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.

Frequently asked questions

What was VESA proposing?

That art might do more than decorate, impress or speculate. It might heal, regulate, and become a feedback loop between the body, the machine and the imagination, which is a considerably larger claim than the one usually made for digital work.

What is Artevo?

VESA's own process, refined over 14 years, built from oil portraiture, body painting, photography, nature imagery and digital layering. It had long occupied an uneasy place in the traditional art world, which is part of why the digital original mattered to him.

Where does the geometry come from?

It comes from Omnigeometry, the project of Sakari, an engineer, programmer and mathematician whose route into geometric abstraction did not begin in art. The visual dimension of the piece drew heavily on that software rather than on hand-composed imagery.

About the event

This recap is part of the Biohacker Summit 2022 Helsinki series, recorded in Helsinki on 3 and 4 June 2022. Read the summary of the whole event or join the next edition, HOLOLIFE Summit 2026 Amsterdam, on 14 and 15 November 2026.