning, fixes the original intuition in the pictorial gesture.
The spectator, then, does not interpret: experiences. Seven performances, culminating in February 2020 at the Elisarion Museum (Minusio, Switzerland), have tested this possibility.
Realised by Mya Lurgo, Giovanna Galimberti and Nadia Radici, the performances demonstrated that the value of impregnation can reach the public, under certain conditions — hyperlucid vision — and for a limited time, because, as Eckhart Tolle points out:
“Your satori lasted perhaps a few seconds before the return to the mind, but it was there; otherwise, you would not have perceived the beauty. The mind can neither recognise nor recreate beauty. Only for a few seconds, while you were completely present, there was that beauty or that sacredness…”
The results of the performance experiment are documented on the website myalurgo.art, together with a further experiment on impregnation osmosis between artwork and viewer, conducted in collaboration with biometric expert Daniele Gullà.
Yves Klein: “Imagination is the vehicle of sensitivity! Transported by (effective) imagination we attain life, that very life which is absolute art itself. Absolute art, what mortal men call with a sensation of vertigo the summum of art, materializes instantaneously; It makes its appearance in the tangible world, myself remaining at a fixed geometric point, in the track of such volumetric dis- placements with a static and vertiginous speed”.
In the acentric path, imagination is not a simple mental activity or aesthetic escape: it is an ontological vehicle and instrument of revelation, capable of precipitating into reality through conscious artistic making.
The acentric artist, contemplating the Void (3rd stage of the Prophecies of Becoming series), prepares to receive — and embody at every level of being (intuitive, mental, emotional, physical) — an inspired vision: pure imagination, 4th stage of Prophecy, which manifests in the tangible work as an objective crea(c)tive act.
In this process, art no longer represents something: it becomes something. It becomes an event of condensation of the Immaterial in the visible.
“Clothes of Sancti(t)y – Soul Portrait” Series and Prophecies of Becoming
Clothes of Sancti(t)y – Soul Portrait” Series , together with Prophecies of Becoming and related sub-series, explores this possibility: to verify the real capacity of the artist to make visible what belongs to a higher order of reality.
If such capacity were recognised as operative and repeatable, acentric art would assume new and deeper connotations: it would no longer be a transcendence of the ego but a revelatory act, a bridge between Spirit and matter, between Void and world.
In this sense, art could truly contribute to renewing the legend of paradise lost, not as nostalgia, but as a concrete reactivation of human potential.
Yves Klein: “Gallery-goers, like any other public, would carry this immense painting in their memory (a remembrance which does not derive at all from the past, but is solely cognizant of the indefinable sensibility of man). It is necessary to create and recreate a constant physical fluidity in order to receive the grace which allows a positive creativity of the void.”
The acentric artist prepares internally to receive that grace — or inspired vision — which allows direct contact with the Immaterial.
It is not a matter of voluntaristic effort but of perceptual disarmament activated through specific tools: Integral Alignment, Archetype configuration, and Meditative Writing.
This techné, refined with rigour and dedication, allows one to surpass the limits of the psycho-physical body and access that cognitive field that Klein defined as “memory that is knowledge in itself.”
Yves Klein: “I seek, above all, to realise in my own creations that ‘transparence,’ that immeasurable ‘void’ in which lives the permanent and absolute spirit freed of all dimensions.”
(The quote is taken from a text by Yves Klein, featured in the exhibition With the Void, Full Powers at the Hirshhorn Museum in Washington, DC.).
The Body of Light series develops as an imaginal and subtle itinerary, destined to be fulfilled in the Resurrection body, according to an ultrasensitive vision inspired by Christian esotericism and Steinerian anthroposophy.
The culmination of this process is the work ADAM II, Behold the Immortal (2014), a plastic expression of an initiatic path that finds its foundation in mystical and spiritual reference texts:
Yves Klein: “In sum, my goal is twofold: first of all, to register the trace of human sentimentality in present-day civilization; secondly, to register the trace of fire which has engendered this very same civilization. And this because the void has always been my constant preoccupation; and I hold that in the heart of the void as well as in the heart of man, fires are burning.“
Klein’s intuition finds resonance in acentrism, where the concept of inner fire is articulated through three manifestations also described in A. Bailey’s Theosophy (The Treatise on Cosmic Fire): Fire by Friction, Solar Fire, Electric Fire.
