Collected in this space are works chosen for elective affinities, that is, works that have been made over the years using different techniques but share similar and recurring meanings.
The gallery of images that follows - works from acentrism to SPIRIT ART - presents possible scenarios to be put on display. Some works, already sold, can be exhibited by indicating the specific courtesy

From Yves Klein's Immaterial to acentrism to the spiritual in art.

The a-centr-ism or absence of centralizing "-isms" and the consequent acentric art are aimed at the reduction to a minimum of the egocentric, selfish and egotistical component of existence, as well as the related set of acquired indoctrination and influences, with the aim of preparing an increasingly neutral mental and emotional habitat suitable for the transmission of the spiritual in art. 

Art, in this case, can be said to be sacred, because it can make itself a vehicle of the Immaterial “religare” – from lat. “hold together” – the multiple languages of religions, philosophies, mysticisms and sciences. Who can say where the air ends and Heaven begins?

In fact, acentrism is Mya Lurgo's four-step tèchne to arrive at the realization of the ART OF THE SPIRIT. These four stages are "ecological and deliberately ritualistic" tools designed to forge the artist, even before the work, to initiate him into the Immaterial and enable him/her to transcend the traditional concept of intuition, understood as a sporadic state of "grace," captured not by his own will, but by momentary elective affinity. The processes enacted by the four acentric phases allow the artist to implement the connection with the Immaterial up to direct, conscious and uninterrupted communion: a perpetual state of grace Out of the Blue.

"The painter must constantly create only one masterpiece, himself" (Yves Klein)

The phase I, uses "grattage" to deconstruct the forma mentis/mind set in synergy with pictorial representation. This scraping or resetting of conformations leads to the phase II, in which the artist acquires the art of visioning, between the lines of matter, the supersensible presence. Delving into these subtle causes determines the use of light - lightart - as an expressive medium and metaphysical referent.

La phase III is a flight into the intangible; in fact, it is a soaring into the intangible without leaving footprints, thanks to digital art, although such virtuality is not yet ART OF THE SPIRIT, as this "spirit" is far more than the notion of "incorporeal" or "abstract" or "invisible." The phase IV is the deployment of a variety of techniques, from video art to installation art. The question is no longer about "what" to do, but "how" to do it in direct communication and communion with that spirit, so that the work bypasses the usual aesthetic (and economic) value to express its ethical potential: does this creation do good or harm to the user?

The fourth phase also finds expression in the Objective Art, according to the evaluation parameters of the Armenian master Gurdjieff, according to whom art can be considered as such provided that the artist does not lose sight of the intent throughout the creative act.

Such content/concept is what the viewer will receive as an impression/imprinting. This means that beauty no longer depends on the eye of the beholder, but rather on how much substanceor spirit the artist inoculates/veils in the work. To demonstrate this, a public experiment was made in seven Performances:

"Amid the fallacious appearances, like a thunderbolt, SENSIBLE IS THE CLEAR LIGHT." at Elisarion Cultural Center and Museum, February 2020.

Acentric techne is therefore a modus operandi for delving into creativity without egoic, often repetitive circumferences. Personality constructs need to be reduced to a minimum so that the spirit can use all vehicles: from the most corporeal/earthly to the most immaterial/celestial, without finding obstacles.

"Acentrism leads to the tantra of the one point, essential centrality or osmotic atom; anyone could draw a single point on a canvas, the real question is to be that one point. Reduce to that much to manifest in a minimum of matter the whole spirit."

The ebook Out of the Blue, Yves Klein's Immaterial meets acentrism and subsequent Research and podcasts on the ART OF THE SPIRIT are available (for now in Italian) at

Vertical Blue

"Life is a vertical drop"
- Jean Cocteau

Vital Fulcrum

"All my teachers are dead,
except silence"

– William Stanley Merwin

I - Eye

"When I know your soul, I will paint your eyes"
Amedeo Modigliani

Mother's flowers

"A flower blooms for its own joy"
Oscar Wild


"The limits of my language are the limits of my world"
- Ludwig Wittgenstein

Mya Lurgo

c/o Nellimya Arthouse
via Ur Stradon 11, CH-6994 Aranno (Switzerland)

Mob. +41 79 626 70 38

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