Visionary, New Age, Metaphysical, & Spiritual Art Gallery featuring Sacred Geometry Artist Jean Luc Bozzoli.

Born in 1950 and raised in the small French city of Nancy, Jean-Luc says of his youth:

He pursued his interest and entered the Beaux-Arts at age seventeen, first studying in his home city — the birthplace of Art Nouveau nearly a century before — and then moving to Paris to continue his studies at the City of Light’s well known School of Fine Arts until 1972.

At age twenty-two the allure of the South Pacific infected his dreams, so like Paul Gauguin, he embarked on what would be several years of Adventures in Paradise. He wrote of it saying:

	In 1976, while living on a small boat anchored in a South Pacific island lagoon, Jean-Luc awoke one morning at dawn to find a single dolphin swimming around the boat. The cetacean seemed to speak to him, encouraging him to enter the water to swim and play along its side. At first Jean-Luc was reluctant, though intrigued by the idea of a sense of communication with the solitary sea mammal, and when the sublime creature returned the following morning he decided to join it. He swam every morning in that lagoon for the next week, exchanging subtle forms of energy through his emotional body. His life was transformed forever, his perception of the world altered, as he began a series of paintings to express this new found vision:

	“As I admire the rich designs of nature’s life forms, thought forms exchange between us. They come to me as transforming holographic geometry, like aurora-borealistic sculptures that evolve and carry me into the ‘Dreamtime’. Nature speaks to us in strange ways. I let my nature-self embrace this magical energy field like the rhythms of music dancing through moving architectures of time and space.”

By 1979, after living and painting for six months in Auckland, New Zealand, he performed his first audio-visual presentation in conjunction with the Limbs Dance Co. at the Seymour Theatre. The show consisted of his slide projection of painted images of cetaceans onto a wide screen while the dance company performed amid the light array in synchronized movements to the music and shapes projected. Critical reviews followed the performance. His artwork began to appear in print as he was asked to contribute images to the Sydney, Australia magazine, Simply Living, appearing in two issues with images of dolphins (issue #11) and whales (issue #13) in 1980.

The following year he contributed art work animation for Dolphin Touch, a Golden Dolphin Films production in Sydney, before moving part time to Singapore to publish his paintings and photos in the journal, Strait Times, and travel throughout Indonesia, Bali, Thailand and Malaysia. Back in Australia in 1983, he contributed to the movie, Monkey Mia, a real experience across the Australian desert to meet the dolphins and tell their mystical stories as a backdrop to a road show. At this same time he received a full spread of his work in the international book publication, Whales, Dolphins and Porpoises, a coffee-table publication by Facts on Files.

1984 brought a change of locale and lifestyle as Jean-Luc was invited by Jim Nollman’s Interspecies Communication organization, to participate in a month long trek into the wilderness shores off Vancouver Island, to attempt to establish a communication link with the pods of Orca whales using a psychic bridge supported by sound and music as developed by Nollman. It was during this trip that he met and befriended, Joan Ocean, a psychologist and dolphin researcher, and with her, devised a presentation format for his audio-visuals to accompany her speaking engagements.

Between 1984 and 1988 the two traveled throughout the United States showing Dolphin Connection; a 90 minute multi-media presentation given to more that 700 audiences in community centers, universities and libraries. For one month in 1985 he returned to Singapore to do his one-man presentations at the Hyatt Regency Hotel, selling out the performances of his audio-visual, laser show spectacles.

1986 brought further attention to his artwork, with a display honoring US and Soviet astronauts for the project, Creative Use of Space, held in San Francisco. The magazine, Magical Blend, featured his work on its cover (Issue #13) and in an article on whales while his audio-visual show was presented at ORSTOM, the Oceanographic Center in Naumea, New Caledonia. He was asked to design a sanctuary on the Great Barrier Reef, Australia, called Oceania, for the Great Barrier Reef Marine Park Authority. He also presented several showings at the Club Med facility in Moorea, Tahiti over a two-week period.

Then in 1988 he moved to Hawaii and produced paintings that would later become the illustrations for Joan Ocean’s book, Dolphin Connection: Interdimensional Ways of Living, published that year along with a series of reproductions featuring his work in small poster and note card formats. The two continued to conduct seminars in Hawaii and over the next few years they traveled to such locations as Bali, India, Thailand and Geneva, Switzerland to present shows.

In 1989 Jean-Luc began to document his dolphin experiences as a video-photographer, amassing hundred of hours of tape with whales and dolphins in various locations throughout the world. Dolphin Connection produced the video, Open to the Sea, from his Hawaiian experiences in 1991. The United National Environmental Program commissioned him to do the greeting card, Earth-Rebirth in 1990 and in 1991 his work appeared on the Nippon Television Special, Wonder Zone, broadcast throughout Japan in August of that year. Later that same year his artwork was featured in the book, Into the Blue, published in Great Britain by V. McKenna.

Jean-Luc began to use the computer as a visualizing tool in 1992 with his graphic imaging for the book, Boule de Reve, published by Leucan in Montreal, Canada, as a dolphin book for children suffering from cancer. This new tool opened up an entirely new world of possibilities to the artist, allowing him to construct images in a fraction of the time it had taken manually. In 1993 one such image was given 3/4 color page reproduction in the Tokyo Newspaper, Ashai Shimbun, and he continued to explore computer-graphics and animations on Macintosh and Silicon-Graphics workstations, creating a series of 3-D lithographs, featuring images of faeries and winged dolphins set in Lemurian scapes, that was shown in Japan in 1995. He also began the production of his first video animation project entitled, SeaWiz.

In 1996, while visiting Vancouver, Canada, Jean-Luc met and befriended, Olivier Bobst, a technical computer special effects master, working with the TV studios on productions of such shows as Outer Limits, X-Files, and others. The two collaborated on an animated short entitled, Voyage of A Starseed, that fully explored his visionary talents within a moving environment. The soundtrack to this remarkable piece was contributed by John Anderson, former member of the group, Yes, and staunch supporter of Jean-Luc and the project. In 1997 this five minute piece was absorbed and expanded into a larger production funded by the Academy for Future Science, the organization founded by Dr. J.J. Hurtak, author of The Keys of Enoch: The Book of Knowledge, and metamorphosed into: MERKABAH: Voyage of A Starseed, a 54 minute presentation that follows the mystical teachings of the Kabbalah as envisioned by Dr. Hurtak. This stunning visual experience now stands as a premier example of pure “visual art as communication" and image as information, that will surely pave the way to many more such projects that incorporate the visionary mastery of Jean-Luc Bozzoli and Eye Within Studios as a means to purvey the subtle teachings of the Universe. Jean-Luc addresses his feeling towards this end by saying:

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