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 is an inner disarmament: a necessary purification, a fertile clearing, and a renewed
way of seeing.”
Acentrism takes shape in painting through a foundational gesture: grattage.
Scraping the pictorial surface becomes an operation of inner deconstruction, dismantling mental structures and sedimented narratives.
It is not merely a technique, but a reset: a suspension of automatisms, convictions, and inherited frameworks. The work unfolds through this subtractive process, generating surfaces sometimes reduced to the bare canvas, traversed by vertical trajectories—openings that interrupt circumstantial loops.
By recognising the ego’s identity-weight, the artist opens to a neutral, silent, and receptive field, both interior and exterior.
The Free-Word Tablets, inspired by Futurism, emerge as experimental language devices capable of generating new meanings.
As Ludwig Wittgenstein suggests, “the limits of my language are the limits of my world”: to expand language is to expand thought, renew perception, and reconfigure the framework through which reality is experienced.
Within this process of subtraction, a latent clarity begins to surface.
This phase marks the emergence of a supersensible mode of perception. The artist learns to perceive within matter, grasping subtle signals that appear in the visible as transparencies, reflections, and vibrations.
Light becomes both medium and operative condition: not a representation, but a field through which the visible and the invisible enter into relation.
In the Painted Glass Slides, the work unfolds through impermanence. The heat of the projector—an introspective fire—activates a continuous process of transformation, in which forms and colours arise, interact, and dissolve.
The Glass Slides do not stabilise into fixed patterns. Magnified through a lens, they reveal fluctuating configurations that render becoming perceptible.
The work assumes the condition of a sensitive organism—mutable, unrepeatable—reflecting a reality in constant transformation.
This phase marks a transition into the digital domain, where the work no longer relies on physical support but unfolds as a perceptual field.
The exploration of the immaterial does not coincide with abstraction or dematerialisation alone. The SPIRIT is understood as a living presence—a qualitative condition that traverses and orients experience beyond form.
The Ascensional Stargates Series operates as a visual threshold, generating perceptual conditions that resist immediate recognition. In this suspension, habitual decoding is momentarily interrupted, allowing a shift in perception to occur.
The Clockwork Bubbles series presents transient perceptual structures—fragile configurations on the verge of dissolution, through which new orientations of experience may emerge.
In the Clothes of Sancti(t)y – Soul Portrait series, digital photographic portraits undergo a process of transfiguration, dissolving self-referential boundaries and revealing a more essential dimension of the individual.
At this stage, the artwork is no longer only observed, but enters into relation. The research focuses on processes of impregnation and osmosis, understood as exchanges between the work and the viewer at perceptual and energetic levels.
In collaboration with scientific and healthcare professionals, biometric investigations have been conducted—including GDV (Gas Discharge Visualisation), the Hygenia Device, and bioenergetic field analysis—to explore the effects of the artwork on the psycho-physical system.
This phase shifts the focus from what is produced to what emerges.
The creative act, moving beyond formal or stylistic intention, unfolds as an integration of ethics and aesthetics.
Video, environments, and installations are activated as perceptual fields, generating conditions for inner resonance.
The work does not represent; it accompanies. It does not narrate; it introduces a displacement from habitual identity.
In this shift, the spectator encounters a more spacious and aware condition of being.
→ Selected works from this phase (Video)
→ Selected works from this phase (Installation)
This text articulates a convergence between my artistic research—structured through the four phases of Acentrism—and the immaterial and initiatory dimension of Yves Klein, a pivotal figure in twentieth-century art.
Beyond his role as a pioneer of the invisible, Klein’s practice was rooted in a broader experiential framework, informed by disciplines such as Zen and by his engagement with Rosicrucian thought, including the study of Max Heindel’s Cosmogony within the context of the Oceanside Order in California.
My encounter with his work occurred as a decisive perceptual event—Out of the Blue—opening a field of inquiry that continues to inform my research.
Since then, Klein’s Chelsea Hotel Manifesto has become a point of reference, studied alongside Rosicrucian texts. Through this sustained investigation, a series of correspondences emerged, bringing into focus an acentric modus operandi and its operative implications.
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, detachment from the work is not resolved through distance, but through reduction.
The artist does not impose, but withdraws—reducing the influence of personality, intention, and projection to a minimum.
Expression is not constructed, but allowed to emerge. Inner emptiness is cultivated through a process of deconditioning: the suspension of beliefs and perceptual automatisms, supported by meditative practices that prepare the conditions for reception.
Through interior and exterior grattage, the work is cleared of subjective residues and expressive excess.
What remains is not personal expression, but a field. From this clearing, a highly receptive void becomes available.
