Valentin S. Vârtan

"The Hyperphysical Art
in the works of I.O.S."

(Translated in english by S. V. Andrew)

I was exposed to his work more than 20 years ago ... back when the teachings he received at the Faculty of Art in Timisoara were still fresh in his memory. He was showcasing a few works that drew my attention at the U.A.P. exhibits in Arad and Timisoara ...

Because he had a special gift to flirt with the metaphysical labyrinths, after 1994 I introduced him to some esoterical methods of approaching things, from a more unconventional perspective.

He was finally a "spoilt child within the labyrinths of the Solomonary School" where he had the chance to study the pytagorical way of thinking, as well as the Rosicrucian way. This is the reason why our friend, I.O.S. (known as Bibi) has a formed eye for the invisible side of things, specific of the Hyperphysical Worlds.

As a result of his experiments on the realms of the visual arts, he has already been acknowledged the title of "Master-Craftsman-Painter" in our School. This title has not been acknowledged by us since Stefan Luchian. Bibi is a hermeneut that knows how to alchemise his Art even in the Metaphysical Spaces. (The story with the "craftsman" i picked up from the illustrious poet Serban Foarta, that made some references to Bibi's hyperphysical art in the January 2011 issue of the "Arca" Magazine.)

The Artist starts off from a lesser known truth to some, that in the Metaphysical Worlds, the Matrix of all Beginnings is Light. In his opinion Light embeds itself in the Eter as it goes past "obstacles" in its path. Upon doing so, it eaves a trail in it, not unlike a boat leaves a trail on the sea even after the eye cannot see it over the horizon. A carefully educated eye can observe the projection of the Things from the Real world using these "imprints", or these apparently invisible effigies.

This definition is well sketched out in his work "From Divine to Eternal 1" (700x100cm), dated 2000, that we reproduce below :

"From Divine to Eternal 1"
(700x100 cm) [2000]

In 2008, I.O.S. goes through a small curve in his experiments, as he tries to dilute the asperities that fundamentally separate the Physical World from the Subtle Ones. See "One Line" [2008]

He draws "Trinity 2", "Trinity 3", "Decantation", "Atziluth". I reproduce here only "Trinity 3", that, according to the author at the time it was completed "did not condense" like he would have desired. Now it's a good time to offer his some consolation with the generally valid argument that no one managed to "weld" the Principles of the Subtle with the Principles of the Physical.

My personal opinion on the work however is that it is a remarkable piece.

Beyond Destiny, or a predictable Physical Death, even from a particular sense of the definition of Sin, there is a permanent Dialogue with the Divine in each Man. Even in moments of vibrational living, moments of savouring earthly emotions this dialogue is still present within any human being. Could this harsher, tougher expression of force represent a more puritan side of Bibi, a side that we, his friends are denied access to ?

"Trinity 3"

Due to the fact that in the Hyperphysical world the notion of time itself has a different Scale, i move this comment to the year 2006, in the so called Past, to argument how the 2006 Curbure occurred in the work of the Artist.

Roughly during that time, the fever of Miracle hunters in the area of those that are looking for explanations in the dead ends of Ocultism has reached its climax. Bibi will notice this element, as he searches for key definitions to explain this degradation of the Human Spirit in the geographical area where the artist lives.

I.O.S. opens the theme of the illusions that make up the matrix background of such quests with "7 Planetary Components" [2006] or "The Guide" [2006]. The works are exhibited in two cities in Romania and Hungary, where art students are impressed by the new manner in which philosophical experiences can be materialised.

"7 Planetary Components"

If we were to count the number of spheres present here, we would discover 2 more on gray background . This can lead us to believe that the Artist is not trying to approach the theme of the 7 planetary Components by providing us with an enumeration of spheres, representing planets. There are indeed 9 spheres in the picture, connected by Moira's invisible Threads, that explains a more subtle interpretation of the artistic pretext, leading us on a winded road to the Sephirots. The link between the latter and the physical planetary universe is more delicate, and this is not the time or the place to approach this subject. What the Artist was trying to hint at was the link that remains when we look towards the Sky, in the prism of the All Encompassing Light, a Law that generates numerous Connections since the very Beginning of the World.

"The guide"

The Artist brings back into discussion through the symbols presented in this work an older story of the Alchemist Philosophers, that proves in the end to be just an artistic pretext of a new analysis of Light itself : the theme of the "Inner Light".

