Art Theory Report & Provenance
WAR DOCTOR
Series II: Voices of the Earth
Oil, soiled transparent sheets, grass paper, metal, nails, animal blood, sellotape on canvas
52 x 42 inches (132.8 x 106.6 cm)
2003
© Nya’ 2005. Courtesy of Seed Gallery, New York
Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
The subdued texture was created using a combination of found objects, particularly salvaged wire, discarded metal, car gasket ring, aged vellum and grass dung parchment. Each material used was carefully preserved, inventoried and tested for durability before being either rope stitched or bonded to the canvas grounded on plywood using an industrial adhesive.
A thin layer of gypsum was used to coat different parts of the composition before adding minimal color, mainly obtained from powdered gypsum mixed with acrylics and select oil pigments. The painting is housed in a raised wood frame with white gold inlay and silk draped mounting window around it. It is shielded from potentially harmful 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.
CONDITION OF ARTWORK
Initially completed in 2003, but at the artist’ request, it was brought back to his studio for conceptual re-alignment after a decade, between 2013-2021. The artist signature is rendered in gold at the bottom left corner of the canvas.
PROVENANCE
Year of completion: 2003
Artist Private Collection: 2003 – 2005
Seed Gallery Private Collection: 2005 – To date
HISTORY OF EXHIBITIONS
11TH ANNUAL NATIONAL BLACK FINE ART SHOW, NEW YORK
FEBRUARY 01 – 04, 2008
MANHATTAN, NEW YORK
WAR DOCTOR
Series II: Voices of the Earth
Oil, soiled transparent sheets, grass paper, metal, nails, animal blood, sellotape on canvas
52 x 42 inches (132.8 x 106.6 cm)
2003
© Nya’ 2005. Courtesy of Seed Gallery, New York Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
The subdued texture was created using a combination of found objects, particularly salvaged wire, discarded metal, car gasket ring, aged vellum and grass dung parchment. Each material used was carefully preserved, inventoried and tested for durability before being either rope stitched or bonded to the canvas grounded on plywood using an industrial adhesive. A thin layer of gypsum was used to coat different parts of the composition before adding minimal color, mainly obtained from powdered gypsum mixed with acrylics and select oil pigments. The painting is housed in a raised wood frame with white gold inlay and silk draped mounting window around it. It is shielded from potentially harmful 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.
CONDITION OF ARTWORK
Initially completed in 2003, but at the artist’ request, it was brought back to his studio for conceptual re-alignment after a decade, between 2013-2021. The artist signature is rendered in gold at the bottom left corner of the canvas.
PROVENANCE
Year of completion: 2003
Artist Private Collection: 2003 – 2005
Seed Gallery Private Collection: 2005 – To date
HISTORY OF EXHIBITIONS
11TH ANNUAL NATIONAL BLACK FINE ART SHOW, NEW YORK
FEBRUARY 01 – 04, 2008
MANHATTAN, NEW YORK