Friday, March 30, 2018


"Seven should be the divine number of God.", 2017, Oil on Canvas, Nicole Page-Smith

"Charioteer of Delphi. His right hand.", 1928, Photograph, Clarence Kennedy, Detroit 
Institute of Arts Museum

"Recto: Studies of flowing water, with notes", c. 1510-13, Leonardo da Vinci, Royal Collection Trust

"Summer in the Sun", 2017, Photograph, Nicole Page-Smith

"Water is the driving force of all nature." Leonardo da Vinci

Thursday, March 30, 2017


What takes you to Heaven?

Nicole Page-Smith is an Australian born New Zealand artist. Page-Smith's philosophical inquiry into the collective unconscious took her to reading the collective works of Carl Gustave Jung. Jung's philosophical inquiry ranged from both the physical practice of studying patients through dream analysis and psychoanalytic research. Page-Smith endeavored to participate to a contemporary understanding of philosophy with her own research project, art practice and collective art writing. Research took Jung on a collective process of discovering the brains activity. Page-Smith does conclude we can understand through the graced history of art, what motivates the human being. In Nicole Page-Smith's personal research and art practice making, Page-Smith, discovered from the early antiquities through to the present day, every race nominated in history explores the same notions of the spirit of god. Art is a spiritual concern to endeavor. The collective unconscious and subconscious collect information as artists study, walk along the street, read a book or dream. The gracing of the spirit takes the graced wings of artists higher to a plateau where, they find Heaven.

Therefore, "What takes you to Heaven?" is the name of the research project, Nicole Page-Smith, wishes to contribute. The sway and emotion of music takes your soul, soaring on a journey, skyward to the heavenly angels to grace your ears. Art and nature are by no means second place and the gods inform your spirit of what your heart holds in Heaven. Literature and philosophy, encourage the intellectual contributing dialogue of the day with the artists, writers and theorists and so forth, who predominate. Nicole Page-Smith has already attended residencies in London, Frankfurt and Vienna to visit participating exhibitions of catalogued note and explore thoroughly collections of major museums, over a three month period. Current philosophy would take Nicole Page-Smith through the collections of reference and library, for contribution.


Nicole Page-Smith was born in Adelaide, Australia, in 1967. Moving to Victoria, Southeast Australia, in her early childhood, Nicole Page-Smith, matriculated from, The Geelong College, in 1984. Page-Smith furthered her studies in Melbourne, Australia, first attending a technical college for a university entry certificate in 1985, to then, complete a three year, Bachelor of Arts, degree course, at RMIT (Royal Melbourne Institute of Technology) University, School of Art, in 1988. From 1988 to this current day, Nicole Page-Smith has exhibited regularly as a professional artist. Through, Nicole Page-Smith's Melbourne, Australian, career success as a fashionable, contemporary, artist, the Geelong Gallery, invited Page-Smith to be included in a group exhibition called "Through Women's Eyes". Melbourne exhibitions included both commercial and public museum spaces. Nicole Page-Smith's first reviewed, solo show occurred, in 1990, showing in Melbourne, Australia, with an American, Australian and New Zealand, artist stable.

Another, successful, solo, exhibition was established in 1993. A recent acquisition show at MUMA (Monash University of Art), Melbourne, was to follow, in 1994. Other, Australian, exhibition highlights, included, exhibiting at Heide MoMA (Museum of Modern Art), Sculpture Park, in Melbourne, Australia, in 1991 and a Sydney, group show, at Ivan Dougherty Gallery, in 1993. Joy Hester and Tony Tuckson were a prominent influence of Australian art to Page-Smith with her early abstract painting and drawing style. Another artist of influence to the spiritual work of Nicole Page-Smith was the Scottish/Australian artist, Ian Fairweather. Early, art school trips and following tours, to the National Gallery of Australia, in Canberra, Australia, allowed direct access to the works of Tony Tuckson, Ian Fairweather, Arthur Boyd and European names such as Brancusi, along with the American artists, Jackson Pollock and Louise Bourgeois. 

Melbourne, also, contributed to Page-Smith's Melbourne work with prominent exhibitions at the National Gallery of Victoria, of Rembrandt through to Louise Bourgeois. Nicole Page-Smith's early sculpture style was very much influenced by the female American artists, Eva Hesse and Louise Bourgeois. Page-Smith sculpture is in donation of an exhibition at the Museum of Contemporary Art Australia (MCA), Sydney and contribution was attributed to in the late nineties. Private collection was well established in Sydney and Melbourne for the duration of Nicole Page-Smith's nineties, private practice, in Melbourne. 

