Art Theory & Provenance
SPIRITUAL PURIFIERS
Series II: Voices of the Earth
Oil, crushed cow dung, animal blood, metal, earth, beads, porcupine quills, grass paper, ashes on canvas
47 x 42 inches (119.38 x 106.68 cm)
2003
© Nya′ 2005. Courtesy of Seed Gallery, New York
Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
Grounded on acrylic gesso primed canvas, the composition was exposed to a natural fire upon completion to create the noticeable sepia tones. The organic lines are a result of carefully stitching preserved shards of wire and twigs onto distinct parts of the picture plane. Discarded metal comprising the blunt stabbing spear and treated parchments of were affixed to the ground using a heat and water industrial adhesive. The painting is housed in a distressed wooden frame and is shielded from harmful in and outdoor UV light rays by a tailor cut museum glass, which, along with its nearly invisible finish and anti-reflective quality, ensures a long archival life. The artist signature is rendered in gold at the bottom left corner of the canvas.
CONDITION OF ARTWORK
Initially completed in 2003, but at the artist’ request, it was brought back to his studio for conceptual re-alignment and re-configuration after 16 years, between 2015-2021. The artist signature is rendered in gold at the bottom left corner of the canvas. Every burnt mark, dent and scratch in select parts of the composition were deliberate and intentional.
PROVENANCE
Year of completion: 2003
Artist Private Collection: 2003 – 2005
Seed Gallery Private Collection: 2005 – To date
HISTORY OF EXHIBITIONS
DECEMBER 09 – 12, 2005
HARLEM, NEW YORK
SPIRITUAL PURIFIERS
Series II: Voices of the Earth
Oil, crushed cow dung, animal blood, metal, earth, beads, porcupine quills, grass paper, ashes on canvas
47 x 42 inches (119.38 x 106.68 cm)
2003
© Nya′ 2005. Courtesy of Seed Gallery, New York Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
Grounded on acrylic gesso primed canvas, the composition was exposed to a natural fire upon completion to create the noticeable sepia tones. The organic lines are a result of carefully stitching preserved shards of wire and twigs onto distinct parts of the picture plane. Discarded metal comprising the blunt stabbing spear and treated parchments of were affixed to the ground using a heat and water industrial adhesive. The painting is housed in a distressed wooden frame and is shielded from harmful in and outdoor UV light rays by a tailor cut museum glass, which, along with its nearly invisible finish and anti-reflective quality, ensures a long archival life. The artist signature is rendered in gold at the bottom left corner of the canvas.
CONDITION OF ARTWORK
Initially completed in 2003, but at the artist’ request, it was brought back to his studio for conceptual re-alignment and re-configuration after 16 years, between 2015-2021. The artist signature is rendered in gold at the bottom left corner of the canvas. Every burnt mark, dent and scratch in select parts of the composition were deliberate and intentional.
PROVENANCE
Year of completion: 2003
Artist Private Collection: 2003 – 2005
Seed Gallery Private Collection: 2005 – To date
HISTORY OF EXHIBITIONS
DECEMBER 09 – 12, 2005
HARLEM, NEW YORK
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