Philosophy
[ 1445-1517 ]
Italian mathematician
(In the beginning, there is not a point, but motion. The spiral is the soul of form, the breath of life, and the harmony of the universe. Through the spiral, the divine grows, blossoms, and reveals itself in all of creation.)
“In principio non est punctum, sed motus. Spira est anima formæ, spiritus vitæ et harmonia universi. Per spiram crescit, florescit, et se manifestat divinitas in omni creatione.”
Fra Luca Bartolomeo de Pacioli
*De Divina Proportione by Luca Pacioli, illustration by leonardo da vinci, 1497
All that liveth is begotten of motion.
Divine beauty, made known through sacred proportion,
Not from a point, but from impulse — from breath, from the first trembling gesture of becoming.
Out of stillness is form made manifest;
and the paper, like unto the skin of time,
doth reveal not that which is fashioned,
but that which once was — and was forgotten.
Out of stillness is form made manifest;
and the paper, like unto the skin of time,
doth reveal not that which is fashioned,
but that which once was — and was forgotten.
lies sealed within all things created,
awaiting but remembrance.
awaiting but remembrance.
[ The Sacred Spiral ]
Spira divina
*Ancestral Puebloans, circa 600–1300 AD
The spiral is breath, it is growth, it is unfolding.
In every drawing by the artist, the line moves along a path not guided by the hand,
but by the body of nature itself—
as if the paper remembers how a leaf grows,
how a bud unfolds,
how a galaxy spins gracefully around its axis.
In every drawing by the artist, the line moves along a path not guided by the hand,
but by the body of nature itself—
as if the paper remembers how a leaf grows,
how a bud unfolds,
how a galaxy spins gracefully around its axis.
The spiral stands as one of the foremost sacred forms in geometry, encompassing within itself many fundamental shapes born from—and aligned with—the Golden Ratio, as interpreted by Fibonacci and Pythagoras.
Like a seed—the initial point—it generates movement outward from the center and back again, creating countless energetic vortices that never close nor cease their flow.
The spiral is the very expression of living geometry, dynamic and unfolding. While shapes such as the dodecahedron or the circle serve as structural foundations, the spiral is movement through and beyond these forms. It bridges stillness and motion, matter and spirit.
For this reason, many traditions of sacred geometry regard the spiral as the highest symbol of life and the Divine design. it is not merely a symbol, but a gateway into the perception of the world—a language of form and rhythm.
Since ancient times, it has been found across the Earth—from Europe to the Americas, from Asia to Brazil—emerging beyond the bounds of culture, religion, or era.
Like a seed—the initial point—it generates movement outward from the center and back again, creating countless energetic vortices that never close nor cease their flow.
The spiral is the very expression of living geometry, dynamic and unfolding. While shapes such as the dodecahedron or the circle serve as structural foundations, the spiral is movement through and beyond these forms. It bridges stillness and motion, matter and spirit.
For this reason, many traditions of sacred geometry regard the spiral as the highest symbol of life and the Divine design. it is not merely a symbol, but a gateway into the perception of the world—a language of form and rhythm.
Since ancient times, it has been found across the Earth—from Europe to the Americas, from Asia to Brazil—emerging beyond the bounds of culture, religion, or era.
[ 1445-1517 ]
Italian mathematician
“…the universe is written in mathematical language…The order induces harmony and beauty; the beauty is the right and the right is generated by God. The Universe is organically organised; the law that organises it is proportionality. The proportion is not only geometric figure or quantitative ratio: it is Divine Proportion, because the world was created by God.”
Fra Luca Bartolomeo de Pacioli
[ The GOLDEN RATIO ]
Sectio divina
*φ = (1 + √5) / 2 ≈ 1.6180339887 ILLUSTRATED BY KRISTINA MARIINSKAYA
Proportion is a universal law, inscribed by the Creator—
and the very notion of beauty is inseparable from divine justice.
and the very notion of beauty is inseparable from divine justice.
This belief, expressed by Luca Pacioli, reflects the spirit of the Renaissance: mathematics is the language of God,
through which humanity may glimpse the harmony of creation.
Order, rhythm, and beauty are bound together through proportion, each mirroring the divine design.
In her work, the artist invokes the harmony of the Golden Ratio, guiding the composition through spiraling forms and energetic currents—not to decorate, but to reveal the sacred essence of what is depicted. It is beauty hidden in simplicity, in what has always surrounded us, waiting quietly to be seen.
through which humanity may glimpse the harmony of creation.
Order, rhythm, and beauty are bound together through proportion, each mirroring the divine design.
In her work, the artist invokes the harmony of the Golden Ratio, guiding the composition through spiraling forms and energetic currents—not to decorate, but to reveal the sacred essence of what is depicted. It is beauty hidden in simplicity, in what has always surrounded us, waiting quietly to be seen.