During the nineties to her departure to New Zealand, in late 2000, Nicole Page-Smith held a private artist's studio, only to reestablish her private practice in Dunedin, New Zealand, where, Page-Smith, currently holds a gallery workshop. Success has bore fruitful reward to Nicole Page-Smith's private scholarly practice with regular travel experience and residencies throughout Europe, in London, UK, Vienna, Austria and Frankfurt, Germany. Nicole Page-Smith has always looked widely at the history of art from Classical themes through to the current day, contemporary art. So, much rewarded, international, catalogued, exhibitions of reference have been of major influence to Page-Smith's genre. Nicole Page-Smith is still in current practice of reward, residing in New Zealand.


Sunday, November 6, 2016

Sculptures in stone reflect our light

Nicole Page-Smith

Sculptures in stone reflect our light

In conical models of the whole Heaven nature appears to exist on Earth. Heaven and Hell are here amongst us with most ancient literature referring to a local environment of their natural surrounds. For example, a conical view in Virgil's day existed on the seven hills, of Rome. Dante, on the other hand was talking about life on the streets of Florence. Florence was home to a big intellectual centre during the Renaissance. In illustrations by Sandro Botticelli, from Dante's "Paradiso II" c. 1490, the conical model shows Beatrice, apparently, explaining the nature of the heavens or a Platonic view governed by a divine circle. The paintings of Sandro Botticelli, suggests similar humanist narrative. A whole heaven does appear to exist on earth with Botticelli's "Primavera" and "The Birth of Venus". The nature of the planets on food Tuscany provides does still appear to reside in a Renaissance understanding. Botticelli's "The Birth of Venus", does suggest a certain biblical understanding from Virgil's day of the planting season under a required moon. Planets, astronomy and divine geometry were the algebra, of the day and very much the concern of intellectuals. Sandro Botticelli's painting was also, written about by Leon Battista Alberti, in his treatise, "On Painting". A conical view suggests there, is an elevation and a progressive view, up and down. Dante talks of a passage to the centre of the Earth while, astronomers looked at the heavens and the patterns in the sky. Obviously, Renaissance, Florence, was a Heaven on Earth, with all one town could provide, certain intellectuals while, Rome, on the other hand, had the seven hills.


Antonello da Messina used a conical view of perspective and the dimensions of the face with an algebraic equation to bless Christ. This can be understood with the idea of how we view the light of God or what we see in the mirror. Perspective had to be equated mathematically and various models were being used from the early pre Christian times of Hellenistic literature, up to the Renaissance. We all equal Pi and so does God, this is the equation. Mathematically, philosophers and astronomers of old, used the sky. Star patterns, the planetary movements and our Earth's position in the Solar System were all placed there, in the Universe for us to observe nature, in the sky. Heaven was the equation. The notion of the perspective being equated mathematically would appear strange to our knowing, today. Nature was the two dimensional experience to be enjoyed in the Italian Renaissance and at this time a division in the sciences was established. Academic training using natural models would allow for an equation of nature but not the truth. In early Greek and Roman times politics had to be separated from philosophy. Men of letters were used much later in the 18th Century. A reintroduction of arts and sciences were also addressed for medical reasons during the next two hundred years that followed throughout Europe. There has been so much thinking and philosophy toward two-dimensional artworks, we now understand perspective but we are no further advanced in the understanding of God equalling our face. God bless. 

To see the face of a god, we do need to see the illusion of the light play on a three dimensional object like stone or bronze metal. The comprehension of the light of the seven heavens of the world does take you to a notion of nature and the void, where we find Heaven. Therefore, the reflection of the planets does describe the nature of the gods. A reflection of the gods on our body does involve the sections of our body relating to the star patterns in the sky or zodiacs of the seasons. Every section of the body is affected by positions of the planets and the seasons. We are slightly consciously aware of the affect the seasons do have on our body by needing various seasonal foods for health benefits. With the laws of perspective and how we view a spherical object like the Sun, the moon, a map of the Earth on a globe and the face etcetera, does give a view of where God is reflected because of the curvature of the back of the retina of the eye where light is reflected. Why we are aware of the light of the Sun is because of the distance the Sun is from the Earth and how long it takes for light to travel or the speed of light by the distance ratio or the speed of sound. The speed light takes to travel from the Sun gives us a heavenly view of spherical nature and the conical view of Heaven, nature verse the void. We assume the spherical circle of the highest Heaven to equal the Sun.

