Thematic conversations
The currency of light
In this interview, conducted at the artist’ studio in New York, Nya′ discourses how the technical fundamentals grounding this magnificent x-ray of his work, “Keeper of Time” serve the purpose of communicating the character, nature, authority and power of true light.
©Nya’ 2014 - 2020. Courtesy of Seed Gallery, New York
keeper of time. x-ray 6
KONADU A.N:
Nya,’ before we delve into the specifics of the technical details in this meticulously rendered x-ray, can you begin by helping us understand why you refer to your preparatory drawings for your work, “Keeper of Time” as x-rays.
NYA’:
I think it begins by understanding what an x-ray is; “a photographic or digital image of the inside of an object using high-energy electromagnetic radiation.” In general terms, we can also say that an x-ray is simply a picture that the doctor takes of a patient’s skeleton to see if the patient has any broken bones.
In the same fashion, this colored drawing or x-ray is a high definition photograph into the internal composition of “Keeper of Time.”
KONADU A.N:
Do you mean that the drawing is like the engine of a car that we don’t see but know it exists as long as the vehicle is in motion?
NYA’:
Think of how an x-ray communicates to the doctor what exactly is going on in a specific part of the patient’s body; through this drawing or x-ray, I am affording you (as the viewer) access into the laboratory of my mind to unveil to you the inspiration behind the creation of a particular element within the composition.
KONADU A.N:
And as the viewer, how does the x-ray enhance my experience with the actual work?
NYA’:
By granting you passage into my mind where the precept of “Keeper of Time” was uploaded, I believe this x-ray affords the viewer three important things:
First: The capacity to begin to comprehend the original idea (precept) being communicated in “Keeper of Time.” Second: The capacity to conceive, understand and evaluate the concept hidden in the precept of the work, and third; the capacity to apprehend and rightly appropriate the red thread unifying the various elements comprising the composition.
KONADU A.N:
Are you saying that this x-ray is a visual synopsis of “Keeper of Time”?
NYA’:
No, it is impossible for a single x-ray, or even a million x-rays to accomplish that feat. What I do with each x-ray is simply to highlight the key issues conveyed in the actual work. For example, “Keeper of Time” has over 50 x-rays, and each x-ray voyages into the depths of the composition to discover the soul of the work; in essence, what I was seeing within as I was communing and creating the piece.
KONADU A.N:
And in this x-ray; what is the central theme in “Keeper of Time,” you were communicating?
NYA’:
There are three elements of primary focus in this x-ray.
The outstanding solid gold dial in the figure’s right side, the Scripture reference (John 10:10) etched in gold running down the right side of the picture plane and the monumental number (3) three outside the clock dials clutched in the figure’s massive hand.
KONADU A.N:
Let us begin with the Scripture reference (John 10: 10) running down the left side of the picture plane, what does it imply?
NYA’:
Prior to discussing each element and what it represents, symbolizes or alludes to, I think it is vital to begin by revealing the nature and character of shadow enveloping the figure.
KONADU A.N:
Oh yes. I see that shadow, very subtle though, in fact, almost invisible... what does the shadow represent?
NYA’:
The subtle shadow, rendered in dove whites and shades of gold represents “the last, final and ultimate Man who was made to humanity a quickening spirit”
KONADU A.N:
It seems as though the energy resonating through every element in the x-ray has its roots from this shadow, am I right?
NYA’
Yes, you are. In fact, it is from this eternally resplendent shadow that the light feeding the x-ray is emanating. That light is in-turn delivered by the architectural lines outlining the head of the figure initially from the solid gold dial below the figure’s shoulder then onwards throughout the rest of the figure’s torso.
KONADU A.N:
You also alluded to this shadow, or “this last, final and ultimate Man who was made to humanity a quickening spirit” in your other x-ray for “Keeper of Time,” I think it’s “keeper of time. x-ray 74.”
NYA’:
In ‘keeper of time. x-ray 74,’ the shadow is actually the figure itself. This is the reason why the entire figure and every element in that x-ray is comprised of the dove white and gold circles.
©Nya’ 2012 - 2020. Courtesy of Seed Gallery, New York
keeper of time. x-ray 74
KONADU A.N:
Why was this resplendent figure in ‘keeper of time.x-ray 74’ relegated to a shadow in ‘keep of time. x-ray 6.’