Clockwork Bubbles Series | Acentrism
This series translates the architecture of air into a perceptual condition, shifting from spatial construction to inner configuration.
The psyche operates through unstable centres of gravity—self-generated fields that organise experience.
What appears as structure is often a temporary stabilisation.
Perception does not register reality as such, but responds to the configurations through which it is filtered.
The bubble is not a metaphor, but a condition: a closed yet fragile system, continuously forming and dissolving.
In the Clockwork Bubbles, this condition becomes visible. Each form appears as a transient configuration, suspended between coherence and disintegration.
“According to cosmologists, our universe is an inflating bubble… 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 no. 242, Il Sole 24 Ore
The mechanism is internal. The collapse is inherent. What emerges is not a constructed space, but a field in continuous reconfiguration.
The Garden of Eden—also referred to as New Jerusalem, New Galilee, or Sixth Epoch—is not merely a mythological figure, but a real condition of being, accessible through a process of inner transmutation.
Within this passage, the human being develops a more subtle and luminous dimension—traditionally referred to as the body of light—not as something given, but as the result of a conscious transformation of instinctual and desire-driven dynamics.
What is described as fall or fragmentation is not denied, but traversed: impulse is not repressed, but transmuted, until it ceases to operate as a reactive force.
The number 666, as an emblem of a human condition still shaped by non-integrated dynamics, is transformed into the number of the spiritual human: 9 as the completion of an evolutionary process in which impulses are progressively transmuted into a condition of harmlessness towards oneself and others.
In this perspective, “paradise” is not a place, but a quality of experience: a state in which the human being becomes non-harmful, no longer governed by automatic forces, but by a lucid and stable presence.
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 signs, numerical sequences, and mantra vocalisations in water — later transferred onto canvas.
The pictorial gesture, reinforced by symbols and codes, is not exhausted in its execution: it becomes the starting point of an active osmosis between artwork, viewer, and environment.
This research draws inspiration from studies on water memory, including those of Masaru Emoto and, subsequently, Massimo Citro (The Science of the Invisible), in order to explore the permeability of matter to intention, including artistic intention.
Over time, the concept of impregnation has been refined as a means of investigating the possibility of an objective art, in resonance with the indications of G. I. Gurdjieff.
In the experiment SENSITIVE IS THE CLEAR LIGHT — Between the Fallacious Appearances… Like a Thunderbolt, the artist, freed from subjective conditioning, anchors the original intuition within the pictorial gesture.
The spectator does not interpret, but experiences.
Seven performances, culminating in February 2020 at the Elisarion Museum (Minusio, Switzerland), have tested this condition.
Realised by Mya Lurgo, Giovanna Galimberti, and Nadia Radici, these performances demonstrated that the phenomenon of impregnation can reach the viewer under specific conditions — a state of heightened lucidity — and for a limited duration, as Eckhart Tolle observes:
“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 these performance experiments are documented on myalurgo.art, together with a further investigation into osmotic exchange 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 mental faculty nor an aesthetic escape: it is an ontological vehicle, a condition through which what is not yet visible becomes form.
The artist, in contact with the Void (the third stage of the Prophecies of Becoming series), prepares to receive and embody an inspired vision across all levels of being — intuitive, mental, emotional, and physical.
This vision, as pure imagination (fourth stage of the cycle), does not remain internal: it precipitates into the work as a concrete act of manifestation.
In this process, art no longer represents — it becomes. It becomes an event in which the Immaterial condenses into the visible.
The Clothes of Sancti(t)y – Soul Portrait series, together with Prophecies of Becoming and its related sub-series, explores this threshold: the possibility that what belongs to a more subtle order of reality may take form.
Many works from this series are realised on commission and remain outside public circulation, as they arise within a direct and individual field of relation.
If this passage becomes operative, art no longer functions as an expression of the self, but as a revelatory act — a bridge between Spirit and matter, between Void and world.
In this sense, art does not evoke a lost condition: it reactivates it.
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 — an inspired vision that allows direct contact with the Immaterial.
This is not achieved through effort, but through a progressive disarmament of perception, activated by specific operative conditions: Integral Alignment, Archetypal Configuration, and Meditative Writing.
This techné, refined through rigour and continuity, enables a passage beyond the limits of the psycho-physical structure, opening access to a cognitive field that Klein described as a “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.)
The Body of Light series unfolds as an imaginal and subtle itinerary, oriented towards the emergence of a transformed condition of being—traditionally referred to as the resurrection body.
This trajectory draws from a convergence of spiritual traditions, including Christian esotericism and Steinerian anthroposophy, not as references to be illustrated, but as fields of experience to be actualised.
