Art Performance - Luminous Manifestations with VESA, feat. Omnigeometry, Mikko Heikinpoika & Vaskilintu
VESA has been a digital art pioneer for 14 years, after he innovated his own process. He has been full-time in the crypto art and NFT space since 2017. In 2013, his digital art project with actress Veena Malik reached around 300M people, with critical acclaim. The latest venture artcar.io, is seen around events in Dubai. VESA is an art ambassador for Superworld, Sheesha Finance & Varjo VR. His art has been collected by hedge funds, exchanges, CEO's and influencers. Among them are Charles Hoskinson, Charlie Lee, Dr Marwan Al Zarouni, Saeed Al Darmaki, Tone Vays, Willy Woo, and many others.
VESA, a pioneering digital mixed media artist, unveils his innovative "Artevo
Art is escaping the traditional frame to help us find our purpose and connect the totality of life, discovering how much more we have in common as opposed to what separates us.
Summary
- Digital art has transitioned from being perceived as reproducible copies to recognized originals through the adoption of NFT technology and the evolution of the crypto art movement. - Sacred geometry and mediumistic art utilize universal shapes and symbols to harmonize brain frequencies, acting as a healing mechanism and a tool for subconscious communication. - Projects like art-wrapped luxury cars demonstrate how physical assets can be converted into appreciating digital entities with utility in metaverses and virtual gaming environments. - Modern creative expressions aim to bridge the gap between science, spirituality, and biohacking, fostering a holistic approach to understanding the interconnectedness of human experience. - Future artistic developments will incorporate biometric data, such as brain waves and heart rates, to create interactive, synesthetic experiences where the viewer becomes the geometry.
Article
Luminous Manifestations: Digital Art, Sacred Geometry And Biohacking With VESA
A Performance That Tried To Make Art Breathe
At Biohacker Summit 2022 Helsinki, the artist VESA brought to the stage a proposition that felt at once futuristic and ancient: that art might do more than decorate, impress or speculate. It might heal. It might regulate. It might become a feedback loop between the body, the machine and the imagination.
The presentation, titled *Art Performance - Luminous Manifestations with VESA, feat. Omnigeometry, Mikko Heikinpoika & Vaskilintu*, unfolded on Friday, 3 June 2022 in Helsinki, Finland, as a multidisciplinary encounter between digital mixed media, sacred geometry, ceremonial sound and biometric possibility. It was less a conventional talk than a live hypothesis, part performance, part philosophical argument, part prototype for what art may yet become.
“It all ties in with the idea of what art really can do in our lives as some sort of a healing mechanism, but also an excitement mechanism,” VESA said.
The Long Road From Digital Copy To Digital Original
For VESA, a digital art pioneer who has spent 14 years refining his own process, the moment carried the weight of a longer struggle. His practice, which he calls Artevo, had long occupied an uneasy place in the traditional art world. Built from oil portraiture, body painting, photography, nature imagery and digital layering, the work was ambitious and intricate, yet often dismissed because it did not fit the old grammar of originality.
Collectors and institutions asked the same question: where was the physical original?
That, in essence, was the wound NFTs promised to address. VESA described the shift not merely as a technical innovation but as a cultural correction. What had once been treated as infinitely reproducible files could now be recognised as digital originals, authenticated and owned without being forced into the frame of legacy art.
“NFTs really are a liberation of a whole creative class of people,” he said.
It was a line that captured both the evangelical energy and the genuine relief of a generation of digital artists who had worked for years before the infrastructure existed to support them.
Sacred Geometry As A Language Of Harmony
Yet *Luminous Manifestations* was not simply a defence of crypto art. Its deeper ambition lay elsewhere, in the meeting point between geometry, consciousness and meaning.
The visual dimension of the work drew heavily on Omnigeometry, the project of Sakari, an engineer, programmer and mathematician whose path into geometric abstraction began not with code but with visions. He described a period in 2008 when, suspended between sleep and wakefulness, he began seeing “clouds of geometry” hovering before him, patterns that seemed to carry information from somewhere beyond ordinary language.
From that experience grew both a software practice and a metaphysical inquiry. “I believe these patterns describe the language of the cosmos,” Sakari said. “They describe how we are structured and how we are built on an atomical level.”
