10 Questions with Jessica Braccio

Jessica Patrice Braccio received her Ph.D. In Humanities in Aesthetics Studies from The University of Texas at Dallas. She is trained as a digital artist and primarily works in Photoshop. Her work relies on layering and editing various sacred geometric images, color layers, glitches etc., some of which she finds on the internet, while other images she creates herself. Every layer she uses is carefully changed so that the resulting image is blended into an entirely different, new image. In a sense, the process of adding layers and synthesizing new ones mimics the idea of destruction giving way to creation.

www.kaleido.art/jessicapbraccio | @jessica_braccio

ARTIST STATEMENT

Jessica's artwork is influenced by her autism. Being on the spectrum helps her create her artwork. After many years, she sees it as her ally and not something that defines and limits her. Art allows Jessica to communicate the beauty and joy that she sees and feels but can't always fully convey in words. Through the lens of autism, she sees and interprets the world as brilliant, bold colors and shapes, almost like a kaleidoscope. Through these colors and shapes, she finds meaning as well as translates her joy. This is what her artwork is and what she calls "I AM."

Autism is the vehicle that helps Jessica create and encode her artwork. Her Divinity shows her the codes, colors, and shapes to include in each piece, and she acts as a translator. She chooses to consciously create from a space of Divinity, free from trauma and chaos. Because her artwork brings elements of the spiritual plane into physical form, she realizes and acknowledges she is responsible for what is brought into this world, and as such, she chooses to be a responsible creator.

The artwork itself is not two-dimensional, even though the printed pieces are 2D. Rather, each work acts as a holographic projection, which allows those willing and choosing to accept and learn the codes created. The purpose of this is to help reawaken humanity's light and, as such, bring light and beauty back to this world.

INTERVIEW

First of all, tell our readers a little bit about you. Who are you, and how did you start experimenting with images?

I began experimenting with images in my graduate art classes. One of the assignments that were given over spring break was to create something that embodies the concept of absence, and presence. During this time, I began experimenting with Photoshop. I spent the next year trying to find my style.  
During the last semester of my doctoral program, I went through what people call a spiritual awakening. At the time, it was mildly disconcerting because I didn't understand what was happening to me. My artwork for my dissertation was very heavily based on trauma. As I progressed down the spiritual path, I was warned never to create from a space of trauma again. If I place that energy into my art, people can become physically or energetically ill, and I would be responsible for that.
Not knowing what to make any longer, I began to create art to help me understand my awakening experience. In a sense, the concept of absence and presence is what initiated me into spiritually based art. I initially created images that dealt with concepts that very few people could see. I guess, in a way, I was trying to convince myself of what I was seeing. I could see things that overlapped with the physical world that many people could not. 
Having had little initial success in the art world, I stopped making art for the next couple of years because I felt that nothing would pan out. In November 2021, I connected with Divinity and was guided to go back into art, something that I was not considering or something I had previously, fully committed to doing, mainly out of fear. I didn't know what to create. My Divinity had guided me to begin to place activations that I was writing in my spiritual coursework into the art. I didn't know how this would be done. What I was told was to get into a space of joy, which is a higher frequency. When this happens, I connect with my Divinity, and it shows me the math, sacred geometry, colors, and shapes to place in my art. If I cannot get into this frequency, I'm not allowed to create. I assume this is because the activation would be distorted. In a sense, I'm a translator, translating the spiritual codes into the physical. This is how I create my art. 

What is your personal aim as an artist?

I want my art to get to as many people as possible and to offer viewers the choice to learn the codes and activations in my art. I want them to see and remember beauty, finding beauty within themselves and out in the world. My hope is that, one day, people will remember that they are light and go deep within themselves to remember who they are. I wish for viewers of my art to remember and reconnect with true joy. Each person who has the courage to do this then helps another. This creates a ripple effect out into the world.

In your statement, you mention how your work is influenced by your autism. Can you tell us more about this? 

I see autism as a type of creative template and a type of spiritual gift, not a disorder. Autism changes how I see and interpret the world. I perceive information in colors, light, and shapes. This is also the format that my Divinity uses to talk to me to help me code my artwork. The sacred geometry that you see in my artwork is a combination of codes. Without autism, I truly believe I would not be able to do what I do to create my art. In fact, my art would look very different. 

Do you think that being on the spectrum helped you develop into the artist you are today?

Yes, I do. In fact, I've had this conversation with my Divinity many times. If I did not have autism, I would not be able to create the art that I do. I think I have at least a rudimentary understanding that there are shapes and colors that are not on earth and not visible to the human eye. I think since I naturally think in and receive information from my Divinity in shapes and colors, I can process these, and it helps me code my artwork. 

You mostly work with digital art that you create with Adobe Photoshop. Why did you choose this medium? 