Its culmination finds form in ADAM II, Behold the Immortal (2014), where the work no longer represents a path, but embodies it.
Here, the image does not refer—it manifests.
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.“
The present corpus articulates experiential processes historically held within the boundaries of the esoteric, here reconfigured as observable phenomenological dynamics within the perspective of an open and contemporary transmission.
The intuition of Yves Klein finds a structural resonance in Acentrism, where the phenomenology of “inner fire” unfolds according to the theosophical triad described in The Treatise on Cosmic Fire: Fire by Friction, Solar Fire, and Electric Fire.
The research extends to include the Fire of the Father — or kundalini — understood as a primordial, non-degenerated force and the driving principle of an ascending process. This energy, originating in the sacral region (Triveni), rises along the spinal column in the form of a subtle substance until it reaches the “place of the skull”: a symbolic threshold that can be aligned with Golgotha.
Calvary — from the Latin Calvariae locus — thus ceases to function solely as a geographical or historical reference and becomes an inner point of convergence: a liminal space in which matter, exhausting its inertia, opens to transmutation.
Within this sacred geography of being, Fire acts as a connector between the pituitary and pineal glands, understood as complementary spiritual polarities: the former, the feminine pole associated with Imagination; the latter, the masculine pole linked to Will.
At the point of tension between these two vectors emerges Agape — Universal Love — as a cohesive cosmic force.
The two glands, governed by the archetypal influences of Uranus and Neptune, operate as generative centres of Spirit; their union in the “bridal chamber” (the third ventricle) enacts the baptism of fire, or inner Pentecost.
Through this integration, the work becomes a vehicle for the awakening of the Christic Self — the inner Master — stabilising a condition of continuity of consciousness that ultimately opens access to the experience of 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 an ongoing practice: written painting, understood as an act of intuitive transcription arising from a state of perceptual and receptive void.
To date, the research has developed into two central bodies of work:
1. The Golden Book
A collection of over thirty archival diaries written in gold ink within a meditative state.
These writings take the form of anagogical dialogues with the Immaterial: the artist’s hand does not direct, but allows itself to be guided by an inner impulse, receiving responses prior to the intervention of the rational mind.
2. The Illuminotechnical Tablets
Drawings and words traced with closed eyes, emerging from a single expressive current. They are not the product of imagination, but visual and verbal manifestations of an inner vision, received in real time.
Both practices are grounded in the alignment of the vehicles of being — physical-etheric, astral, mental, and causal — activated through a sustained state of OM vibration, which empties, harmonises, and opens the field to forms of subtle perception, including clairaudience.
Within the language of esoteric tradition, this process resonates with the Bat Kol, the “voice from heaven,” a figure of inspired consciousness, both individual and collective.
In resonance with Klein’s vision, painting is no longer bound to sight, but extends beyond sensory perception.
It becomes a writing of the invisible — a bridge between sensitivity and imagination, between the Immaterial and form.
In this perspective, written painting is not interpreted; it is received.
It is a gesture that is inhabited, listened to, and allowed to emerge: an act of aesthetic and spiritual faith, in which the artist becomes a channel of transcription, and the work the visible outcome of a 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…”
In Acentrism, the Immaterial holds real value, yet remains irreducible to economic quantification.
Many works are not conceived for a commissioner; they arise from a condition of inner overabundance — an excess of consciousness that takes form as an artistic gesture, introducing new energies into the world and counteracting collective pathos through uncompromising imaginaries.
The acentric artist’s gaze is oriented towards the vertical and does not renounce its function: the work is not produced for the market, but unfolds as an act of service.
The works of the Clothes of Sancti(t)y – Soul Portrait series, for example, are not for sale, but may be received in exchange for a meaningful act — a gesture of care or beauty enacted by the one who welcomes them.
If, for Klein, pure gold functioned as the material equivalent of an immaterial value, in Acentrism gold undergoes a transformation: it becomes an ethical act, a gratuitous gesture, and the expression of a gift economy in which giving and receiving coincide.
Yves Klein: “I want to go beyond art, beyond sensibility, beyond life. I want to attain the Void.“
ACENTRISM
The acentric artist recognises this tension, yet moves beyond it.
Every form, structure, and material condition — including art itself — marks a limit. But the Void, in Acentrism, is not a destination to be attained: it is a subtle power, a living presence already at work within all things.
The acentric artist does not seek the Void: grattage has already revealed the imperceptible weave that binds each fragment to the Whole.
What emerges is not a movement toward elsewhere, but the recognition of an indivisible unity — not to be achieved, but to be inhabited.
In this sense, Acentrism does not point beyond life: it affirms the Origin as already active, already present, already animating everything.
