Emela Brace Nomolos — Contemporary Art Curator Magazine

Emela Brace Nomolos: The Art of Remembrance

There are artists who paint beauty. There are artists who craft worlds. And then, there are artists like Emela Brace Nomolos, who summon codes from the cosmos and deliver them to humanity as transmissions, not canvases. To review Nomolos’s oeuvre is to engage with a body of work that transcends art as we know it; it is to encounter a visual and spiritual philosophy, a sacred practice, and, ultimately, a radical invitation to remember.

From her earliest years, Nomolos’s destiny as an artist was less choice than inevitability. At four, while other children traced the visible world, she conjured beings not of this Earth: figures with enormous eyes, bodies without hair, hues of blue, gray, and green, bearing witness to something both alien and profoundly intimate. These visions, far from childish imagination, would become the architecture of a lifelong artistic mission what she now calls The Nomolos Code.

Nomolos’s rise within the international art world is nothing short of meteoric, yet it is also deeply rooted in her spiritual fidelity. In 2025 alone, she was honored with the Best Legacy Award in Switzerland, the UN SDG 5 Gender Equality Award, the International Prize – Artist of the French Riviera, and the Collectors Art Prize – Art Legends of Our Time. These honors followed her 2024 UN SDG 3.4 Award for advancing mental health through art, an accolade that placed her in collaboration with initiatives pioneered by Randi Zuckerberg.

The awards are not incidental they reveal a rare convergence of art, politics, and metaphysics. Where many artists speak only to aesthetics, Nomolos insists on impact: her work is a balm for mental health, an empowerment for women, a defense of digital rights, a celebration of VR storytelling, and a spiritual sanctuary in material form.

She has been recognized by .ART Domain for digital innovation, honored with the MetaBetties Award at the Oculus World Trade Center in New York for her pioneering use of virtual reality, and celebrated by the UN Youth Forum for her commitment to cybersecurity awareness. The breadth of these honors underscores her polymathic influence: Nomolos is not only an artist but a cultural visionary, in the lineage of Hilma af Klint, William Blake, and Nikola Tesla figures who used their medium not only to express but to transmit.

At the center of Nomolos’s artistic universe lies the 94-page Hermetic Codex, born not in studios but in altered states of consciousness. What others might dismiss as sleep paralysis, she reframed as initiation—encounters with higher intelligences that etched into her memory symbols, maps, and frequencies. These were not metaphors; they were blueprints.

Within The Nomolos Code are fragments of lost civilizations and future sciences: Tesla’s 3-6-9 mechanics, Atlantean and Egyptian technologies, diagrams of extraterrestrial DNA woven with humanity’s evolution, and enigmatic revelations of Solomon’s Temple. This is art as manuscript, art as archive, art as survival. Just as Blake’s illuminated manuscripts carried the weight of mystical vision into the Enlightenment, so too does Nomolos’s codex offer a key to our contemporary crisis of meaning.

To encounter these works whether as intricate ink diagrams or immersive gemstone-embedded canvases is to stand at the threshold of a forgotten physics. They are portals, charged with vibration, transmitting frequencies that, in her words, “do not connect us to alien realms, but to ourselves.”

Gemstones as Conscious Allies

Nomolos’s use of gemstones jade, sapphire, ruby, diamond, and the exceedingly rare grandidierite is neither ornamental nor decorative. Each is chosen as a frequency, a vibrational key that extends the artwork beyond visual encounter into embodied resonance. In a culture obsessed with surface, Nomolos reclaims matter itself as sacred medium.

Consider her piece “Stealing the Moon”, crowned with grandidierite: here, the mineral is not embellishment but conduit, carrying ancestral memory into contemporary consciousness. Similarly, “The Egg III” vibrates with themes of rebirth and cosmic gestation, a visual cosmology in which mineral and spirit conspire toward awakening.