Subsequent research adds the Fire of the Father, also known as kundalini, which represents non-degenerated sexual force capable of activating an ascension process: this fire rises from the sacral area — Triveni, near the coccyx — and ascends the spinal column like a subtle gas, up to the “place of the skull,” symbolically associated with Golgotha.
In this ascent, the Fire connects the pituitary and pineal glands, complementary spiritual polarities:
At the intermediate point between these two poles arises Agape, Universal Love, a cosmic cohesive force.
The two glands, symbolically ruled by Uranus and Neptune, act as spiritual genital organs: their union in the bridal chamber (III ventricle) generates the baptism of fire, or interior Pentecost.
With it, the individual awakens the Christic Self — the inner Master — and becomes a victor, according to the definition of Revelation: one who has continuity of consciousness and can access the Tree of Life.
Yves Klein: “So much could be said about my adventure in the immaterial and the void that the result would be an overly extended pause while steeped in the present elaboration of a written painting.”
In acentrism, this intuition translates into a practice under development: written painting, understood as an act of intuitive transcription from a state of perceptual and receptive void.
So far, the research has given rise to two central nuclei:
A collection of over 28 archive-diaries made with golden ink in a meditative state.
These dictations are anagogical dialogues with the Immaterial: the artist’s hand does not direct. Still, it allows itself to be guided by an internal impulse, receiving direct responses from the superconscious before the rational mind intervenes.
Drawings and words traced with closed eyes, born from a single expressive current. They are not the fruit of fantasy, but visual and verbal manifestations of an inner vision, received in real time.
Both practices are based on aligning the vehicles of being (physical-etheric, astral, mental, and causal), activated by a prolonged state of OM vibration that empties, harmonises, and opens to clairaudience.
In the language of esoteric tradition, this process resonates with the Bat Kol, the “voice from heaven,” symbol of inspired consciousness, both individual and collective.
In harmony with Klein’s vision, painting is no longer linked to seeing but expands beyond sensory perception.
It becomes writing of the invisible, a bridge between sensitivity and imagination, between the Immaterial and form.
In this vision, written painting is not interpreted; it is received.
It is an inhabited gesture, listened to, allowed to happen. It is an act of aesthetic and spiritual faith, where the artist becomes a channel of transcription, and the work is the visible fruit of fertile void.
Yves Klein: “Having rejected nothingness, I discovered the void. The meaning of the immaterial pictorial zones, extracted from the depth of the void which by that time was of a very material order. Finding it unacceptable to sell these immaterial zones for money, I insisted in exchange for the highest quality of the immaterial, the highest quality of material payment – a bar of pure gold. However incredible as it may seem, I have actually sold a number of these pictorial immaterial states…”
Also, in acentrism, the Immaterial has real value, but not quantifiable in economic terms.
Many works are not conceived for a commissioner. Still, they are born from inner overabundance: an overflowing of consciousness, which becomes an artistic gesture to introduce new energies into the world and neutralise collective pathos through uncompromising imaginations.
The acentric artist’s gaze is turned to Heaven, and does not resign from their function: they do not create for the market, but work for service.
The works of the Clothes of Sancti(t)y – Soul Portrait” Series, for example, are not for sale, but can be received in exchange for a good deed, an act of beauty performed by those who welcome them.
If for Klein pure gold was the material symbol of the immaterial quality of the work, in acentrism, gold is transfigured: it becomes an ethical act, a gratuitous gesture, and an expression of a gift economy in which giving is receiving.
Yves Klein: “I want to go beyond art, beyond sensibility, beyond life. I want to attain the Void.“
ACENTRISM:
The acentric artist entirely agrees: every form, every structure, every matter — even art and sensitivity — represents a limit, but the Void, in acentrism, is not a goal to be reached: it is subtle power and living presence, already at work in everything.
The acentric artist no longer seeks the Void: the grattage has already revealed the imperceptible weave that binds every fragment to the Whole.
The recognition of being already in unity, indissolubly in unity, is the deep wish of those who practice acentrism: not a tension toward the beyond, but a radical presence in the Origin, which already animates everything with its own Life.