If by assuming nature over the void we look at the conical reflection of the highest Heaven, do we experience Hell? Certain models of the indication of how the Earth travels around the Sun do not make a lot of sense in atomic theory and hence, the varying of opinion with atomic theorists. If we then, consider literature of the time of Dante's Divine Comedy, we would get to an understanding of why Dante wrote such a book and why Dante inspired so many artists and writers to follow, especially in Renaissance, Italy. Dante would have been inspired by the genre of literature and current thinking of religious order, familiar to Dante, in the Florence surrounding Dante, unfamiliar to us today, some seven hundred years on. However, although Hellenistic literature was written and Hellenistic philosophy was contributed to some three hundred years before the birth of Christ, the beautiful contributions of translation appearing in books read in the 21st Century of Early Greek and Roman poetry, verse and philosophy seem as relevant as if written, yesterday. Theorists talk of a divinely inspired notion of nature as though we were just in the garden smelling a similar species of flowers. The reflection of Heaven is therefore, the void and a conical view of the infinite space on the opposite side of the Sun or its divine reflection. So, why do we contemplate the void in reflection of the Sun? We contemplate Hell or the ground we walk on.

When the ground is cold and iced over with snow, there is a need to contemplate warmer places. Hell is usually associated with a fiery pit and burning hellfire, situated somewhere in the middle of the Earth, if you are Evil, with the Sin you commit, to take you further and further, down, into the seventh circle that girds the abyss, of Hell. The conical view of Hell is again the equation of nature over the void. If Hell is the ground we walk on, the ground is usually uncomfortable in both extremes of temperature, hot and cold. We are the nature of the valley, Heaven and Hell, the reflection of a mountain on a lake. Atoms fill the void. The notion of the highest Heaven being from where we stand through the centre of the Earth, to the centre and then, out, through to the other side, would make the exit point Hell, again, so, then we are in circulation of the moon, the stars and the Sun, with the planetary orbs being of service for the circulation of Heaven. Heaven would therefore, be including the orbit of the three planets closest to the Sun, with a rotation of our moon. Spherical orbits help us spin on an axis with the force of gravity but we are pulled towards the allure of Heaven and the warmth of the Sun, with a similar gravity. We are of the highest Heaven.

You imagine with the harmony of nature, your mind would expand as we slowly move upwards towards the highest heavens of contemplation. Our Spirit too, in elevation, must absorb divine light. On the earthly plateau, thinking can take your mind soaring through, the  ether and acquire atoms such as water, air, fire and earth, to expand our understanding of the world. A Platonic model could be put in place. Snowflakes come drifting down from the sky to greet us with symmetry and crystals grow with the accumulation of water droplets. Harmony is the beauty of nature. Perfect harmony is asymmetry. The right side of your face varies slightly from the left and this would explain the cycles of the Earth being in slight variant of the seasonal Sun. A Platonic geocentric model and heliocentric models, do describe the variation of the seven spherical orbs and the journey of the Earth around the Sun. Are we in shadow of the Sun? Divine geometry takes us back to nature and ourselves. Our mind must be a microcosm of the macrocosm as a model of the Universe. We all live in divine harmony of ourselves.

If God were to represent the face and there are plenty of representations of former gods in art, there would have to be divine harmony in the face. Our skull is supposed to represent the Universe in a macrocosm or finite state. So, how is the infinite understanding of God reached? A model of the senses was an original translation of where the gods live in your brain. The orbs of the brain give your mind access to the planets of worth. Animal senses were given to us in the garden. A divine understanding of where the planets are placed in the Universe would be in replication in the human skull. Divine geometry was required to work out the proportions of the face in the round in early Hellenistic literature and this was by no mean feat. In Early Greece, incredible philosophical equations were reached of the nature of the Universe, reaching mystical equations of God. So, why does God equal Pi? God equals Pi because God equals one, one world, one Universe and this equals us, the human beings, God created. God is the Universe and the human being so, how is this possible? Later equations of God equalled perspective in Italian Renaissance times and this was annotated in the face. God equalled the garden or the face for most Catholic practicing Italians. Divine geometry was worked out scientifically using algebraic equations and Platonic notions of Renaissance humanist philosophy. We use the pentagon and the symbols of the elements; earth, water, air and fire and so forth, use Platonic form as an equation in the round. So, how can our senses equal where the planets are positioned in the Universe and where is the position of the Sun or the centre of the Universe? We are at the centre of the Universe and this is all God was trying to tell us. We do not see the position of the Sun as we are in an ellipse of the Sun, similar to an eclipse or the Sun blocks out the Earth's light sometimes using other planets. So, how does this happen? God only knows, it is the theory of the pentagon.