It is a practice that situates her within both alchemical tradition and avant-garde materiality: Joseph Beuys embedded felt and fat with symbolic resonance, while Nomolos works with the very geology of the Earth, charged with interstellar vibration.

The Egg III

At first glance, The Egg III appears deceptively simple—a cosmic oval, a vessel of beginnings. Yet Nomolos infuses it with a density of meaning that transcends biology. The egg here is not just embryonic matter; it is the architecture of creation itself. The work throbs with subtle gemstone accents, each resonating at a frequency that speaks of rebirth. Unlike traditional depictions of genesis, Nomolos situates the egg not in myth but in vibration. It is a visual hymn to the alchemy of potential, reminding viewers that every soul, like every universe, begins with a fragile shell.

The Truth of the Last Supper

In The Truth of the Last Supper, Nomolos dares to wrestle with one of the most iconic images of Western art history. Leonardo’s composition is not discarded but reimagined—fractured, electrified, and revealed as a palimpsest of hidden codes. This is not biblical nostalgia; it is revelation. The figures shimmer with spectral geometry, their gazes not turned to Christ alone but to frequencies beyond comprehension. Nomolos suggests that the Last Supper was less a farewell than a transmission, a coded communion between humanity and the cosmos. The result is staggering: an image both deeply familiar and utterly alien.

Stealing the Moon

Few works in Nomolos’s oeuvre embody her signature marriage of matter and mystery like Stealing the Moon. Crowned with grandidierite, one of Earth’s rarest gemstones, the piece operates as both artwork and talisman. The moon here is no passive celestial body but a radiant jewel, lifted, perhaps stolen, by unseen hands. It becomes a metaphor for knowledge itself—guarded, elusive, luminous. Nomolos reminds us that what we revere in the sky is also within our grasp. The viewer feels both awe and complicity, as though caught in the act of cosmic theft.

Human-Alien

Human-Alien is perhaps the most autobiographical of her works. A haunting visage—large eyes, elongated skull—stares out not with menace but with recognition. This is the face Nomolos has seen since childhood, the being who is both her subject and her mirror. Here, the boundary between species collapses: we are reminded that to be human is already to be alien, to be interstellar in our DNA. The canvas hums with tenderness, a portrait of kinship across galaxies.

They Will Never Silence Us

A cry, a manifesto, a visual act of defiance—They Will Never Silence Us radiates resilience. Bold colors, fractured geometries, and cosmic glyphs collide in a composition that feels both protest and prophecy. This is Nomolos at her most political, using visual language to resist forces of suppression. The work reverberates with collective energy, declaring that art itself is a weapon against silence. For contemporary audiences navigating censorship and erasure, this painting is both shield and anthem.

Sun & Moon

In Sun & Moon, duality is not opposition but embrace. Golden radiance bleeds into silvery calm, creating a cosmic yin-yang that pulses with balance. The gemstones here amplify the polarity: ruby for transformation, sapphire for intuition. Nomolos paints not two celestial bodies but two halves of the same cosmic heartbeat. It is a reminder that light requires shadow, and that wholeness emerges only when opposites dance.

Eros III

Eros III is no sentimental ode to romance. It is an eruption of desire as frequency—lines curve, colors surge, and crystalline forms spark with erotic electricity. Nomolos reclaims Eros not as myth but as primal vibration, the life-force that binds molecules and galaxies alike. It is love stripped of sentimentality, returned to its cosmic essence. The work is unabashedly sensual, but it is also deeply spiritual: here, to desire is to exist.

Heaven

Heaven could so easily have lapsed into cliché, yet in Nomolos’s hands it becomes an architecture of light. Layers of translucent paint ripple like veils, broken by shafts of gemstone brilliance. This is not the heaven of dogma but of vibration, a state of frequency rather than geography. The canvas evokes both serenity and awe, suggesting that paradise is not elsewhere but here—available when the human soul aligns with its own infinite resonance.