I originally chose this medium as an experiment while I was a doctoral student. A professor of mine encouraged the development of my artwork in Photoshop. There is an aspect of releasing control over how the image is to be developed, which is something that I was never really able to do when I worked with oil paints. I rarely know what the finished image is going to look like. In fact, it's up to my Divinity to decide. 
Currently, I use this medium because of the way in which I work with Photoshop. Each layer I create is carefully created, altered, and essentially destroyed, giving birth to a new image. This is important for me because this process mimics the cycle of destruction, giving way to creation. My understanding is that nothing can be created without something being destroyed, so this cycle of creation is absolutely perfect and aligns with what I believe.

What does your art aim to say to the viewers? And how did you come up with this idea?

My artwork is meant to teach. Each piece I create contains light codes which teach a different topic. The viewer has a choice to learn from the artwork. Nothing is forced. The choice to learn from my artwork can be either conscious or unconscious. An unconscious choice to learn may be dictated by a person's Divinity, and that version of that individual has the final say so. This ensures choice at all levels. 
Each time a person chooses to learn from one of my pieces, my hope is that they clear away a little bit more of who they are not, making way for their own light to shine through. I want people and humanity as a whole to come back into who they truly are and remember that they are light. This has the potential to create ripples in the world, helping humanity as a whole, and raising its frequency. 
Having codes in my artwork was decided by my Divinity. This decision was probably made before I was even born. I didn't always place light codes in my artwork. My art evolved and grew as I did. The idea of offering choice in my artwork was actually not created by me, but something that I learned and began to openly embrace as I underwent spiritual coursework. The idea of choice in all aspects of life began to really resonate with me because, without choice, there is force. I very much support the idea of choice, even energetically because looking back at my life, I have seen how very differently everything could have played out had I not made the decisions that I did to help and better myself. Choice is what helped me progress, but I also see the fragility of choice in my own life.

How much of your personal life is reflected in your paintings? And how does it help you further develop your art?  

My art pieces that contain activations do not really reflect my personal life. The reason for this is to create from a space of Divinity and to work with the highest possible frequencies that I and my body can handle. Bringing my personal life into my artwork could potentially disrupt the activation. 
My pieces which are about autism, alexithymia, etc., reflect my interpretation of this neurodivergence. These reflect my experiences in working with these templates and how I perceive them. I have very different views about these, and it's reflected in the color and brilliance of the pieces. In a sense, they do disclose my personal life but focus on an autistic interpretation of my experiences and perceptions of these neurodivergencies. Without them, I wouldn't be able to code my artwork. So, in this sense, there is some of a personal aspect in all of my pieces.  

Where do you draw inspiration from for your work? Do you have any specific reference, or artist, you particularly like?

I have a very deep love and respect for many artists and paintings of the Renaissance era. I very much admire the math and geometry that were employed in Renaissance paintings. I still find myself fascinated by the level of planning that went into many of the works, as well as the symbolism. The beauty has always deeply touched and moved me. I have very recently found myself gravitating towards studying Michelangelo's "The Creation of Adam." What I love is the idea of the spark of life and the joy that comes with creation. I also admire the level of understanding of balance and beauty in this piece. In a sense, there are codes in the "Creation of Adam." 
Overall, much of my inspiration comes from sacred geometry, its perfection, and its beauty. I have loved geometry and sacred geometry since high school. A few years ago, I began drawing different sacred geometric patterns. That led me back to my digital art. Recently, I have found myself drawing different designs, trying to more deeply understand their spiritual value. This helps me build energetic momentum, and I then use these symbols in my digital art. 

What is your favorite experience as an artist so far?

The first exhibition that I was invited to was titled "Believe." Around the same time, I had a dream where my Divinity was asking me to move forward in life and fully commit to making art (and still is). At the time, I quit my job, and for the past year and a half, I've been creating and building a portfolio that is more attuned to who I am and my frequency, as well as to the frequencies I wish to see and feel out in the world. I see these experiences and that first exhibition as my Divinity, asking me to have faith even though I don't know what will happen. It's just placing one foot in front of the other and activating bravery.

And finally, what are you working on now, and what are your plans for the future? Anything exciting you can tell us about?

I'm currently completing the energetic container for activation that focused on vulnerability, as well as the energetically coded, digital piece to go with it. The power behind this piece is as beautiful as it is intense and probably one of the most powerful I've created thus far. I will continue to create art with activations. 
Eventually, I would like to expand beyond using Photoshop. Since my paintings are meant to be seen as holographic projections, I am currently looking into software and equipment that can help me accomplish this. I want everyone to be able to see the moving layers and go deeper into the paintings like I am able to do. I believe that this would bring a deeper sense of connection with my art as well as enrichment for the viewer. 
I'm also looking to pursue artist residencies as well as group and solo exhibitions. Specifically, I'm looking for a residency that could provide the time and quiet to help me bring my art to the next level. For the time being, I will follow what is in front of me and take opportunities that my Divinity presents to me.