"Platonic love" was a concept coined by the Italian Renaissance philosopher, Marsilio Ficino. The Sandro Botticelli, painting, "The Birth of Venus", uses a similar revival of Classical themes along with Early Christian, Greek and Roman, philosophy, ideals. Ideas of the highest heavens were tenanted with a Platonic view of idealized love. With the view of our cosmos as it stands, Venus appears to ride a shell into the existence of the picture plane. In looking at Botticelli's, "The Birth of Venus", one appears to experience our arrival on the planet Earth as though God had our existence come into being from the cosmos. One wonders if this is how we arrived to Earth, from planet Venus. There is also a notion of the fixed stars of Heaven. Cosmological models do speak once again of the conical view of the Big Bang theory and we wonder if the Big Bang is talking about a present time or a time long since past. Early Greek, classical elements, symbols of water, air, fire and earth also suggest a conical view, with the symbol of a triangle. Platonic forms also hold molecular structure of the pentagon and forms found in the nature of the senses. Symbols of divine love are rife in Botticelli's paintings and "The Birth of Venus". For example, roses are thrown all over the water as Venus arrives to shore. Neo-Platonic concerns of a Platonic model create an understanding of divine geometry. 

Often, in the history of painting, especially with the history of Italian Renaissance painting, indications are made as symbols to refer to divine geometry. The references in the picture plane are there, not only to guide the eye in one direction or another but, symbols concerned with the humanist philosophy of the day. For example, Antonello da Messina, travelled widely, to several different schools of philosophy, working under Venetian schools of understanding, to accommodate the colour of Giovanni Bellini. Colours of ascension are quite prevalent in Messina's work like the royal Virgin Mary blue, of Bellini's painting of Madonnas. Divine geometry appears to be in process of being and Antonello da Messina's painting subjects appear divinely formed. The powerful image of Antonello da Messina's "Virgin Annunciate", c. 1476, does refer to sacred geometry of a picture plane where, reading the bible, we feel the Virgin is graced by an angel. Christian interpretations of the bible do appear personal and dominated by religion. The shadow predominated Antonello da Messina's, "St. Sebastian" and like the shadow and, the mountain we are left in reverie. Once, again you feel drawn to cosmological concerns of nature and the void equalling Heaven. The heavenly stars shine down on you. Indications and symbols of reference in Antonello da Messina's painting of the Virgin Mary do refer us to the book on her reading plinth as though to refer us to the bible as we are confronted by the Virgin Mary in prayer, possibly in a church, the "Virgin Annunciate". 

How do we see the immortal in art being mortal? We see the reflection of starlight in a face like a Divine pathway. The rising of the nose next to the crevice of the cheeks are reminiscent of valleys and mountains of a landscape along with the reflection of the star maps of old, combining star patterns with three dimensional forms. Jupiter and Venus are somehow gods reflected on Earth in earthly human form while nebulae of star patterns represent the zodiacs. You wonder if the star patterns represent anything human for gods or the encoded patterns, mathematical and encrypted, in the Universe, are simply our instruction plan of nature. Mountains and valleys on your face like drifting passing clouds drift with the shadows. The shadow on a mountain is like the shadow on a face and gradually as the Sun, sets so do the shadows elongate, the valley and the mountain. Natural formed landscape is as complicated as the natural form of a face. Atoms are in shadow as they absorb light and the void is your Heaven. Divine reflection, reflects light and sculptures in stone reflect our light.

The End


Nicole Page-Smith


Saturday, October 29, 2016

We reflect Divine light

Nicole Page-Smith

We reflect Divine light

If we did have a conical view of the Sun that you would experience, if the Sun was at the end of a black hole, this would explain why the Sun is in view and, so small to our eyes in the sky. A conical view could also explain earlier views of heliocentrism where, the Sun was at the centre of the Universe. If the Earth were to circulate as with ideas of a conical pendulum, the Sun could explain the gravitational pull and why the Earth would move anywhere along the passage of a black hole in a rotation. There is an elliptical circle the Earth is nominated in traveling along, on its rotation around the Sun. We have to think of platonic solids, here and why atoms fill volume space. The nature of the elements of water, fire, earth and air are an example of platonic solids and the nature of a pendulum or why a pendulum swings, if say, the Earth was attached to the Sun, with a piece of string. We fill the void. A black hole would experience zero time as black holes are known to contain dark matter and a dust cloud could block out the view of the Sun as with an eclipse. Platonic solids work in a similar fashion and equal Pi. Platonic solids such as the molecular structure of water would encourage the belief of God. If we contemplated the Earth and the amount of water covering the Earth's surface, we have an idea of a model of a platonic solid. We live in the the shadow of the Sun.

