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Neoillusionism is concerned with a unitative vision.  An artistic vision that sees humanity as a whole and sees the production of art as a celebration of the human spirit in the Divine.  It is the world’s vision.  Its main form is gathering and orchestration of symbols and allegories and metaphors in order to encapsulate the Divine in any given way.  Its representation is in the artist themselves who must be the prime cauldron for the crucibles of these assemblages.  The Neoillusionist is spiritual both in the intellectual sense and the intuitive sense.  It is the 21st Century sensibility relying on the ancestral lineage of artistic combinations reaching through the ages into the present vision and work in the manifested art of Neoillusion.


Our first inkling of the emergence from the seed of Neoillusion planted long ago but sprouting just in time to ignite an entire region and subsequently the rest of the world is the Art of the Renaissance.  The term Illusionist was first applied to the artist in the meaning that they were the first to render three dimensional representation on a flat surface.  The innovation of the vanishing point was instrumental to the achievement of this.  The works On the Dignity of Man, by Pico Mirandola and On Painting by Leon Baptista Alberti were two of the prime movers in unlocking the growth hidden beneath the seedlings sprouting at this time in the history of the world.  It was an astonishing breakthrough when the audiences were ravished and gratified by these artists who represented the realities seen out there, mirroring them in a piece of art to show the relationship of what life and the living are on a two dimensional plane giving a three dimensional experience.  This is the illusion.  These illusionistic ideas were taken up by all disciplines in the Arts.  (When we say the Arts, we mean Science as well, for there was no such thing as separation of Art and Science at the time and indeed, as it was true then, it is true now, that there truly is no separation between Art and Science.)  That is, in the final presentation, in the final analysis, of all that must be brought to being, the avenue of appearance of the illusion is image.  And image in whatever way that you look at it, however way that you perceive it from whichever angle, it comes to you as a created thing.  An artistic happening.  A thing brought about by the calligraphy of angulation of ideas from whatever discipline in whatever way so that there is no thing that is a thing when it appears that does not come as an image.  And all images are Art.  Here is the true cause: The main conveyer of inner depth and outer display signifying that creation at large brings it about perpetually as an aim to convey that which is hidden in existence for display.  In the Neoillusionist, these innovations and these senses of one’s being are lived and implemented as a spiritual practice; as an ongoing dialogue and manifestation with the created thing that in itself creates.


Now, the word Neoillusion is formed from two words: Neo, which in our definition is not what is new, but that which gives birth to the new perpetually.  The Neo is always about its business bringing forth from the unknown, from the inconceivability, constantly in variations and various manifestations of anamnesis.  Thereby the Neo is always pregnant, always in labor and always giving birth.  Illusion, or Illusionism, in the Hindu sense of the word, means reality itself (Maya).  That is, all that comes to be through the Neo must return back through that channel in perpetual death giving way to that which must also appear so that all that exists is but an Illusion, because what really carries it and what really permanizes it, is the nature that it represents, so that no thing in itself is a thing, but something else that it carries within itself showing the attributes of what it mirrors of the hidden culinaries of looking and perceiving.  So in this way, one can picture the Neoillusionist artist as a pregnant woman in whose business is not the human being per se, but the production of reality, including the human being as it can be perceived in all times.


For instance, the artist Escher is considered to be one of the forerunners of modern Neoillusionists giving us mathematical realities in pictorial vision, pointing us towards hidden laws underlying the manifestation of what Neo brings about.  He, Escher, shows that we are not simply dealing with horizontal perspective in the form of the horizontal vanishing point but we are dealing with also, the vertical perspective which is the spiritual perspective, so that the main tool of a Neoillusionist is the combination of these perspectives forming a cross that is a locator pinpointing to whatever space, from whatever angle, in any multiple dimensions to bring about and reveal the hidden voice of any given appearance.  We say today that no artist is an artist without the perception of Neoillusion.  Neoillusion is the very practice of the new humanism, that is, the practice of the whole thing.  It is a birthright given to us by what has come before and what will come after.  It is a birthright given to us by what is now, and what is here in this moment.  In Neoillusion, there is no such thing as 'unnatural things', for in practicing Neoillusion, all of reality is taken into account.  Both the invisible and the visible, and the imaginal world, and all things in between are considered and brought into play as a formative structure, a grid to harness and coerce out the hidden treasure of the appearance.  It is the depiction and a conveying of the whatness and the whyness of a thing. 

It is the alchemy of the Real.

It is the alchemy of the World’s Vision. 