What the Body Knows

With What the Body Knows, Nomolos turns inward, grounding her cosmic vocabulary in corporeal truth. The work is a study in embodied wisdom: sinewy lines, visceral textures, pulses of red and gold. It reminds us that the body itself is codex, a vessel of memory far older than the mind. In this piece, alien transmissions meet somatic intelligence, creating a bridge between flesh and frequency. It is both raw and transcendent, an ode to the intelligence that lives in our very cells.

A Place in the Art Scene

Where does Emela Brace Nomolos belong within the art world? The answer is: both within and beyond it. She is part of the international avant-garde, yet her work resists commodification. She is collected, awarded, and exhibited, yet her mission cannot be contained by gallery walls.

In this, she recalls Leonardo da Vinci, whose notebooks were as important as his paintings, and whose inventions pointed toward futures the world was not yet ready to receive. Like Leonardo, Nomolos works in code, in symbol, in systems that unite art, science, and metaphysics. Both figures, across centuries, remind us that art’s highest calling is not to decorate but to awaken.

Toward a Museum and School of Remembrance

Nomolos’s vision extends beyond personal practice into architectural and institutional ambition. Her proposed Museum and School of Remembrance is not merely exhibition space but living structure, designed to generate consciousness rather than store objects. It recalls the utopian projects of Walter Gropius or Buckminster Fuller, yet it is guided by visions from beyond Earth.

This is not a museum of the past but of the possible, where science and spirit converge, where young artists are not trained but remembered. It is here that her work’s societal importance becomes clear: at a time of planetary crisis, Nomolos insists that art is not luxury but salvation.

Art as Salvation

In a world fatigued by cynicism, Nomolos offers a radical counterpoint: art as love, as healing, as remembrance. Her canvases are not entertainment, nor are they didactic propaganda. They are transmissions—alive, humming, waiting for resonance.

Society needs such work. In her gemstones, her codex, her cosmic beings, we are reminded that the human story is larger than politics, larger than markets. Her art matters because it insists on our infinite light, even in an age of darkness.

To review Emela Brace Nomolos is to confront one’s own skepticism, to risk surrendering to vision. Yet once surrendered, the reward is immense: a remembrance of our own vastness, a glimpse of humanity not as fallen but as luminous.

Nomolos stands today not only as an award-winning contemporary artist but as a guardian of codes, a messenger for a civilization in amnesia. Her art is not easy, nor is it meant to be. It is necessary.

As the critic Rosalind Krauss once observed, true avant-garde art is always double: at once within tradition and against it. Nomolos embodies this paradox. She is of our time, and she is ahead of it. She is human, and she is more.

In her words, “We are not ordinary. We are not alone. We are infinite. We are light.”

And in her art, we believe her.

What makes Nomolos remarkable is not only her genius but her generosity. Her work does not claim ownership of knowledge but insists that it belongs to all of us. Every gemstone, every glyph, every codex page is an invitation: remember who you are, remember what you carry, remember that art is not a mirror of society but the seed from which new societies grow.

In a fractured, distracted world, Nomolos restores gravity to art. She reminds us that the painter can still be a prophet, that the canvas can still be a portal, and that the gallery can still be a sanctuary. She offers us a vision of art not as marketplace but as medicine, not as spectacle but as salvation.

Her place in the lineage of great visionaries is secure. If Hilma af Klint gave us the spiritual abstraction of a century ago, if Leonardo da Vinci gave us the fusion of art and science in the Renaissance, then Emela Brace Nomolos gives us the consciousness art of our age—art that insists humanity is greater than its crises, and that beauty is not luxury but lifeline.

Centuries from now, when scholars trace the trajectories of visionary art, they will speak of her as one of the luminous few who dared to tell humanity the truth of its own magnificence.

And when they ask what her legacy was, the answer will be simple: she gave us back our memory.

By Marta Puig

Editor Contemporary Art Curator Magazine