NYA’:
In ‘keeper of time. x-ray 74,’ the resplendent figure is in its glorious form, in its natural habitat, hence dominating, influencing and controlling the entire estate of the picture plane. However, in ‘keeper of time. x-ray 6,’ it has left its habitat of glory and entered into a domain in which its influence and authority is revealed through the elements it inhabits.
KONADU A.N:
So, can we say that the shadow enveloping the figure in ‘keeper of time. x-ray 6’) is the spirit form of the glorious figure in ‘keeper of time. x-ray 74”?
NYA’:
Yes. This is why the palette in ‘keeper of time. x-ray 74’ is pure; - variant shades of white, gold and light reflected shades of scarlet. But in ‘keeper of time. x-ray 6’, even though the shadow is primarily rendered with the same purity and in the same colors, the earth tones of burnt sienna, charcoal and brown are dominating the figure.
KONADU A.N:
The celestial has descended into the terrestrial!
NYA’:
You got it, we can also say the eternal has descended into the dimension of time it created and is now seeking permission from the legal custodians of that dimension to enter them in order to fill them with their original nature hence enable them to transform their domain to resemble the eternal.
KONADU A.N:
Do you mean (as you detailed in your preparatory notes), the eternal Spirit has descended to transform the visible colony of earth to resemble the invisible Kingdom of Heaven that owns the colony of earth?
NYA’:
Exactly! In fact, as alluded to by the perfectly rendered circles in both x-rays (6 and 74), the eternal is seamless, ageless, genderless, endless, timeless and ever in motion, ever creative and ever revealing Himself. And as represented by the clock-dials attached to the figure’s breast in both x-rays, the eternal created time yet lives outside its parameters and is unperturbed by its hurried mien.
The spaces inside each replicated circle (and again, in both x-rays), represent the boundaries of time and its limited scope on earth where Man was placed to reside, reign and have dominion. In principle, the eternal God created and placed Mankind within the scope of time and although Man has free will, no human being dwells on this earth outside the confines of time.
KONADU A.N:
My intention was not to discuss the two x-rays. But since its now clear that the resplendent figure comprised of the infinite circles that look like burning wheels within wheels in ‘keeper of time. x-ray 74’ is an allusion to God, who, then, is “this last, final and ultimate Man who was made to humanity a quickening spirit” represented by the shadow behind the figure in ‘keeper of time. x-ray 6)?
NYA’:
This shadow rendered in dove whites and shades of gold is an allusion to Jesus. However, He is fully represented in the x-ray (x-ray 6) by the glorious light radiating from the element representing a Man’s reborn spirit (the outstanding solid gold dial in the figure’s right side). Fundamentally, this glorious and warm light exposing every element in the x-ray and radiating throughout the entire picture plane is emanating from this solid gold dial.
KONADU A.N:
Can we say then, that the shadow represents the Spirit of God now back on earth and brought back in the body of Jesus?
NYA’:
Jesus is The Light who was in the beginning with God and is God and who, in the fullness of time, was sent from Heaven and came down to earth to restore Man to his pre-sin position of power, dominion and authority by reconnecting and reconciling him to his source, God, who is light.
To that end, these meticulously rendered circles with ubiquitous influence throughout the picture plane represents the omnipresent and omniscient nature and character of God. This is to say that Jesus, The Light who was in the beginning with God and is God and who is now resident in Man through His Spirit is always present, everywhere, at the same time.
KONADU A.N:
You do have another x-ray of “Keeper of Time” that uses a very refined line to precisely trace the recolonization of the terrestrial by the celestial using a very refined line and economic palette.
NYA’:
That must be ‘keeper of time. x-ray 28.’ In fact, aside from tracing the recolonization of the terrestrial by the celestial, the unprejudiced nature of light is also revealed in the x-ray by through the Scripture text covering the ground the continents on earth are established.
©Nya’ 2016 – 2021. Courtesy of Seed Gallery, New York
keeper of time. x-ray 28
KONADU A.N:
I don’t think we have time to discuss the remaining two of the three elements you said are the primary focus in ‘keeper of time. x-ray 6.’ But in summary, what can you say is the red thread that binds all the elements communicated in x-ray 6 to the overall message in “Keeper of Time”?
NYA’:
The Scriptural reference (J OHN 10: 10) etched in the same gold as the gold dial representing The Holy Spirit now resident in Man, and the faceless head of the figure ties all the three elements together by proclaiming these three revelatory truths about Light and Man.
First: how light is a universal currency with no expiration date. Second: how light is not a respecter of person, gender, ethnicity or nationality; and third: how light rules, institutes order and takes dominion in every domain it inhabits.
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