Art Theory and Provenance
ETERNAL LETTERS TO MY BELOVED
Series I: Divine Inspiration
Oil, dust, ashes, parchment, foam board, parchment paper, lightweight paper and tissue paper on canvas
48 x 48 inches (121.92 x 121.92 cm)
2006
© Nya′ 2008. Courtesy of Seed Gallery, New York
Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
The composition is grounded on tightly woven canvas initially coated with a generous amount of modern acrylic gesso. Each raised letter of the seemingly endless script was composed with a thick paste of highly adhesive latex paint mixed with gypsum. Upon waiting for the text to cure, the letters were singly sanded down and the surface was repeatedly primed.
To ensure a permanent bond of the letters to the surface, transparent paper was pasted on top of the script followed by another round of priming. Gypsum mixed with layers of heavy-duty kitchen paper and rolls of tissue paper make up the bulk of the folds in the composition.
CONDITION OF ARTWORK
Original condition. The resplendent gold and rustic parts on the canvas are intentional and were achieved by thumb-burnishing the cured work . The artist signature is rendered in gold at the bottom left corner of the canvas.
PROVENANCE
Year of completion: 2006
Artist Private Collection: 2006 – 2008
Seed Gallery Private Collection: 2008 – To date
HISTORY OF EXHIBITIONS
THURSDAY, SEPTEMBER 01, 2016
SEED GALLERY, NEW YORK
ETERNAL LETTERS TO MY BELOVED
Series I: Divine Inspiration
Oil, dust, ashes, parchment, foam board, parchment paper, lightweight paper and tissue paper on canvas
48 x 48 inches (121.92 x 121.92 cm)
2006
© Nya′ 2008. Courtesy of Seed Gallery, New York Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
The composition is grounded on tightly woven canvas initially coated with a generous amount of modern acrylic gesso. Each raised letter of the seemingly endless script was composed with a thick paste of highly adhesive latex paint mixed with gypsum. Upon waiting for the text to cure, the letters were singly sanded down and the surface was repeatedly primed. To ensure a permanent bond of the letters to the surface, transparent paper was pasted on top of the script followed by another round of priming. Gypsum mixed with layers of heavy-duty kitchen paper and rolls of tissue paper make up the bulk of the folds in the composition.
CONDITION OF ARTWORK
Original condition. The resplendent gold and rustic parts on the canvas are intentional and were achieved by thumb-burnishing the cured work . The artist signature is rendered in gold at the bottom left corner of the canvas.
PROVENANCE
Year of completion: 2006
Artist Private Collection: 2006 – 2008
Seed Gallery Private Collection: 2008 – To date
HISTORY OF EXHIBITIONS
THURSDAY, SEPTEMBER 01, 2016
SEED GALLERY, NEW YORK
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