The Painting-dress
BÉRANGÈRE MAÏA NATASHA PARIZEAU

 a ten year (November 2001 to November 2011) neo-shamanic 
interdisciplinary art project (prayerformance)

The “Painting dress” is an interdisciplinary artwork (2001-2011) and artistic process interweaving hand sewing offerings, sculpture as prayer, performance art as a tool for social experiment and healing,  as well as my personal account of journeys with entheogen sacraments into the visually intricate spiritual templates and parallel dimensions of divine realms. The “Painting dress” is a cosmological representation of my exploration of divine consciousness imbued with the psycho-spiritual and alchemical processes involved in the creation of a magical object.  The “Painting dress” begins by hand sewing relics of performance art into a sculptural neo-shamanic costume, which is then worn in rituals.  The sacred object is imagined to be a cosmological map in the shape of a bird, which shouldn’t be too heavy to allow the soul’s inter-dimensional and sacred flight.   Elysian states of consciousness can be achieved through entheogenic sacraments.  These altered states of consciousness characterize ancient and contemporary shamanism. According to shamanism expert Mircea Eliade, the first shaman was born from a bird and a woman. The neo-shamanic dress is a sigil, and therefore cannot be sold. The magical dress is worn in rituals. In these rituals, the psychonaut’s immediate spiritual and physical environment, set and setting, are intentionally crafted to create sacred spaces. These sacred spaces allow the psychonaut to penetrate states of ‘poesis’, the moment when life becomes poetry. 
                               "Poetry is sacred.  Like alchemy, poetry associates itself with the primordial creation"
                                                  Andre Breton. Les données fondamentales du Surréalisme

In May 2006, I received my first masters degree in fine arts film, video, and performance art from California College of the Arts in San Francisco, one of the five best art institutions in the United States. The day before my graduation ceremony, I was on 2CB and MDMA, and I saw two fairies. This mystical experience was one of the most beautiful experiences of my life. The interdisciplinary artistic process involved in the creation of the “Painting dress,” as well as my supernatural experiences with fairies represents the revival of the divine feminine spirit through the fairy archetype. I have seen fairies. I am an elemental fairy spirit in a human body. The fairy is a shapeshifter. This archetype is interconnected to divine creativity, cosmic inspiration, psychic abilities, as well as neo-shamanism, the development of ecological consciousness, the exploration and awakening of human consciousness. The fairy archetype is interconnected to the plant and animal kingdom, Mother Earth as a sentient cosmic beings, idealism, and emerging forms of artistic expression, as well as with archaic Water Goddess shamanism, water nymphs and dragon ladies. This interdisciplinary artwork explores the limitlessness of human consciousness. The ability to navigate between worlds is a fundamental element of ancient shamanism, as well as a central aspect of my exploration of consciousness. The essential nature of consciousness is transcendental, ecstatic by nature, nonlinear, and infinite. The “Painting dress” has been worn in the performance art for video "Eclamus bitus credo uin ubsurdum," which translates from latin to the english title "There's a little bit of absurdity in everything.  This prayerformance was performed in Oakland, California, on August 15th 2015.  The rituals' intention was to establish a safe container for my souls' exploration of hyperspace, and document the psychedelic voyage to share my experience with a curious public. At the end of the ritual, I intentionally attained hyperspace through inhaling a good amount of DMT vapour. This performance art was filmed by Reed Rickert. The video in which I am having a mystical experience were manipulated with the visual programming language Jitter to create the video Neirika produced in 2010.  

                                            Bérangère a few minutes after DMT trance August 15th 2005

Through this interdisciplinary artwork and associated ontological experiences has emerge my creative spirituality,  imbued with imaginative ideas relating to the revival of the Water Dragon Goddess, the ecstatic divine feminine, the infinite and mystical nature of the human heart-soul. These interdisciplinary psycho-spiritual, neo-shamanic, and artistic processes, represent the powerful expression of feminine spirituality.  The “Painting dress” is described in my first book Neirika published by Lap Lambert in 2010, a German research publishing company. The forward for Neirika was written by Delvin Solkinson, senior editor for Cosm Journal and permaculture guru. ​

​Forward by Delvin Solkinson: Elvish Crystal Polymer

Dimensionalizing the sacred essence of human theater:
creativity in a more than human world

Future media is a bridge across landscapes of meaning to deepen the metaphor of human evolution.  It is an expression of humanity unveiling a multitude of perspectives and an array of dynamics contexts.

This transformative text reflects shards of the worlds of crystal,
describing sacred prayerformances; magical design facets
of a woven ritual space and evolutionary catalyst.

Planetary culture is a synergenesis of traditions, a weave threading together the history of humanity into a seamless pastiche forming the post-historical garment of the present moment.

In the magical mosaic of this sown splendor, Neidrya explores the ever world, revealing a new integral play which uses the dimensional meaning of non-ordinary reality to tell the story and evolve our understanding about the permeable pathways, between this world and beyond.

Future media
Planetary world culture
manifesting the magic
sentient language metapoesis
(mytho-poetik design sigil)

bridge media

Congratulations on all your wonders
an etheric bridge between many worlds