Art Theory and Provenance
MBURUCHUSI
Series II: Voices of the Earth
Oil, blood, tree twigs, steel nails, metal, clay, red and black soil, screws, animal hide, ashes, discarded metal on canvas
60 x 36 inches (152.4 x 91.44 cm)
1999
© Nya’ 2005. Courtesy of Seed Gallery, New York
Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
Carefully preserved actual remnants of an industrial hot water tank, ebony wood broken scepters, preserved cowrie shells, burnt wooden pegs from disparate trees, 3.5 inch stainless steel double head nails, salvaged 6 inch common nails, corrugated cardboard, laminated layers of foam board, salvaged beer bottle tops, industrial stainless steel cut squares, rusted wire in different sizes salvaged from broken fences, electrical pipes, torn and worn out clothes and remnants of sack cloth were affixed to the stretched metal sheet grounded on durable canvas using a combination of nails, screws, leather needle stitches, and industrial adhesives.
The rich crimson and scarlet shades in the composition was created by mixing pyrrol red hue, quinacridone rust hue, cadmium deep red hue, cadmium deep orange and vermilion. Dabs of animal blood like pigment were applied on top to create the raw flesh ambiance. Burnt ashes, charcoal, kaolin and red clay, burnt shells and powdered gypsum was used to create the burnt siennas, natural rust, charcoal, black and ochre colors.
The custom stretcher upon which the canvas is resting was made of specially treated wood and has two sturdy beams down the spine of the frame to avoid warping over time. The painting is housed in a custom distressed wood frame with a tailor designed anti-reflective museum glass engineered to block UV light rays, provide UV protection while protecting the work from damage and fading caused by UV light.
CONDITION OF ARTWORK
Original condition. The resplendent, rustic and whet spots in the composition are intentional and were created through multiple application of pigments mixed with linseed oil several years after the initial curing of the work. The artist signature is rendered in gold at the bottom left corner of the canvas.
PROVENANCE
Year of completion: 1999
Artist Private Collection: 1999 – 2005
Seed Gallery Private Collection: 2005 – To date
HISTORY OF EXHIBITIONS
9TH ANNUAL NATIONAL BLACK FINE ART SHOW, NEW YORK
FEBRUARY 03 – 06, 2006
MANHATTAN, NEW YORK
MBURUCHUSI
Series II: Voices of the Earth
Oil, blood, tree twigs, steel nails, metal, clay, red and black soil, screws, animal hide, ashes, discarded metal on canvas
60 x 36 inches (152.4 x 91.44 cm)
1999
© Nya’ 2005. Courtesy of Seed Gallery, New York Photo by House of Seed Photography, New York
ARTWORK THEORY REPORT
Carefully preserved actual remnants of an industrial hot water tank, ebony wood broken scepters, preserved cowrie shells, burnt wooden pegs from disparate trees, 3.5 inch stainless steel double head nails, salvaged 6 inch common nails, corrugated cardboard, laminated layers of foam board, salvaged beer bottle tops, industrial stainless steel cut squares, rusted wire in different sizes salvaged from broken fences, electrical pipes, torn and worn out clothes and remnants of sack cloth were affixed to the stretched metal sheet grounded on durable canvas using a combination of nails, screws, leather needle stitches, and industrial adhesives. The rich crimson and scarlet shades in the composition was created by mixing pyrrol red hue, quinacridone rust hue, cadmium deep red hue, cadmium deep orange and vermilion. Dabs of animal blood like pigment were applied on top to create the raw flesh ambiance. Burnt ashes, charcoal, kaolin and red clay, burnt shells and powdered gypsum was used to create the burnt siennas, natural rust, charcoal, black and ochre colors. The custom stretcher upon which the canvas is resting was made of specially treated wood and has two sturdy beams down the spine of the frame to avoid warping over time. The painting is housed in a custom distressed wood frame with a tailor designed anti-reflective museum glass engineered to block UV light rays, provide UV protection while protecting the work from damage and fading caused by UV light.
CONDITION OF ARTWORK
Original condition. The resplendent, rustic and whet spots in the composition are intentional and were created through multiple application of pigments mixed with linseed oil several years after the initial curing of the work. The artist signature is rendered in gold at the bottom left corner of the canvas.
PROVENANCE
Year of completion: 1999
Artist Private Collection: 1999 – 2005
Seed Gallery Private Collection: 2005 – To date
HISTORY OF EXHIBITIONS
9TH ANNUAL NATIONAL BLACK FINE ART SHOW, NEW YORK
FEBRUARY 03 – 06, 2006
MANHATTAN, NEW YORK
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