[ autor's technique ]
sfumato
*LIVIO AGRESTI, VILLA D'ESTE, 1568
Veils of Time. Paintings Breathing Light.
These works are not mere images — they are traces of memory returning from the silence of centuries, like breath drawn in a dream. The artist works on aged paper, reminiscent of scrolls preserved in monastic archives — a surface capable of holding not just image, but the sensation of time itself.
The primary technique is sfumato, known in Italian painting for its ability to dissolve form into atmosphere, softening the boundary between object and space. Yet the artist does not confine himself to tradition. He takes sfumato as a foundation and moves beyond it — drawing inspiration from ancient frescoes, faded and partially lost to time. Here, the images are not so much painted as they are revealed — some clearly, others barely emerging, like a secret history that has survived the centuries, now surfacing through a delicate veil.
The pigment is applied dry — it does not sit atop the surface, but seeps into the paper, like a voice pressed into stone. These are not mere depictions, but imprints — a whisper absorbed into the fabric of matter.
There are no harsh lines, no literal forms — only a soft, inner glow that never fades. The light in these works does not illuminate — it remembers. Each image is like a prayer resurfacing from the depths of a forgotten world, when Beauty was still law, and Art was breath itself.
These paintings do not demand to be seen — they remember us. And in that act of remembrance, they return to us something long lost: the rare feeling of a world once whole, where Beauty lived in every dust-lit ray of air.
The primary technique is sfumato, known in Italian painting for its ability to dissolve form into atmosphere, softening the boundary between object and space. Yet the artist does not confine himself to tradition. He takes sfumato as a foundation and moves beyond it — drawing inspiration from ancient frescoes, faded and partially lost to time. Here, the images are not so much painted as they are revealed — some clearly, others barely emerging, like a secret history that has survived the centuries, now surfacing through a delicate veil.
The pigment is applied dry — it does not sit atop the surface, but seeps into the paper, like a voice pressed into stone. These are not mere depictions, but imprints — a whisper absorbed into the fabric of matter.
There are no harsh lines, no literal forms — only a soft, inner glow that never fades. The light in these works does not illuminate — it remembers. Each image is like a prayer resurfacing from the depths of a forgotten world, when Beauty was still law, and Art was breath itself.
These paintings do not demand to be seen — they remember us. And in that act of remembrance, they return to us something long lost: the rare feeling of a world once whole, where Beauty lived in every dust-lit ray of air.
[ inspirational source ]
THE WAY OF THE BEAUTY
*Cases de naturels by L. Le Breton, 1837
In search for the origins of spirituality, in striving for the balance of forces, the artist turns to ancient knowledge that lives and breathes through the ages.
“May Beauty be before me,
may Beauty be behind me,
may Beauty be all around me,
may I become Beauty.”
may Beauty be behind me,
may Beauty be all around me,
may I become Beauty.”
Thus, she touches the wisdom of the Navajo people — one of the oldest Indigenous tribes of the Americas, whose roots run deep into the earth, whose hearts beat in rhythm with nature. Their path is one of depth, of reverence for the Earth, the wind, the stars. And at the very heart of this tradition lives an ancient prayer — The Beauty Way Prayer.
This prayer is more than words. It is the breath of harmony, the voice of the hozhó philosophy, which carries order, well-being, grace, beauty, and peace.
This prayer is more than words. It is the breath of harmony, the voice of the hozhó philosophy, which carries order, well-being, grace, beauty, and peace.
These lines, like the soft call of an ancient wind, like the whisper of ancestors, inspire the artist in her creative work. They become a foundation, a rhythm guiding her hand and soul. Through this prayer, she restores connection — between human and nature, between self and spirit. And each of her creations is a step on the Path of Beauty.
In their tradition, Beauty (hozhó) is not merely an external aesthetic quality, but a reflection of the Universe’s deep harmony — the very light crystallized in every element of existence. Things are not beautiful because they please the eye, but because they stand in right relation to the whole — attuned, balanced, and filled with spirit. What is truly beautiful lives in authentic connection with the world, untouched by imbalance, illness, or harm. That is why the artist captures Beauty as if it were an ancient truth, discovered among the ruins of time. Her work becomes an archaeology of light — uncovering, from the dust of centuries, what humanity has forgotten, but never truly lost.
In their tradition, Beauty (hozhó) is not merely an external aesthetic quality, but a reflection of the Universe’s deep harmony — the very light crystallized in every element of existence. Things are not beautiful because they please the eye, but because they stand in right relation to the whole — attuned, balanced, and filled with spirit. What is truly beautiful lives in authentic connection with the world, untouched by imbalance, illness, or harm. That is why the artist captures Beauty as if it were an ancient truth, discovered among the ruins of time. Her work becomes an archaeology of light — uncovering, from the dust of centuries, what humanity has forgotten, but never truly lost.
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