Package of Salvation
SEPTEMBER 01 – DECEMBER 15, 2013
PRIVATE DINNER & RECEPTION FOR THE ARTIST
SEPTEMBER 05, 6 – 9 PM
Anchored in the three principles of faith, purpose, and vision, the paintings possess a depth sought for, but rarely achieved by many artists. The five large-scale canvases, meticulously displayed in a Zen-like setting, are reflective mirrors that conjure up a litany of emotions that anchor deep within one’s soul.
The African contemporary artist partially achieves his purpose by intelligent use of space, reminiscent of the minimalist work of the “father of Suprematism,” the German Kazimir Malevich and the illustrious Piet Mondrian. This is particularly evident in the only work on display from his series “Above the Horizon” entitled “New Light, Old Windows." However, unlike the two abstractionist masters, who realized their objectives by painting on a flat plane, Nya’s surfaces are multi-textured and immersed in rich colors yet possess a refined aesthetic ambiance and a sparsity that allows the viewer to dream and ascend into a transcendental realm of infinite possibilities.
In “New Light, Old Windows,” Nya’s use of industrial materials arranged in geometrical or highly simplified configurations enables the viewer to fully experience the pure qualities of color, form and space. Expressing only the ethereal elements that remind us of the Kingdom of Heaven’s sole ownership over the colony of earth, the viewer is transported to the beginning of time and left to meditate on how the true light restored order, form, knowledge, purpose, peace and wisdom to earth before creating and sending Mankind to manage it.
Nya’ purposefully amalgamates salvaged materials like tin, metal and locks with sand, plaster and bonding cement and carefully applies it onto his surface with a trowel. The surface is sanded down using sanding blocks and a drywall vacuum sander upon drying. The remaining relief is scratched, dented and sculptured to reveal the layers underneath.
Incisions resembling the tribal marks of the Donqolawi and Shaiqiya people from the Manasir tribe in Sudan are subtly noticeable within the sculptured paintings. These minimalistic marks, engraved onto his surface with surgeon-like precision, combined with imperceptible motifs from ceremonial Shields of the Mwami Society of the Rega (Lega) region of Zaire and coded Scriptural references and engraved verses from the Old Testament allude to the conceptual similarities between the Kingdom of God, Jewish history and Africa’s rich history of kingdoms and blood covenants.
Through an ardent and enlightened coalescing of his unmistakable spiritual identity as a blood covenanted child of God and his African roots with western artistic elements, Nya’s work mirrors a persona that destroys the archaic stigma that has always associated African contemporary art with primitivism and ancestral worship whilst labeling Western art as avant-garde.
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