Integration. The Return to the Source of Unpolarized Existence.
Boundaries have ceased to exist.
That which sees and that which was seen
have merged into a single vision.
In this silence, Integration begins.
The line between what creates
and what is being created — has vanished.
Everything that once stood on opposite sides of perception
has met in one point of Presence.
I. CONSENT
One enters INACJA through consent.
Consent is not resignation,
but an opening.
It is the moment when the artist perceives two poles:
– the sketch, as the order of the mind,
– and the paint, as the play of ego with the chaos of color.
Between them arises tension,
and with it — the temptation to rescue the sketch or indulge in color.
Only when both intentions are accepted,
when neither pole is rejected,
Inacja appears —
a state of integration through acceptance.
It is not stillness,
but dynamic equilibrium.
Within it, the hand begins to act without plan,
and the edge of the palette knife unites what was divided.
II. TECHNIQUE
In the technique of Orapism,
the sketch is the structure of consciousness —
the first movement of the ordering mind.
Paint is life —
pulsing energy, emotion, unpredictability.
The palette knife — the tool of Inacja —
becomes a medium of reconciliation.
When the paint crosses the line of the sketch,
the ego tries to restrain it, correct it, give it meaning.
Then the Orapist lets go.
The edge begins to carve lines
that no longer belong to intention,
but to the field of unpolarized possibility.
Every movement of the knife
is a choice among infinite trajectories
that already exist —
equally probable, co-present, awaiting.
The hand, guided by the Self,
does not create — it reveals.
It chooses a path from the space
where all lines are true.
The painting does not depict reality.
It is reality —
a vibration of Presence
captured in the color torn by the edge of the knife.
III. FREQUENCY OF EXISTENCE
Every painting in Orapism
is a frequency of existence —
a resonance of the moment
in which body, consciousness, and matter
meet at a single point in time.
It is not a “work of art,”
but a fragment of an energetic field
that can be felt only in the state of Presence.
The viewer does not look at the painting —
they resonate with it.
This resonance is an act of reconnection
with the source of unpolarized existence,
from which all colors emerged
and to which they return —
just as the seven tones of the spectrum return to white.
IV. RETURN
In the world beyond binarity
there is no longer conflict between poles.
There is no ego searching for meaning.
There is only a quiet consent —
that every form is a trace of the One
in the rhythm of endless arising and dissolution.
Orapism does not proclaim the end of art,
but the end of the illusion of choice.
It does not lead to transcendence,
but to pure Presence within the act of creation.
V. THE VOICE OF THE ORAPIST
And now, as you stand before the painting —
let your gaze rest for just a moment.
Do you truly see,
or merely recognize what you already knew?
Does the paint still breathe within you,
or has it become a memory of movement?
Do you allow the painting to see through you,
or do you still try to name
what has long since recognized you?
What trembles within you
when form begins to fade,
and color ceases to mean?
Do you experience the frequency of being,
or follow only the trace it leaves behind?
Do you still feel a difference
between that which sees
and that which is seen?
Or perhaps — in this very moment —
you dissolve together with the painting,
and for an instant
there is no one left who sees.
(Orapism – The Art of Ination, 2025)