De hylémorphisme Aàdesokan
2 | de hylémorphisme
De hylémorphisme L'essence est perdue. Nous courir et courir seulement à garder retour. De l'existence, de la conscience, il existe ceux qui vous regardent de labeur. Ignorant que vous êtes, ce que exister est ce qu'il est. Nous ne sommes pas privilégié de quoi que ce soit. De l'immobilité à un silence éternel. Vous déduisez ce un cycle, tous les cycles se terminent. Nous pouvons assimiler son cours à une essence centripètes et centrifuges. Vous êtes perdu. Je suis perdu. Pouvons-nous commencer? Il existe l'impossibilité de se perdre tout ce qui existe peut toujours re-exister. De hylémorphisme et sa grandeur. Toutes les actions reviennent à un effet, tous les effets équivalent à une action, mais pas tous les cycles sont conformes à la cause et l'effet. Que voulons-nous, est-il d'identifier pourquoi nous recherchons? Ce que nous cherchons se cache à la vue, la mendicité évident pour être appréhendé il ne cherche pas la compréhension. Vous avez fait des progrès mais il est juste un moment nous sommes maintenant dans la communion. Ce qui est recherché est ré-identification. Nous avons toujours été ensemble jamais être ensemble. Le paradoxe de la façon dont il existe ce qui ne change pas et ce qui est toujours soumis à changer dans le même continuum. De la potentialité à l'actualité, la mise en place de ce qui est pas de l'atomisme et le holisme, ni de l'abstraction et de la similitude. Il ya une nécessité de réaligner à une existence de l'unité dans ce nous trouvons la paix comme des traits horizontaux, nous trouvons majesté comme traits verticaux, nous sommes conscients et de hylémorphisme.
3 | de hylémorphisme
Aàdesokan says he paints mostly to express and understand his state of being and emotions. In his new work entitled de hylémorphisme, the artist explores the emotive effects of strokes; vertical, horizontal and diagonal using a carefully controlled improvisation of tempera on gazette although he leans towards the precarious sometimes, he maintains that this is necessary for Abstrutism to take place. Painting abstracts helps simplify and analyze his emotions and thoughts, he says “When I paint, I transcend them unto the image I create and thereby making every painting a safe house for my emotions and thoughts”.
4 | de hylémorphisme
De hylĂŠmorphisme inspired by a set of beliefs that matter is the first cause of the universe and physical objects results from the combination of form and matter. Here the artists says he is of hylomorphism where his first cause is in the choice of strokes and a combination of these strokes; diagonal, horizontal or vertical with colors results in a physical object, vibrant and euphoric. Works in this series were created between the summer and autumn of the years dated, a time AĂ desokan says he had become a Psychogenic Polymath and owed a debt to philosophy and psychology as he had been intrigued by discourse of these subjects. In this series of emotive and cathartic paintings featuring various strokes and blends of color representations, we see in avec des hauts et des bas an almost undulating movement with the inability of the viewer to fixate at any spot on the painting but continue to wander up and down to
5 | de hylĂŠmorphisme
find that the medium is static but the form moves and thus resulting to an emotive response controlled by the viewer. The action is not in the imagery but in stringent strokes and colors, being of hylomorphism he says, Aàdesokan seeks to show the need to recondition our responses to various expressions away from a recondite disposition as these responses are inherent and therefore should express our liberty. Sans contrainte à la paralysie shows meek strokes and colors as opposed to avec des hauts et des bas, seeming a culmination of almost extreme precariousness, it leads to a gentle alluring response that we question the intent. He explains that a blend of colors selected based on an emotional inclination as tough being controlled by the synergy of his emotion and the emotive effects of his choices seeking not balance but satisfaction of an almost orgasmic nature as motive. Maneuvering tempera on gazette requires dexterity and resourcefulness and some certain level of dichotomy of release and restraint, as seen in une transition vers quelque chose finished with a slight coating of oil. Here, Aàdesokan infers tranquility via diagonal strokes emphatically showing that anything can be canvas. Throughout the entire series we feel a tinge of nebulous nature and our perceptions exercised as we progress through the series and gradually recondition ourselves, Aàdesokan helps us with his titles as abbreviated literary accompaniments to his works, although titles mostly limit interpretation of art here the artist provides these names as tickets to board his train of thoughts and emotions towards a destination only the viewer can truly know, and thus he says “we all have the same subconscious, this is the paramount reason we experience the same emotions, although we express our feelings differently which is why the train belongs to me and choice of destination does not”. Étonné an effluence of warmth leans towards a strengthening effervescent emotive response whereby we infer; flight or survival, simplicity or sophistication the artist explains this as an exchange that goes on, seeking apprehension and not comprehension with the viewer therefore left crisscrossing the evolution of the artist himself, the represented expression and the inferred response to this expression. In et fleurs violettes we are again reminded of hylomorphism, progressing to something unimagined with the use of mostly diagonal strokes combined with a subtle blend of colors. Aàdesokan shows resourcefulness in d'inclinaison aviaire and avec une version énergique, we see the use of melted polythene make a cameo in the series placing emphasis on expressing our liberty and the possibility of the unexpected, here the strokes seem uncontrolled but he maintains that this distortion is purposeful as it gives the viewer a slight nudge if the individuals emotive response become constrained. Also in paysages inimaginables and presque perturbant we notice at first glance an almost callous disruption but then again we are reminded of the need to recondition and
6 | de hylémorphisme
remove all constraints to our emotive responses that being offended becomes repulsive. With remorse for his antics the artists presents avons contemplĂŠ an embodiment of awe he says. Nous sommes en paix completes the series with the intent of reconciliation. AĂ desokan accentuates his boldness and eagerness to establish the need to recondition our emotive response to artistic expressions with this series, a vivacious and enthusiastic flux of emotions and thoughts awaits as viewers become of hylomorphism and in communion with the artist. - The Look Team July 2015
7 | de hylĂŠmorphisme
d'inclinaison aviaire, 5.92’’ x 7.56’’ Tempera on gazette, 2015.
