What is Arteanity?
Arteanity is the larger realm; Somacentric Trajectilery, Deutilization, MeconoMorph, and Primordial Mechanisms are branches or historical phases within it.
What is Somacentric Trajectilery?
Somacentric Trajectilery is a discipline in which the body, not the image-making mind, launches material trajectories onto a substrate. It is not merely abstract drawing or decorative mark-making.
Who created it, and what is the status of the corpus?
Arteanity is the independently maintained primary-source archive of artist Viktor Genel. It documents Somacentric Trajectilery through physical artifacts, closed and ongoing corpora, artist-governed theoretical writing, downloadable publications, provenance records, and direct acquisition pathways. The Genesis Series is a closed origin corpus; the wider Somacentric Trajectilery archive remains in development. Selected physical works may be considered for private acquisition through the inquiry attached to each artifact record.
Why does this matter now?
It matters now because the surrounding visual world is being flooded by machine-generated imagery, and Somacentric Trajectilery insists on the unrepeatable physical trace of a human body.
Is this Abstract Expressionism?
It is historically adjacent, but not reducible to Abstract Expressionism.
Somacentric Trajectilery inherits the arena principle — the surface as a place of action — but differs through material friction, bodily trajectory, substrate resistance, and the archival treatment of each record as an artifact.
Why are the works called artifacts?
Because the archive treats each work as a material record of an event, not as a decorative image.
What is the Genesis Series?
The Genesis Series comprises the first five small-format works—Nameless Number One through Nameless Number Five—which constitute a closed origin corpus. The Genesis document states that only five works exist in that 8.5 × 5.5 inch format and no more will be made in that size.
Why is Nameless Number One significant?
Nameless Number One is important because it is the first physical record of the entire discipline.
Why are so many works called “Nameless”?
“Nameless” is not an absence of identification. It is a deliberate refusal to assign the artifact a subject after the event has occurred.
Somacentric Trajectilery is produced without a predetermined image. The trajectile is generated through bodily movement, material resistance, collision, pressure, interruption, and continuation. Only afterward does an artifact remain. To look at that artifact and give it a descriptive title—based on a face, figure, emotion, landscape, or narrative that happens to appear—would retroactively impose an interpretation that did not govern its creation.
This matters because perception is remarkably persuasive. A viewer may see a figure, an animal, an encounter, or an emotional drama in a particular orientation. Rotate the same artifact and that reading may disappear completely while the physical record remains unchanged. The association is real as an experience, but it is not necessarily a property of the artifact.
“Nameless” therefore protects the work from premature verbal definition. It does not tell the viewer what to see.
The number serves a different purpose. Nameless Number One, Nameless Number Eighteen, Nameless Number Twenty Three are precise archival identities. The numbering preserves sequence, chronology, provenance, and each artifact's position within the developing discipline without pretending to name what the artifact depicts.
In that sense, the two words perform opposite but complementary functions:
Nameless preserves interpretive freedom. Number preserves historical identity.
The artifact can remain without a prescribed subject while still occupying an exact place in the archive.
Why are the edges/perforations preserved?
Because they are archaeological evidence of the work’s birth from the original sketchbook context, not presentation defects.
Are works available for private acquisition?
Selected records may be considered for private acquisition if available. Inquiries are reviewed individually.
How does inquiry work?
Use the inquiry link on an artifact page to request acquisition, provenance, or collection information. For broader interest in Arteanity and its branches, use the general inquiry form.
What information is available through an inquiry?
An inquiry may request information not fully shown in the public archive record, including acquisition status, provenance notes, material and preservation details, potential or existing framing, corpus position, related records, private collection considerations, and — where applicable — information about other Arteanity branches.
For individual artifacts, the inquiry link attached to the record is the preferred path, because it identifies the specific work being referenced.
Why does artificial intelligence matter to this archive?
Artificial intelligence matters because it changes the cultural meaning of physical human action. As synthetic imagery becomes increasingly abundant, fast, and visually convincing, the unrepeatable material trace of a human body gains new significance.
Somacentric Trajectilery is created through direct contact between body, medium, and substrate. Its marks preserve pressure, friction, interruption, resistance, and material consequence. They are not generated images, but physical events. In this archive, that distinction is essential: the artifact records a moment that could not be produced by calculation alone.
This does not make the archive anti-technology. Rather, it clarifies why the physical, indexical human trace remains necessary in an age of automated visual production.
How should a collector or advisor begin?
Begin with Somacentric Trajectilery, then follow its corpora list. For acquisition, provenance, or private collection information, use the inquiry link attached to the relevant artifact record.