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| Centurie VII quatrain 32 Du mont Royal naistra d’vne casane, Qui caue, & compte viendra tyranniser: Dresser copie de la marche Millane, Fauene, Florence d’or & gens espuiser. |
CHAPTER ONE - REVELATION
I have already established in the five installations of the preface the result of violent physical abuse on my perception, 1 2 3 , the scientific principles of Phenomene Art IV (PA IV) : The Fourth Dimension, and the Spirit guiding my evolution so I could emerge as Homo Mag Astrum.
The painting above illustrates the first quatrain that struck me when I became acquainted with the Centuries of Michel de Notre-Dame, the 16th century prophet. In the beginning the only thing that made sense to me in that quatrain was Mont Royal, one of the ancient names of the city where I was born, Montreal. It was many years later when I understood I was the person being singled out by the quatrain. When I presented PA IV to the public in 1999, I thought I was fulfilling this segment of the quatrain: Dresser copie de la marche Millane, : but it is now that I am fulfilling it by another means. This is a copy of what I did as the new millennium was approaching. The purpose of this extra-dimensional deed is to reveal the actions of the fourth dimension on the life of the ancient prophet and I, and the way it is weaved into contemporary human concerns. By the end of Phase 4, I will have revealed all the events that substantiate my affirmation and the fourth dimension will emerge into your consciousness.
Artist Statement
What is Phenomene Art? What inspired this extra-dimensional art form?
I was first inspired by a project that we did in art class. I studied at the Saydie Bronfman School of Fine Arts. The month leading to Christmas, we worked on an event calendar, an artistic object to illustrate the days leading to a major event and the highlights along the way. It occurred to me that this could be a method to work the passage of time into the fabric of a work of art. In PA IV, I calculated the Alignment Geometry of Celestial Mechanics (AGCM) of every creative step I took. Each step had one specific intent: channel the Aeon of the New Age. I could have chosen a more pragmatic subject as many of my contemporaries did. But this concept was my pulse, it was bigger than me so I acquiesced.
The small elements were the paintings done in the style of Mexican retablo or Ex-votos paintings that represent the need humans have to interact on personal levels with the Divine, the thirst for the delicious fourth dimension. This style of art fitted the subject matter of the entire exhibit. The black bases, destroyed in Phase 2 of PA IV, were meant to represent tombstones in a cemetery. The movement from the entrance into the hall to the last installation at the other end of a golden circle, represented the transition from the old to the new. Theoretically, the exhibition had captured the Force every step of its preparation so it would be released on the day of the show, 26 September 1999, for a major impact.
To be continued...
-LENA GHIO
I have already established in the five installations of the preface the result of violent physical abuse on my perception, 1 2 3 , the scientific principles of Phenomene Art IV (PA IV) : The Fourth Dimension, and the Spirit guiding my evolution so I could emerge as Homo Mag Astrum.
The painting above illustrates the first quatrain that struck me when I became acquainted with the Centuries of Michel de Notre-Dame, the 16th century prophet. In the beginning the only thing that made sense to me in that quatrain was Mont Royal, one of the ancient names of the city where I was born, Montreal. It was many years later when I understood I was the person being singled out by the quatrain. When I presented PA IV to the public in 1999, I thought I was fulfilling this segment of the quatrain: Dresser copie de la marche Millane, : but it is now that I am fulfilling it by another means. This is a copy of what I did as the new millennium was approaching. The purpose of this extra-dimensional deed is to reveal the actions of the fourth dimension on the life of the ancient prophet and I, and the way it is weaved into contemporary human concerns. By the end of Phase 4, I will have revealed all the events that substantiate my affirmation and the fourth dimension will emerge into your consciousness.
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| PA IV © Lena Ghio |
What is Phenomene Art? What inspired this extra-dimensional art form?
I was first inspired by a project that we did in art class. I studied at the Saydie Bronfman School of Fine Arts. The month leading to Christmas, we worked on an event calendar, an artistic object to illustrate the days leading to a major event and the highlights along the way. It occurred to me that this could be a method to work the passage of time into the fabric of a work of art. In PA IV, I calculated the Alignment Geometry of Celestial Mechanics (AGCM) of every creative step I took. Each step had one specific intent: channel the Aeon of the New Age. I could have chosen a more pragmatic subject as many of my contemporaries did. But this concept was my pulse, it was bigger than me so I acquiesced.
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| Lena Ghio and the Golden Circle |
The small elements were the paintings done in the style of Mexican retablo or Ex-votos paintings that represent the need humans have to interact on personal levels with the Divine, the thirst for the delicious fourth dimension. This style of art fitted the subject matter of the entire exhibit. The black bases, destroyed in Phase 2 of PA IV, were meant to represent tombstones in a cemetery. The movement from the entrance into the hall to the last installation at the other end of a golden circle, represented the transition from the old to the new. Theoretically, the exhibition had captured the Force every step of its preparation so it would be released on the day of the show, 26 September 1999, for a major impact.
To be continued...
-LENA GHIO
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