ISIS et L'émeraude Philosophale, 2025
Carole Framezelle - Acmiya  

Painting : acrylic, ink, mixed media · 50 x 50 x 1.5 cm 19.7 x 19.7 x 0.6 inch · Ready to hang

€3,500 3 500 €

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Shipped from: France

Delivery to: France , € 37

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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the artist

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cminch )

50 x 50 x 1.5 cm 19.7 x 19.7 x 0.6 inch Height x Width x Depth

Artwork dimensions including frame

51 x 51 x 2 cm 20.1 x 20.1 x 0.8 inch

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Credentials

Vetted seller since 2024

Description

This is not a metaphor. In the Egyptian temples where her name was not spoken aloud—where it was only thought, with the reverence of those who understand that certain words are summons—she wore the throne on her head, that hieroglyph which alone speaks of her power. Goddess of magic, healing, love, and the vanquished of death, she is also the one who knows the secret name of Ra—that name which no other god knows and which grants him absolute power over all things. For the true name of things is their essence. And Isis alone knows how to read this essence in matter, in bodies, in what beings carry within them without uttering it.

The Emerald Tablet was not written. It was found—read in matter itself, by those who had learned to see differently. And Hermetic tradition knows this: it was Isis who dictated it. She who knows both realms, she who held heaven and earth simultaneously in her golden hands outstretched over the dead to protect them—she alone could formulate this axiom, which is not a theory but a description of what she was. The emerald is not a precious stone. It is the frequency that light assumes when it has traversed deep enough to become wisdom—the subterranean light that ripens in the womb of the earth with joyful patience and rises again, green and gold mingled, radiant for having waited for precisely the right moment. Like Isis herself.

The third eye on her forehead doesn't see what the other two see. It sees in the opposite direction—inward to what exists, to that luminous frequency that every being emits from birth and which reveals everything about them with absolute benevolence. Her priestesses, at Philae and Dendera, learned to read this frequency through years of silence and loving discipline. They laid their hands on what no one else could yet see, and they healed. Not through magic. Through that quality of attention that Inversalism® also awakens in you.

She gathered the fourteen scattered pieces of Osiris, dispersed by Set to the four winds of Egypt. Fourteen times she refused to let the separation be final. She reconstituted him, breathed life into him, and conceived Horus—the new light—out of a love stronger than death. What transmutation accomplishes in each work, Isis accomplishes on a world scale—reuniting what had been separated, restoring light to what seemed to have lost it. What you see on this surface was not created. It was lovingly extracted—in the same way that Isis extracts light from death itself. What is in the matter of this work is like what is in the matter of you. One law. One light.

Her solar disk encircled by the sacred cobra. Her golden wings outstretched. The stars in the transmuted matter are not decoration—they are coordinates. Gaze upon them long enough. Let your retina saturate with this gold and this depth. Close your eyes. What appears—this is what Isis always gathers in all matter that consents to be gazed upon with love. You carry within you the same light as the stars. Exactly the same. And Isis has known this since before you knew you existed.

Carole Framezelle - Acmiya, ISIS et L'émeraude Philosophale
France  • 1978

Presentation

Carole Framezelle – Creator of L'Inversalisme®

An alchemical painting, a passage between worlds

Carole Framezelle explores the boundaries of perception through L'Inversalisme®, a pictorial and vibratory approach she has trademarked. Her work questions the relationship between light and shadow, visible and invisible, offering a sensory experience where the image transforms before the viewer's gaze.

Each work is born from an initial pictorial gesture, executed on canvas or paper. Then, like a reverse daguerreotype, the image undergoes a transmutation where light and color reinvent themselves. This transformation does not freeze the work: it animates it, giving it a unique vibration, evolving according to the viewing angle and the light intensity.

Inversalism®: an alchemy of the gaze

Inversalism® is based on a subtle exploration of perception and the phenomenon of afterimage. When a viewer gazes at an inverted work for a long time, their gaze instinctively reconstructs the hidden image. This play of light and shadow creates a lasting impression, a resonance that persists beyond the moment of contemplation.

This sensory dialogue is at the heart of Carole Framezelle's work. She seeks not only to represent, but to make us feel: each creation becomes a passage, a door to another reality, where the viewer is invited to interact with the work.

An exclusive and protected process

Far from a simple chromatic inversion, his work is the result of in-depth research into light and matter. Each painting undergoes several phases of transformation, resulting in a composition fixed on a noble and resonant support, whose surface captures and transforms the light.

The resulting works seem to evolve with the time of day, offering a different interpretation with each glance. This unique approach, combining pictorial art, visual illusion, and transmutation, makes each creation a vibratory imprint, a balance between materiality and mystery.

Acmiya: a vibrational signature

Each of Carole Framezelle's works bears the Acmiya signature, symbolizing an artistic quest in which art becomes a bridge between worlds. Her creations are not simply contemplated; they challenge, question, and resonate.

Paint differently. Invert the light. Reveal the invisible.

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