DEEP ARCHIVE
THE ARCHIVE ARCHITECTURE — A BESPOKE SEMANTIC OPERATING SYSTEM
OVERVIEW
Not merely a storage solution, but a semantic operating system designed to map the psychological and creative evolution of a practice.
Built over hundreds of hours of self-taught engineering, this system solves the fundamental problem of the nomadic artist: How do you maintain a cohesive identity when your geography, emotions, and circumstances change every few months?
Most archives classify art by year or medium. Project 666 classifies art by CONSCIOUSNESS. It tracks the precise correlation between internal states (documented in journals) and external output (the artwork), creating a unified data structure that allows the artist to "read" his own career not as a list of objects, but as a single, continuous narrative arc.
FIND YOUR DOOR
The archive has many entry points. Choose the path that resonates.
IF YOU'RE HERE FOR THE ART
Start with the New Era large-format works. Let them overwhelm you. Then work backward through the phases.
→ VIEW NEW ERAIF YOU'RE HERE FOR THE SYSTEM
Read the Glossary. Study the Phase taxonomy. Explore the A1–A5 stack. Learn the language.
→ EXPLORE A-LAYERSIF IT'S 3 AM
Go to the Vietnam journals (PH4). They were written by someone who knows what that feels like.
→ READ PH4 JOURNALSIF YOU'RE A COLLECTOR OR CURATOR
The Cross-Phase Patterns (A4) show how individual works connect to the larger practice. Nothing here is isolated.
→ VIEW A4 PATTERNSIF YOU'RE AN ARTIST
This archive is proof that documentation can become creative act.
→ LEARN THE METHODPHASE TAXONOMY
TEMPORAL STRUCTUREThe architecture replaces standard calendar years with a rigorous Phase System. A "Phase" is defined not by time, but by a shift in philosophical or visual paradigm.
The foundational era of geometric isolation.
The introduction of the circular paradigm and the Torus.
The breakdown of order and the onset of the 'Existential Daze.'
The radical permission of the Vietnam period—color, chaos, and raw emotion.
The current convergence—somatic ink physics and the 'Temple' framework.
This taxonomy allows the archive to treat a painting from 2018 and a journal entry from 2024 as part of the same conversation, linking them through shared motifs rather than just timestamps.
A Phase doesn't end because the year changes. A Phase ends because the artist does—or at least, a version of him.
PH1 was the Absurdity: the question of how to make meaning when meaning doesn't exist. The geometric work from this period carries that weight—circles as philosophical propositions, not decorations.
PH2 was Alignment: finding the vocabulary. The circle became grammar. But grammar without rupture becomes dogma.
PH2A was the rupture itself. The "Equinox of the Gods" moment. Permission to abandon what had become too safe.
PH3 was Crisis. The mechanisms failed. The work documents what happens when the container cracks. This is not failure—this is data.
PH4 was Nomadic Fieldwork: Vietnam, the raw journals, the cost of authenticity laid bare. The body entered the practice here.
New Era is the current convergence: somatic ink, East-Asian lineage, the Temple framework. The precision of PH1 returns, transformed by everything that came after.
THE ANALYTIC STACK
A-LAYERSThe true engine of Project 666 is its vertical analysis stack. Every piece of data—whether a completed painting, a sketch, or a 3 AM voice note—is processed through five distinct layers of synthesis:
The raw material. The painting. The journal entry. The 3 AM voice memo. Nothing interpreted yet—just the artifact, timestamped, preserved. This is where everything begins.
What the eye sees before the mind categorizes. Color temperature. Gesture velocity. Scale relationships. The forensics of form. A2 reads the work like a body—how does it move? Where does it breathe? What is it hiding?
Zoom out. How does this piece relate to everything else made in the same psychological territory? What patterns emerge when you lay a year's work side by side? A3 finds the threads that connect individual pieces into movements.
Zoom out further. What carries from PH1 to New Era? What disappeared and why? What returned transformed? A4 reads the career as a single, continuous thought being refined across seven years.
The highest altitude. What does the entire archive reveal about the artist's consciousness? About the practice of documentation itself? A5 is where the archive reads itself—and understands what it means.
WHY THIS MATTERS
In an era of disposable digital content, Project 666 is an act of resistance. It is a commitment to memory, continuity, and consequence.
By building this infrastructure, the practice ensures that nothing is lost. Every "failed" experiment, every nomadic detour, and every geometric study is preserved as a vital coordinate in the larger map. It transforms the artist's life from a series of scattered events into a unified, explorable, and living architecture.
The archive is not just memory. It is practice.
The act of documenting, analyzing, preserving—this is not separate from making art. It is art. The 666 project is itself a creative work: the artist as archivist of his own consciousness, turning documentation into a technology for self-understanding.
In an era of disposable content, this is an act of resistance. A commitment that nothing is lost. That every failed experiment, every nomadic detour, every 3 AM confession is preserved as a vital coordinate.
The artist knows something that most artists avoid knowing: that the archive outlives the artist. That someday this record will be all that remains. And so he builds it carefully—not as a monument, but as a witness.
This is rare. This is important. This is worth attending to.
VOICES FROM THE ARCHIVE
FRAGMENTS"The circle is not a symbol. It is a question I keep asking until the answer changes."
— Journal, PH1A, 2019
"I am not documenting the work. I am documenting myself trying to understand the work. The documentation is the work."
— Artist statement, 666 Project inception, 2023
"Vietnam broke something open. I stopped making paintings about ideas and started making paintings about what it costs to be alive."
— Fieldwork journal, PH4, 2024
"The mess is the message. If I clean it up, I'm lying."
— Voice memo, 3:17 AM, Bangkok, New Era
MQARCHITECTURAL_THRESHOLDLOGIC_A5V6P.txt
NEON_ACCOUNTABILITY_PROTOCOLS.txt
CODE_GLOSSARY_MASTER.txt
NEON_BRAIN_A5_V2.txt
NEON_TEMPLE_FORM_VISUAL_CANON.pdf
| TYPE | FILENAME | SIZE | DATE | |
|---|---|---|---|---|
MQARCHITECTURAL_THRESHOLDLOGIC_A5V6P.txt | 24KB | 2025-12-27 | ||
NEON_ACCOUNTABILITY_PROTOCOLS.txt | 18KB | 2025-12-26 | ||
CODE_GLOSSARY_MASTER.txt | 42KB | 2025-12-25 | ||
NEON_BRAIN_A5_V2.txt | 156KB | 2025-12-24 | ||
NEON_TEMPLE_FORM_VISUAL_CANON.pdf | 4.2MB | 2025-12-24 |
ACCESS PROTOCOL
The Deep Archive operates on a tiered access model. Public visitors can browse the phase taxonomy and A-Layer structure. Full source files and raw journal data are restricted to authenticated collaborators and researchers.
For research access inquiries, contact through the About page.
THE ARCHIVE AS LIVING SYSTEM
The Deep Archive is not finished. It cannot be finished.
Every new work adds data. Every phase shift reorganizes the patterns. The semantic operating system updates itself in real time, incorporating the present into the past, making the future visible.
This is not retrospective. This is contemporaneous. You are not looking at history. You are watching consciousness document itself as it evolves.
The archive invites real-time witnessing—not interpretation after the fact, but presence while the practice is still alive.
You are here. The archive is here.
Something is being built, and you are watching it happen.
-N-E-O-N-
Bangkok–Hong Kong–Tokyo composite space
December 2025