Art Theory and Provenance
GENESIS OF ETERNITY
Series I: Divine Inspiration
Oil, dabs of lamb’s blood, braille, metal, earth, foam board, crushed rocks, hand-made paper, beads on canvas
72 x 30 inches (182.88 x 76.2 cm)
2008
© Nya′ 2010. Courtesy of Seed Gallery, New York
Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
Remnants of a grade-two braille and rolls of hand-made paper were preserved and sanded prior to being archived onto the painting ground. The balance of the texture, comprised of variant organic materials and mylar sheets were incorporated into the composition using contact cement. The relief letters comprising the words were singly formed using gypsum, and a standard grade stencil employed for the numbers and letters in black ink.
The stretcher, on which the 20-ounce woven canvas rests, was custom made with treated wood and has two support beams down the spine of the frame to avoid warping over time. The glow emanating from disparate parts of the composition was achieved by applying several layers of linseed oil loosened paint 72 hours upon completion of the work.
CONDITION OF ARTWORK REPORT
Original condition. The architectural incisions towards the foot of the canvas and across its plain were intentionally added several years after completing the work. The artist signature is rendered in gold at the bottom left corner of the canvas.
PROVENANCE
Year of completion: 2002
Artist Private Collection: 2002 – 2005
Seed Gallery Private Collection: 2005 – To date
HISTORY OF EXHIBITIONS
10TH ANNUAL NATIONAL BLACK FINE ART SHOW, NEW YORK
FEBRUARY 02 – 05, 2007
MANHATTAN, NEW YORK
GENESIS OF ETERNITY
Series I: Divine Inspiration
Oil, dabs of lamb’s blood, braille, metal, earth, foam board, crushed rocks, hand-made paper, beads on canvas
72 x 30 inches (182.88 x 76.2 cm)
2008
© Nya′ 2010. Courtesy of Seed Gallery, New York Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
Remnants of a grade-two braille and rolls of hand-made paper were preserved and sanded prior to being archived onto the painting ground. The balance of the texture, comprised of variant organic materials and mylar sheets were incorporated into the composition using contact cement. The relief letters comprising the words were singly formed using gypsum, and a standard grade stencil employed for the numbers and letters in black ink. The stretcher, on which the 20-ounce woven canvas rests, was custom made with treated wood and has two support beams down the spine of the frame to avoid warping over time. The glow emanating from disparate parts of the composition was achieved by applying several layers of linseed oil loosened paint 72 hours upon completion of the work.
CONDITION OF ARTWORK REPORT
Original condition. The architectural incisions towards the foot of the canvas and across its plain were intentionally added several years after completing the work. The artist signature is rendered in gold at the bottom left corner of the canvas.
PROVENANCE
Year of completion: 2002
Artist Private Collection: 2002 – 2005
Seed Gallery Private Collection: 2005 – To date
HISTORY OF EXHIBITIONS
10TH ANNUAL NATIONAL BLACK FINE ART SHOW, NEW YORK
FEBRUARY 02 – 05, 2007
MANHATTAN, NEW YORK
Related Sections:
Related Painting:
Related Book: