Parinya Champ is an artist and source-field researcher from Manhattan and based in Los Angeles. His current project is an online zine and gallery titled ART HOUSE, a project to inform the public about impending Cosmic Disclosure. He is a graduate of the University of California, Irvine, Studio Arts Department and studies fields of Unified Field Theory that inspire his subject matter. Shortly after being exposed to the secret space program in 2008, Champ began focusing as a researcher in topics branching out from the secret space program into Consciousness Sciences and uses many of these opportunities for research in projects for ART HOUSE.
How do you define yourself as an artist, and when did you begin to identify yourself as such?
I am an artist and source-field researcher based in Los Angeles. By my current art practice, I build and photograph hauntingly vibrant abstract landscapes of a higher dimensional realm known as the Hyperspace. This practice stemmed out of a need to communicate my research from many fields of study relating to a Unified Field Theory which can be understood as the Source-Field; a timeless singularity where all light, matter and energy originate. In my recent series Landscapes of the Hyperspace, I am attempting to visually map the expansive higher dimensional realms of consciousness that are part of the Source-Field. My work can also be seen as a new psychedelia that has emerged from recent attention into psychedelic healing, consciousness research, and disclosure truth.
Why are your works important to you?
My work allows me to participate as a creator in the world rather than a consumer. I know of one thing we need fewer in this world — and that is consumers — what we need is more creators and designers of tomorrow. Some of the greatest thinkers of our time have been deliberately suppressed from mainstream knowledge. My art and research serves as a hand gesturing toward the work of these awakened thinkers and researchers of our time and is a stepping stone toward understanding a Unified Field Theory and how it has related to the physical, emotional, mental, and spiritual condition of our Earth and its society.
How have your works changed or developed over time?
When I was attending art school, I found most of my work having an underlying subject matter dealing with theories in Structuralism and ways to deconstruct and call to attention the pictorial plane through painting or photo following the work of artists such as the Minimalist Artists and Structuralist Filmmakers of the 60’s. Coming out of school, my work was newly informed by professors I’d worked with while attending the University of California, Irvine, Studio Art program.
I became a researcher shortly after learning about the existence of a secret space program in 2008 and began researching topics branching out from the secret space program into research of Consciousness Sciences. This became the foundation for my studies as this information showed that we are living in a much more vast and interconnected reality than what we’ve been taught to believe through our mainstream culture that has shown to value materialism, competitiveness and separation.
I began creating my abstract landscape photos after being introduced to DMT (dimethyltryptamine), which brought me to realize that much of the history and ancient art of our world religions is alluding to this substance in clandestine ways.
My earlier works out of school featured exhaustive photo typologies of abandoned office buildings. As I started to uncover the Source-Field, I later progressed into new photo work called GOLD YACHT — a critique of consumerist American culture and its absurd over-dependence for material gloss and fabricated information. These vibrant, geometric polyhedrons or “quasi-crystals” have been photographed in transcendental locations such as Death Valley and the Salton Sea. Now I mainly choose to work in a studio setting where I build my abstract landscapes out of planar objects and hologram films.
How do you use your studio space to allow you the opportunity to interpret and research your work?
My research into the source-field is so extensive and vast — it requires an enormous dedication of time and place that is free from distraction. Studio space is half meditation and half art creation. It is about being entirely centered and present and letting all things around you simply go their way. I’m currently studying the abilities of Tibetian Monks and their transcendental ability to transmute their bodies into pure rainbow light before their time of passing. Whistleblowers from the secret space program have recently disclosed that they are currently in secret trade with over 900 different ET groups from around our galaxy. When you are researching this type of subject matter with hundreds of other researchers around the world, it requires a career that allows you all the time possible to interpret and respond to this data with poise and brevity.
Why is your media important to the dissemination of your work?
I plan out my landscapes as being built sculpturally, composed painterly, and finished photographically. I believe that these gestures act to inform my audience of the vast complexity of the science of consciousness and the many branches of knowledge that it shares. I am simply attempting to map and survey an expansive fractal landscape that exists in the higher dimensional realms of consciousness.
What artistic and non artistic influences have attributed to your work?
As a child, I was always obsessed with logos and stickers. One of the earliest memories I have is cutting these out of magazines and running them through a do-it-yourself laminator kit that my mother had purchased. I would cut-out and collect these pieces and save them in a box somewhere.
Going to art school was the most important decision I had to make. It almost wasn’t even a decision, it just happened. I knew that I must be in a career involving visual things. Studying the importance of Contemporary Art Theory and History is truly the best way to learn how to “see” and “detach” from repetitiveness of life. This is when I knew that I would forever be some kind of artist or designer or both.
How do you create the geometric environments in your work, juxtaposed with images of landscapes?
My work almost always employs various mediums to reach an end result. I had always considered myself a painter or photo artist even though I produced mainly sculptural works, but I was always somewhere at love with the flatness of the photograph. With my newest series, Landscapes of the Hyperspace, I realized I was truly working as a painter when creating the abstract geometric landscapes. The process of being in my studio and building my abstract landscapes in such a painterly way made me almost consider these works as paintings — however for my love of the photographic object, I had to finish them as photographs where I would have total digital control over the composition in a way I never had resolved through painting with acrylic and oil.
In exhibitionism, what is the role of the viewer in experiencing your work?
My work attempts to recreate representations of the higher dimensional realms in an awed-reverence to what was witnessed in my visionary meditations. I would imagine most of my audience would view my work as a photo document taken of a distant land on an alien world.
How is this role different than when they view it online?
The role of my work is to stand as contrast to mainstream current. A viewer presented with abstract imagery, for example one of my abstract landscape photos, is left with some choice in how to interpret that information. Will they pursue the new information or simply overlook it and move on? To enter this type of work, a viewer must make critical decisions on how to interpret the composition as either abstract or non-representational. Having the image in their mind establishes a desirable outcome in affecting their consciousness to be able to absorb more information when exposed to it again in the future. Everyone has visited the DMT space at some time in their lives or past lives, and my work serves to remind them of that other place above time and space.
Tell me a little bit about your ART HOUSE Contemporary project and how it got started?
ART HOUSE is exactly that — it is a house that produces art. It has become my studio space for building and creating my newest artwork while giving me the space and time to research Global Disclosure, meditate, and write about it. The art and design that comes out of ART HOUSE will serve to inform a new aesthetic that will come out of a Post-Disclosure civilization. It was also beneficial to have all my artwork and research for the first time accessible from one location. This is also when I saw the need to adapt my art practice into a transdisciplinary approach. I created ART HOUSE out of a need to showcase my earlier works from the Landscapes of the Hyperspace series. From being an online gallery space, I realized I could begin presenting information about the seven years of research I had done into Consciousness Sciences, Metaphysics, Exopolitics, Esoteric Philosophies, Psychedelia, ET Contact, Cosmic Disclosure, Tibetian Rainbow Body, Quantum Healing, Ancient Alien History, and the Secret Space Programs.
At the ART HOUSE online zine, an audience could easily find links to a vast network of other researchers who all have the most important pieces of the larger world view of our times. ART HOUSE is to bring the information about Global Disclosure on ET presence into mainstream thought using a stylized visual design template in communicating this new information. It will be through Arts that we communicate the expansive and ethereal world of Consciousness Sciences.
Last modified: November 1, 2015