When thinking about a platonic solid and equating the sculpture, mentioned in the beginning of this passage, Hygieia, the Ancient Greek, portrait bust, resembling a god or goddess, is it possible to equate the head? In relation to heliocentrism and geocentrism, if the head were our Earth and the centre of the Universe, could we understand a perfect form or divine geometry and place a polygon inside a circle? Would a godly form equal our relationship to Pi? If we measured the diameter of a circle and equated the diameter to the circumference of a circle, would this be our relationship to God? With a worldly view of  the circle, does this give us a comprehensive view of ourselves? In view of a platonic solid and a polygon, you feel the face of human beings fill a certain diameter with the negative spaces to continue a circle. The circle of the face then equals the space to fill a void and equals our divine reflection. God shines down on us like the Sun. Divine forms and divine geometry equal the reflection of a goddess. Birds fly down in poetic flight for an illumination of the wingspan. With our view of birds in flight from ground level, we observe the underbelly of birds, in flight. Here, we are touched by a goddess and brushed with the wings in flight. A reflection of the infinite occurs in the human face, too as we are observed in the light of God. Our gods of worship are at the centre of the Universe, a blessing in the equation of God. We continue to equate Pi and will we ever understand God's reflection? We are members and participants in the void and a reflection in the knowing of understanding expansions of Heaven and Hell. God bless the heavens for understanding our spheres of contemplation.  

In a conical view of the seven heavens or heavenly abode, there is an inclusion of the planets. The planets are positioned accordingly along the seven spheres of Heaven and the conical reverse or Hell where we are denied reflection. We only know of the nominal Universe from the Solar System with which we live and this includes the stars we are aware of as a reflection of the planets. The planets are placed in view of a cone as though they exist in a black hole but this is simply an optical illusion of an ellipse. A Buddhist view of our energy centre suggests your navel is your energy centre and there is a meditative centre connecting us to energy projecting outwards of the centre. This is according to the Christian view. The Christian view suggests if the body were our Universe, the conical view would start at waist height and project upwards and, downwards, to prevent Sin.  Early Christian writers, theorists and philosophers, spoke of heliocentrism and geocentrism including the whole Heaven. The conical view suggested a cone towards the centre of the Earth and another to include spheres of Heaven above Earth and, this is the view of Christ. Ten, however, is the number nominated for the highest heaven and this suggests three spheres of Heaven exist above, Earth, to include the ether or air, fire and, water. Several literary writers speak about the eternal fire, including Virgil and Dante. The eternal fire did include the centre, in anticipation of the Sun. Various heliocentric models, do suggest, the Sun or the Earth, are the centre of the Universe. The orb, the spheres and the Sun suggest our stomach is Venus. We are in reflection of the moon. Each planet, on its orbit, has a connection to the body, with it really being up to the philosophy, of an individual philosopher where, you would find the centre of the Universe, to be. Are we at the centre of the Universe?

One would wonder if there is a fire in the centre of Earth like the Sun and an access to Paradise as suggested by Dante. Philosophers of old suggested the fiery heavens were above Earth and the celestial fire equalled the ether. Light is reflected daily by the Sun but the stars communicate Heaven. Virgil, suggested, the funeral pyre, in the extraordinary passage of Dido and Aeneas, took the eternal love via the fire or their love affair to Heaven, in an eternal union. Funeral pyres for cremation are still used by certain Asian countries for a similar purpose. The eternal fire was to describe humanism theory in Epicurean literature such as Virgil. A Christian view was held in 1st Century philosophy. A central fire would suggest we could be in reflection of the Sun or the Earth could be the centre of the Universe and with a conical view of Heaven, could reflect our central fire. Enlightenment via transcendentalism would suggest we light the whole Universe in prayer. As we live in the whole heavens and the spherical spheres or planets circulate our Solar System, we are enlightened. We have a spiritual concern in dark matter. Atoms float around in the void of infinite space but need impetus to move or be attracted to one another, in the whole Heaven. We are at the centre of our Solar System and provide light. We reflect Divine light.