The mystical appearance of the symbol: circle with a cross inside pinpointing the center; is the place of the invisible being as well as the real place of manifestation and appearance.  It is the experience of perceiving in a spherical manner the reality that contains the entity.  The physical, spiritual and metaphysical structures are the Omega and the Alpha of the work to be done.  In fact, the physical and the spiritual are the same, so that the Alpha and the Omega are just two sides of the same thing, depending on the angle perceived -- 

For instance, a Neoilusionist painter portraying the subject of a painting is not only concerned with the physical representation, but also concerned with the essence of the subject; the spirit of the thing.  That elusive quality that appears there, but is not there, and yet, it is there, because it is the very reason of the appearance.  And so, a Neoillusionist painter paints the hidden by employing the visible.  It is the point that is everywhere and nowhere, the rendering hand of the invisible coming to be of that which never is. 

The secret tool that is the main ingredient in this concoction is the Neoillusionist themselves, being a vibratory chamber for the vibrations of sealed concern to form the vibration of revealed and desirable concern so that in the pure physical rendering of a subject, the concern is essence.  Essence is the goal of the Art, the Way, the Meaning, that is, the Musicality of Being that is the Neoillusionist.  To be a Neoillusionist, therefore, one must have true knowledge and understanding of the psychology of the subject; that is, the Neoillusionist is a perpetual student of the creation.  Always nurturing themselves with the extensive knowledge and understanding that is necessary for the carrying out of the work.  From this perspective, the Neoillusionist is the most fortunate artist of all times because in this conjunction, in this convergence, front, back, side to side, bottom and top manipulations are playthings of the field. 

Here, devotion is the practice and the proclamation is that you have a calling.  A calling not unlike the callings of prophets, saints, and visionaries of religious orders and other disciplines.  This calling is nothing less than the Prophetic Calling that all 21st Century artists are incumbent to follow.  It is the 21st Century calling.  A concern for the resurrection and innovation of Sacred Art.  Sacred in the sense that all life and all appearances are sacred. 

There is nothing outside The Circle. All is contained within, and all must be looked at, felt, assimilated, and projected as a combinative, unitative focus of the appearance.  The Neoillusionist eye is trained in and on the archetypal patterns that underlie all structures. 

It is the excavation of the hidden vocabularies which are inherent in the vital force or forces that carry the Reality.   It is that formation in which brings to be hereto unheard of appearances and innovations in such a way that what is created with this rich inheritance is a complete entity in and of itself which comes in such a way that the world has never seen, it is the creation of the Icon.  The new image.  That which says, ‘I am the Age.’  


The mythology of its way, the underlying philosophy, the underlying idea of the Neoillusionist is to confront and be the actual map, the language of God, that which we already are; the creation of life in which the structure of life rests upon.  To do this, the Neoillusionist focuses directly on nature itself.  (What we mean by nature is everything and every act that could possibly come from the impossibility of the impossible (life) in the inconceivability of the inconceivable (appearance).)  As mythology is not created, but already is, like a song that is known and instinctively sung, it is the language of this song of nature, of life, of mythology which the Neoillusionist seeks to know and represent in image form.  The Neoillusionist seeks to hold a mirror to nature.  This mirror is the mirror of Multiple Perspective Fragmentation (MPF), the vantage point of Neoillusionism.


Neoillusionism is concerned simultaneously with the deconstruction and reconstruction of a thing.  For to find unicity in the act of the deconstruction of a thing in order to recreate it from the many parts, is to make something conceivably present after it had just at the same time been something completely inconceivable.  To take the thing apart and reassemble it in such a way that the true nature of it becomes visible and conceivable is to know that the true standing is a firmness rooted in inconceivability.  It is what is, just before conceivability appears.  Before it appears, the firm knowing is inconceivability, so that the Neoillusionist is standing and not standing at the same time.   This is the root of its firmness.  When we say this, we mean the concretization of I Am and I Am Not.  For what is, is also passing, thereby being what is not and this is on the foundation that all doings and beings rest whether it is acknowledged or not.  So when we say the standing of the Neoillusionist is in the firmness of this, we mean the very nature of firmness is impermanence and impermanence relies on permanence for its appearance, making it so that what appears, appears as a going and a coming.  The face of Reality.  The true sense of what we have come to know as permanence so that the practice of art in this new age is a practice of True Reality, not portrayed on a two dimensional surface only, but portrayed and seen from every dimensional surface in whatever conceivability could be received.  So that this Reality as we know it is a reality that is completely advertised in the Divine and the Divinity is all there is.  So that the new humanism of art is the portrait of this Divinity.

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