Following is a thesis of the heterogeneous and unorthodox techniques, methods and materials employed by Nya′ when creating his compositions.
By looking at the history of each technique dating back to the artistic movement it originated from, we shall examine how the Nya’ ingeniously confronts his work with an elevated degree of sophistication, methodical precision and an inexhaustible reservoir of sagacity and unadulterated passion.
Abstract expressionism was the dominant movement in American painting in the late 1940s and 1950s. Characterized by a desire to convey powerful emotions through the sensuous qualities of paint, often on canvases of huge size, it was the first major development in American art to achieve international status and influence and thus recognized as the most significant art movement since the Second World War.
The energy and excitement it brought to the American art scene helped New York to replace Paris as the world capital of contemporary art, and to many Americans the heyday of the movement has already acquired a kind of legendary status as a golden age.
The variegated palette tactfully employed by Nya′ in his “Divine Inspiration” series and Above echo distant octaves of abstract expressionism.
Regarded by Ed McCormarck, (former editor of the star maker magazine, “Rolling Stones” and Chief Editor and founder of “Gallery and Studio Art Magazine, New York”) as one of today's preeminent contemporary artist; Nya’s work from his Above the Horizon series exudes a serene and eloquent aura which stresses line, light and space with an awe-inspiring economy of means.
His use of color is remarkable and the paintings are important and encompassing statements on chromatic aesthetics. Monochromatic shapes occupy a single field of color, therefore abdicating the customary use of color as representational. No longer depicting objects, Nya’s color now intercourses figure and ground into one entity, a sole shape wedded to a monochromatic field.
The decisive point in the artist’ development was consummated by abjuring the binding elements of abstract expressionism, particularly the traditional tenet of organizing a painting according to color. Instead, form emancipated itself from its conventional support -the ground- so that it could valiantly pursue an independent dialogue.
In Nya’s earlier works, “Transciency of Path” 49 x 38 inches (124,46 x 96.52 cm, 1998) and “The Retired Composer” 48 x 36 inches (121,92 x 91.44 cm, 2003), he employs an honorable sense of balance between the planes and colors. The pieces evoke memories of the work of two notable abstract expressionists painters, Piet Mondrian and Kandinsky by focusing on line to form linear planes while the pedantic use of primary colors grants for the formation of a unique triad.
Unrivalled in its mood of melancholic and almost painful contemplation, as Nya′ stated in his biography;
“working on the painting brought thoughts that do often lie too deep for tears,”
“Retired Composer,” speaks of the discipline, clarity and integrity that true surrender embodies.
As the viewer revels on the intensely ferocious red hue inundating the 48 x 36-inch (121,92 x 91.44 cm) canvas, he’s arrested and consumed by an expression of pure commitment in the squinted eye of a “line” rendered violinist who, despite a gesture that suggests obfuscation, relentlessly pursues his search for the perfect keynote. In the abyss of his quandary, subtly expressed by the receding shapes of the stringed instrument that seems to be a cross between a cello, violin and bass guitar, the composer has stood courageous, thwarted the odds and birthed a mellifluously passionate rhythm as evinced by the chromatic red deluging the picture plane.
In “Components of Worship,” Nya’s use of industrial materials arranged in geometrical or highly simplified configurations enables the viewer to experience the pure qualities of color, form and space.
Executed in 1998, Nya’ uses highly contrasting colors to accentuate the essential elements without obstructing the harmony and cadence of the composition. Expressing only the ethereal elements and annihilating the peripheral inhibitions of normal view and purview, the viewer is left to harmoniously float at the metropolis of a prospect that falls out as below him, before him and above him.
However, even though the artist relinquishing us to our own associations, he subtly determines within his formal structure the extent of the world he wants those associations to inhabit.
These two works are an early example of the Nya’s persistent focus towards purification by dismantling, dissecting and reducing a painting to the elementary elements of line, space and color. As the series evolves, the artist’ relentless search for perfection becomes conspicuous and the symbiotic relationship between each piece is visible.
Key principles of abstract expressionism that are detectable in his “Divine Inspiration series are the following;
a: The preference for working on a huge scale, (see the painting “Escort of Wisdom”)
b: The adoption of an all-over type of treatment, in which the whole area of the picture plane is regarded as equally important, (see the painting “Eternal letters to my Beloved”)
c: The conviction that abstract painting must convey significant meaning and should not be viewed in formalist terms alone (see the painting “Tablet of Prosperity”)
d: The tenacious belief in the absolute individuality of the artist.
However, Nya’ rejects abstract expressionism’s essential attributes of glorifying the act of painting and the emphasis placed on surface qualities to stress the flatness of the ground.
Instead, Nya′ adroitly adds a third dimension to his complex compositions by introducing a copious amount of texture. By adopting an affluent palette of visceral reds, Prussian cobalt blues, Cape Town turquoises, an orgy of tangerines, marmalade browns and a buffet of natural pigments, the series eclipses the boundaries of abstract expressionism and begins to rejuvenate subtle memories of cubism, surrealism and fauvism; while authenticating its own set of values, codes and principles.
Collage is a term applied to a type of picture (and the technique used in creating such pictures) in which photographs, news cuttings, and other suitable objects are pasted onto a flat surface, often in combination with painted passages. The word collage comes from the French word “coller,” which means to gum; to affix; to cement; and or to chew and paste.
Nya’s use of collage combines a preternatural comprehension of materials and an unfathomable desire to depict the purpose and intention behind every composition he creates.
Some paintings elicit subtle memories of the work of George Braque and Pablo Piccasso, the first notable painters to make collage a systematic and important part of their compositions. Picasso began using the technique in 1912 and Braque soon followed with his own distinctive type of collage, “the papier collé,” in which he applied strips or fragments of paper to a painting or drawing.