The only Vehicle that Manifests God’s Will on Earth
SEPTEMBER 01 – DECEMBER 15, 2019
PRIVATE DINNER & RECEPTION FOR THE ARTIST
SEPTEMBER 05, 6 – 9 PM
Intrinsically woven into the fabric of Nya’s oeuvre is the theme of work. In this new exhibition entitled “Work: The only vehicle that manifests God’s will on earth” currently on view at Seed Gallery, Nya′ depicts the mysterious bond between God, Work and Faith through the five paintings adorning the white cubed gallery.
In “Redeemer of Dreams,” (41 x 31 inch., 104.14 x 78.74 cm), the anchor painting in the exhibition, Nya′ continues to trace the core and divine meaning of “work” as primarily revealed in the first two pages of the book of Genesis.
In his painting notes and sketches that preceded the piece, he describes work as the revealer of Mankind as God’s partner in the act of creation, for through work, Man proves that he is indeed created in God’s image because he is the only specie capable of the same creativity as God Himself. He goes on to express how God, Work and Faith (which is also His Word) are inseparable, for Faith (His Word) and Work were in Him and with Him from the beginning, and His Word has within it the power, capacity or “work” to manifest when any human being hears, receives and obeys it.”
According to the artist, the shards of suitcase handles and old zippers in “Redeemer of Dreams” depict how it is only when a Man gets a grip on his life and settles down to diligently quest to discover his divine purpose does he uncover his work and thus is rescued from jobbing and toiling for survival. In other words, work is the journey to every Man’s destiny and without work, every destiny remains hidden, padlocked, zipped up and veiled; veiled in the tomb of toiling, hidden in the grave of jobbing, padlocked in the mortuary of survival and zipped up in the cemetery of mere existence.
On the other hand, the dilapidated, sweat corroded and decaying state of the suitcase handle also alludes to the mind-numbing, dignity and honor-stripping nature of jobbing. Described in his Kingdom Lexicon as “merely clocking in and clocking out without a vision, just hustling without a destiny, making a living without purpose and putting food on the table while oblivious to your divine work and assignment,” Nya′ defines a job as “something you do, while work is who you are.”
In essence, the handle is a metaphor for every Man's life. It represents how with every passing day, you are drawing close to your departure from earth and unless you decide to “meditate” and discover the keys to unlocking the unique gift inside you and pursue your work, you are destined to toil or to be abused by the world system until you wear out and told to retire.
The emphasized word “meditate” is important to highlight. It is one of the keys to understanding Nya’s revelatory discourse on the theme of work and the subject matter of the other three paintings in the exhibition.
By definition, to meditate implies training, calming or emptying the mind, often by achieving an altered state through focusing on a single object. This, therefore, means that true meditation is a process that involves clearing whatever was on your mind and focussing on a distinguished object, subject, person or deity until the process of transforming the mind is initiated and doggedly pursued.
Choice, another important theme that sublimely echoes through the fabric of Nya’s oeuvre is key in meditation. For example, a person can choose to meditate on a deity, be it a demigod, sun god, Celtic deity or Japanese, Roman, Greek, Anglo Saxon, Persian, Hindu, Egyptian or Chinese deity. They can also choose to meditate on an ancestor, desist or revered prophet, a cult, words of a philosopher, nature, the universe, a celebrity or whatever they decide to settle their mind on.
Nevertheless, as the fading old English text and the script above the bridge dividing the composition in “Redeemer of Dreams” and “Epistle of Breath” suggests, meditation void of the Word of God is a futile and stale exercise that temporarily soothes a Man's flesh but lives the very “thing” he seeks to satisfy (his spirit) starved, malnourished, poverty-stricken, weak and dying.
As alluded to by the showers of light cascading from the roof of mainly two of the paintings in the exhibition, “Epistle of Breath and “Mandate of Dominion,” meditating on the Word of God is the birthplace of revelation and it is revelation that strengthens a Man's spirit and inspires him to change his attitude and focus by transforming him to become a world changer through discovering his unique gift and pursuing his work.
In other words, when the spirit of a Man (male or female) is illuminated by revelation, essentially the revelation of his spiritual identity, his purpose on earth, his divine work and assignment and his destiny, he is empowered to dominate the field of his calling in the world as depicted in practically all the paintings in the exhibition by the light extinguishing the darkness and exposing the opulent colors beneath the callous texture.
Series I, Divine Inspiration, Nya’ 2004. Courtesy of Seed Gallery, New York
Mandate of Dominion
The golden light washing away the debris in “Redeemer of Dreams” and exposing the Word of God is also a testament to how meditating on The Word of the Creator of the universe day and night empowers any human being to become fruitful in his life by coming up with creative ideas, ingenious solutions and witty inventions that sustains his work.
While it is meditating on and in the Word of God that reveals to Man his identity, purpose, potential, work and destiny, it is remaining obedient to His voice as he diligently works to develop and serve his gift to humanity that ensures his posterity as depicted by the door hinges on the sides of the painting. In essence it is only through work or becoming a slave to his gift that Man can open doors for his future and live an enduring inheritance not only for his children and unborn generations but the human family at large.
Conclusively, as the discarded metal, rags and soiled sackcloth in “Mandate of Dominion” and “Epistle of Breath” suggests, it was the work of Jesus, His unreserved passion for humanity and unwillingness to give in to his flesh that redeemed Mankind from the depths of poverty and quandary of sin. Now, as the bridge covered in pure white in “Redeemer of Dreams” and in deep crimson hues in “Epistle of Breath” suggests, Jesus’ work of redemption, His sacrificial work represented by the rich scarlet and purple hues amidst the debris has now given every Man a choice. He can choose to remain at the bottom of life where toiling, jobbing, sorrow, decadence, stagnation and religion resides or allow Grace to open the door to His Life that ushers him into a realm where revelation of his true worth abides, his work resides, joy abounds and provision for his assignment is guaranteed.
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