The work relays the artistic message of the closing of dialogue through the presence of the Sun on the Mundi Axis, as well the Egg White, or Albumen. Perhaps in the form of a yolk-less egg ? Perhaps painted ... gold ? What is interesting here is the enumeration of several so called Alchemical Stages, that however brings into discussion the real passing of the stages, in a similar way to the "Mutus Liber" ("The Mute Book"). However, here Bibi turns semi-transparent, and "shadows", using repetition, or the Mantra, two or three symbols that are useful and necessary to the Neophyte on his Path to Knowledge.

By pointing out laws that have a cyclic nature, and putting an emphasis on a Black Sun (thus, Empty !) on both Poles he leads us to believe that a Quest on the Spiritual Realms can begin anywhere ... including from Albrecht Durer, where Geometry has taken the face of Melancholy, and the other way around. After that, placing the Volatile and the suspension of the Light Torus over the symbols of the vitriolic oils warns us that we have no other escape than through Spirit once entered in this Fire circle of Knowledge.

After two years, one can notice the artist leaving behind the problems of the people around him. He is no longer captivated by the memories of the Past or the Present. He is returning to his favourite preoccupation : studying and approaching the fundamentals and the Matrices. The title of the work itself reminds us of a diagram in the "Opus mago-cabalisticum" (Frankfurt, 1719), written by Gregorius Aglus Sallwight, known as von Welling.

While in his work, von welling was sketching the the Celestial Hierarchies, being inspired most likely by an apocrifical work, Bibi borrows the same theme, but with a different goal in mind. First of all, he is reproducing the number of the spheres and the Divisions of the Worlds. Then he highlights the warrior nature of humanity by using a vigorous shade of red inside the bounds of that square. He then projects the Worlds into this square. The he translates the Three Alchemical elements (Salt, Sulphur and Mercury) along a horizontal axis, thus obtaining a double Vesica Pisces.

The idea has to be punctuated, as this unusual representation is also a prophecy resulting from the motion of the Artist's hand. Being almost a Revelation on a Spiritual realm, resulting from pure artistic movement, i stopped on this subject intentionally. The idea behind this is that the Physical world becomes, through a translation movement, a luciferian colony where even the Celestial Worlds are reproduced with astonishing fidelity, making the return of Man to the divine impossible. This is a controversial subject even among occult researchers, that brings into discussion the First Consequence of the Cause and Effect Law (the Defect).

"Suma Mundi"

The debates from those years (2006-2008) still go on.

The phenomenology of the Defect, as a possible Dead End of History derives from a theoretisation of the Eight Vibration, remnant in the Adamic Man, that is present in its unaltered state at the birth of each individual through what is called the Sotona Frequency. It is known that musicians are avoiding the so called "wolf's quintet" to avoid the defects caused by the laminar flow of the aesthetic (musical) phenomenon.

"Alternative Reality"
(Motor no 1), 70x100 cm,
pencil drawing, 2010

The Spectacularity of the seven motors becomes balanced through proportion and ingenuity, and then through colour and narrative meticulosity, a well crafted artifice aimed to seduce and expose the viewer into the Logic and Principles of systems based on the Harmony of Celestial Colours.

Anyone can remark the absence of motors no 2 and 6, that - in the Artists view - can supply lements responsible for this Frequency Disharmony. In this way the Artist himself respects the Universal legality of the Aesthetics, explicitly avoiding any symbol that would encourage the syncopate nature of our Physical World Existance.

This pure speech - from an artistic point of view - of the "Art for Art" ideal might me perceived by others as something useless, especially during our days. In a world of "Physical Living", the ideals of truly Spiritual Experiences, under an Aesthetical Nature is something completely inconceivable, even gratuitous.

Reopening the Philosophical Alternative of Subjective Idealism, in a world in which Materialism sits face to face with Objective Idealism (present in many religious movements) seems something unnatural, broken from the historical context of the world we are living in.

I.O.S. (alias Bibi) manages to persuade us that a New Perspective exists in each one of us. We just have to close the Communication channels with the Exterior, and focus on those channels that let us connect with the Mind's Eye. An honest, manly challenge brought by Bibi, from the Hyperphysical Realm.

"Alternative Reality"
(Motor no 7), 70x100 cm,
pencil drawing, 2010