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© Seed Gallery New York
Art Theory and Provenance
00:00 / 03:18

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





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