Extasium to Kalioscope
Alain Gabriel obtains his degree in architecture at the School of Fine
Arts of Paris in 1971.The reality of the architecture, discovered by
having worked in many agencies to pay for his studies, not meeting his
expectations, he exiles himself in Brazil in 1973 in São-Paulo, where
he becomes an art dealer.
He organizes silkscreen and lithography exhibitions in several cities
under the aegis of the Alliance Française. The works he presented
proposed a wide range of artists, but those who had most success and
what he appreciated because of his architect's training, proceeded of
the fashionable geometrical current at that time. More particularly, he
was touched by the relief balls of Vasarely.
He did not have the commercial fiber and wanted to live free.
Encouraged by the French-Brazilian painter, Eduardo Delhomme, he
thought that to paint paintings in the manner of Vasarely — what seemed
to him in his reach— could allow him to make a living without the
stress of the office,
without boss and in a pleasant way. Yet, from the first painting,
realized with house paint in Rio, he felt an artistic force pushing him
straight. This picture announced all the unpredictable continuation at
this moment, especially the link with the music.
Aware of having to find a personal expression, Alain Gabriel
understands that to reach there, he will have to paint a lot.
His first exhibition in São-Paulo, at the end of 1974, was a great
success which encouraged him to continue on this path. But, it was the
only one who had such a success and after several disappointments he
returned to Paris.
He sublet a room which he transformed into workshop at a friend's
ex-electronics engineer who told him one day that this technique could
allow him to animate a painting. This suggestion appealed to him, which
gave him a night of insomnia during which he discovered the principle
allowing him to make "live" a painting by music.
The first painting of this type — called « Symphonie
Spatiale »— is painted on a translucent surface arranged in front
of a flat box containing a second composition of small lamps colored
one by one and animated by commercially available kit electronic
modules. He immediately gets a big hit. Fascinated by this original
work of art so captivating, a princess of Saudi Arabia buys it
Encouraged beautifully and his new paintings finding many buyers
outside the world of art, Alain Gabriel seeks to make his works more
captivating. Commercial kits prove insufficient, he strives to improve
the process. His meeting with an electronics engineer, very famous for
his competence is determining. Together, they create an electronic
modular system allowing to transform paintings into ballets of light.
We've been talking for a long time about hypothetical links between
music and painting—that is the light— and by means of experiments and
observations of its visitors, the artist discovers a special
relationship between music, light and electronics. Now, electronics
being pure logic, Alain Gabriel had the intuition or inspiration that
pushing this logic to the extreme, he must be able to realize a picture
more captivating than any other form of show.
He discovered the basic drawing of this work on October 27, 1981, his
From then on, strange phenomena began to occur. Among others, the
artist began to perceive numerous Visions which had nothing in common
with "religious trinkets". Most of them were geometric shapes that he
thought it was destined for the painting he was looking for. But,
reproducing them, he realized that if they corresponded well some
times, many had no obvious relation.
Another phenomenon, visitors, after contemplating the painting, sang
songs — far removed from terrestrial melodies— without any preparation
or influence of any belief. A group was made which received the name
"Dream Maker" after the name of a painting of 1981. Around thirty
people of any origins sang these magnificent songs without being able
to identify the least criteria to participate. It was enough to want
and to persevere, but without it is sufficient. After singing while
uttering sounds that we are unable to produce in normal times,
everything is forgotten and it is impossible to remember anything.
Since its beginnings in 1984 his contemplative and vocal phenomenon of
the painting continues, but Alain Gabriel remains to this day the only
Wishing to make known these strange songs with the sound as close as
possible to the natural sound, Alain Gabriel was forced to attack the
acoustics of the room, besides the sound system reproducing the music.
Create a recording studio for voices traveling in the same space
which has to become an auditorium, it was like squaring the circle. It
never happens, the many problems to be solved being too much
complicated. To these difficulties was added the very complex
realization of the painting.
The contemplation of the painting in the acoustic setting of the room
provoked a very powerful and fast sensation of deep well-being and
That's why we called this installation EXTASIUM.
During several years, the artist discovered numerous light effects
which he could not assemble. By rereading an old text, he found many
analogies there and realized that it contained the plan of the
structure of this well hidden picture. To make it appear it needed a
decryption key and he had found it with the relation painting (light)
This book is the Book of John's Apocalypse, the last one of the Bible.
This proves that the mystery of this text— very obscure and
misunderstood—written nearly two thousand years ago, could only be
pierced at our time.
Most people are afraid of this word meaning for them wars and
destructions, yet apocalypse means in Greek revelation. What a
revelation to announce cataclysms when there have always been? The
revelation is elsewhere.
In the Middle Ages, the monks who wondered about the meaning of this
text written by John under the dictation of an angel speaking in the
name of Jesus who himself speaks in the name of God— as it is written
in the preamble — thought that the Heavenly Jerusalem announced at
the end as descending from the sky, can not be a city because of its
dimensions given in the book, they hypothesized that it could be the
Paradise Gate. But, a celestial paradise.
Yet the so beneficial sensations produced by this painting and its
music in its acoustic setting is something that makes you think a lot.
Thirty-seven years of research and ninety-three versions of Extasium
have been necessary to finally complete this project, which is so
difficult to finalize. A research done without any financial help, but,
curiously, the funds needed for this quest have always arrived at the
This kind of psycho-visual-acoustic machinery that is the Extasium is a
cosmic connector intended for the greatest number. Its power is
exceptional. It allows to reach the highest levels of consciousness
easily, quickly and very pleasantly.
We feel an intense sensation of well-being, an incomparable enjoyment
moving from head to foot.
The daily observation of this phenomenon has shown that the sound of
this unique acoustic space acting on the cranial box excites a center
of the brain: the pleasure center, which says a lot about the felt
effects. We discover an internal look situated on the back of the skull
contemplating a ball of bright energy in perpetual transformation, as
if the neurons were illuminating.
We feel fun internal, hot and cold fire at the same time. We have the
sensation of meeting the divine particle that inhabits us.
A sensation that exceeds all others
If the secret hidden in the text of the Apocalypse essentially concerns
the visual part, Alain Gabriel discovered the secret in the secret With
this invisible sculpture of the sound which we call acoustic and who
has such a great acting action.
It is not evoked in the text, but if it's good The Gate of Paradise,it
becomes obvious that the sound that accompanies it must be paradisiac.
It is this obvious fact which supported the artist in his long quest.
Unfortunately, this room cannot be transported. It is currently
reserved for its creator who took the precaution of taking all the
plans to replicate elsewhere. Maybe one day it can settle down in
public places, but in the meantime it is reserved for "the Powerful of
the Earth » as it is written towards the end of the Book.
Fortunately, the visual part can now be freed from the place and make a
wide public of his beneficial effects benefit. The painting whose
Extasium is the case, « The Door of Ecstasy », is filmed when
it is animated by the music of Dream Maker. The songs are recorded
beforehand and then "dressed" with synths. The resulting visual is
reworked on a computer with light brushes using various software to
complete the search for "The Gate of Paradise" in the form of short
films of musical animation.
It becomes the first virtual and ephemeral painting, electronic and
digital at the same time, the magic painting that sings and dances, the