That belief was echoed and amplified on stage. Geometric forms were discussed not as decorative motifs but as symbolic structures with measurable relationships to number, proportion and frequency. VESA recounted a formative exchange involving Dr Manahel Tabet, the mathematician and quantum physicist, who reportedly identified the equations underlying certain patterns and linked them to harmonising brain frequencies.
In that moment, the old boundary between mysticism and science seemed not to disappear but to become porous.
A Stage Built On Fibonacci And Improvisation
If the ideas were expansive, the making of the piece was startlingly immediate. The performance was assembled with an improvisational looseness that stood in contrast to its mathematical precision. VESA described it as a real-time collaboration, with contributors often learning the specifics of their role only shortly before stepping on stage.
This was not chaos so much as trust. The structure, inspired in part by a Fibonacci spiral stage concept, offered a framework inside which spontaneity could live. Visual geometry, spoken word, ceremonial music and live presence were allowed to converge in the moment rather than be overdetermined in advance.
The soundtrack came from Mikko Heikinpoika, whom VESA described as a ceremonial musician trained at the highest level and engaged in work connecting music, ritual and indigenous knowledge. Vaskilintu and Yogetsu also formed part of the live fabric of the piece, while Sakari’s geometry gave the performance its luminous skeleton.
The result was an artwork that seemed to insist on process over polish, emergence over finality.
Beyond The Gallery, Into The Metaverse
As VESA spoke, another argument took shape: that digital art now possessed not only legitimacy but utility. He pointed to projects in which luxury cars were transformed from depreciating physical assets into appreciating NFT-linked artworks, complete with virtual counterparts inside the Cornerstone Land metaverse. In this model, a car became object, artwork, access pass and game asset all at once.
It was a distinctly Web3 proposition, but not an entirely frivolous one. Beneath the speculative gloss lay a serious challenge to conventional assumptions about ownership, experience and value. Why should art remain trapped on walls if it can move through virtual reality, augmented reality and immersive environments? Why should a static image remain static if it can be layered, animated and inhabited?
VESA, who has been active full-time in crypto art and NFTs since 2017, framed these possibilities as part of a larger emancipation of form. Digital art was escaping the traditional frame, he suggested, and with that escape came new economies, new publics and new spiritual vocabularies.
The Biohacker Turn
That this happened at Biohacker Summit mattered. The event’s ethos gave the project a particular resonance. Here, biohacking was not presented merely as optimisation through data, but as a broader search for wholeness, one in which science, spirituality and aesthetics could coexist.
VESA embraced that opening. He praised the summit’s willingness to let the shamanic, artistic and scientific occupy the same room. In a culture increasingly fractured by political and philosophical polarisation, he argued, art might become a way of holding opposites together: structure and mystery, classicism and romanticism, the measurable and the ineffable.
The language occasionally drifted toward the cosmic, but its emotional core was recognisable. This was a plea against fragmentation. A plea for synthesis.
“We are all born, lead, die and are reborn in a never ending cycle of life,” VESA said during the performance. “Luminous manifestations of energy suspended in space, in form and in spirit.”
The Future In Which The Viewer Becomes The Mandala
The most arresting vision of the session arrived at the end. Temu, speaking alongside VESA, described where the project might go next: toward biometrically responsive art, where brainwaves, breathing and heart rate would directly alter the visual geometry in real time.
This was not framed as gimmickry, but as a new kind of meditative interface. Rather than merely observing a mandala, the viewer would generate it. Rather than consuming an artwork, the participant would enter a reciprocal state with it.
“With biohacking and biometrics, we can turn art into a truly interactive, synesthetic experience where you become the mandala and find your harmonic state,” VESA said.
It was an audacious claim, perhaps even an impossible one. But then audacity was the atmosphere of the room. *Luminous Manifestations* did not present itself as a finished doctrine. VESA openly called it a first iteration, an experiment that would evolve and later be minted in more complete form.
What Biohacker Summit 2022 Helsinki witnessed, then, was not the arrival of a settled future but the sketch of one. A world in which digital originals carry soul as well as scarcity, in which geometry speaks to the subconscious, and in which art no longer hangs apart from life but pulses within it.
Part of Biohacker Summit 2022 Helsinki