8 | de hylémorphisme
avec une version énergique, 8.55’’ x 6.67’’, Tempera on gazette, 2015.
9 | de hylémorphisme
paysages inimaginables, 4.23’’ x 8.08’’ Tempera on gazette, 2014.
10 | de hylémorphisme
presque perturbant, 5.64’’ x 8.94’’ Tempera on gazette 2015
et fleurs violettes, 6.40’’ x 9.13’’ Tempera on gazette, 2015.
11 | de hylémorphisme
Artist Statement Art has always been a form of expression for man, my expression is in the abstraction of forms; Abstraction of forms has always been eminent in man’s paintings. The creation of an emotional experience underlays the purpose of artistic expressions, my abstracts are a reflection of myself. Painting abstracts helps me to simplify and analyze my emotions and thoughts, when I paint, I transcend them unto the image I create and thereby making every painting a safe house for my emotions and thoughts. “Art is a human activity, consisting in this, that one man consciously by means of external signs, hands on to others, feelings he has lived through and that other people become infected by these feelings and feel the experience”. Abstracts creates a distinct meta-emotional response when viewed, it gives humans a higher satisfaction on emotional releases which I enjoy as it is a superior alternative to simply managing my emotions. By indulging myself in abstract painting, I experience a cathartic release of pent up emotions. I begin my creative process by becoming aware of my emotional state of being and if I feel the urge to transcend my thoughts to my safe house I start to paint, irrespective of the medium, the most important thing for me is that my emotions are well represented and there are no constraints to the process I call this when consciously done Abstrutism, it can be seen in the conscious fusion of emotions and feelings, transition of thoughts mostly from literature towards my paintings. To induce sublime emotional responses when my art is viewed, to put the viewer on my train of thoughts, emotions and feelings heading towards a destination of their choice is the response I aim to achieve from creating abstract paintings. We all have the same subconscious, this is the paramount reason we experience the same emotions, although we express our feelings differently which is why the train belongs to me and choice of destination does not.
12 | de hylémorphisme
Avons contemplé, 6.89’’ x 9.89’’ Tempera on gazette, 2015.
13 | de hylémorphisme
The essence is lost. We run and run only to keep returning. Of existence, of awareness there exist the ones who watch you toil. Unaware you are, what exist is what it is. We are not privileged of anything. From stillness to an unending stillness. You infer this a cycle, not all cycles end. We may liken its course to a centripetal and centrifugal essence. You are lost. I am lost. Shall we begin? There exist the impossibility of being lost. All that exist can always re-exist. Of hylomorphism and its grandeur. All actions amount to an effect, all effects amount to an action but not all cycles conform to cause and effect. What do we seek, is it to identify why we are searching? What we seek is hiding in plain sight, the obvious begging to be apprehended it does not seek comprehension. You have taken strides though it be just a moment we are now in communion. What is sought is re-identification. We have always been together never being together. The paradox of how there exist that which does not change and that which is forever subjected to change in the same continuum. From potentiality to actuality, the establishment of what is not of atomism and holism nor of abstraction and similarity. There is a need to realign to an existence of unity in this we find peace just as horizontal strokes, we find majesty just as vertical strokes, we are aware and of hylomorphism.
14 | de hylĂŠmorphisme
d'euphorie, 5.86’’ x 9.14’’ Tempera on gazette, 2014.
15 | de hylémorphisme
Credits Nous sommes en paix, 5.71’’ x 9.10’’, Tempera on gazette, 2015 (Front Cover). Une transition vers quelque chose, 7.13’’ x 9.18’’, Tempera on gazette, 2015 (Page 4). Sans contrainte à la paralysie, 5.83’’ x 8.33’’, Tempera on gazette, 2015 (Page 5, left). Avec des hauts et des bas, 8.00’’ x 11.39’’, Tempera on gazette, 2014 (Page 5, right). Translation of text on page 3 (Page 14).
Profile of the artist by Ismail Shomala (Page 19). Étonné, 7.57’’ x 9.88’’, Tempera on gazette, 2015 (Back Cover).
16 | de hylémorphisme
Appendix Sequence of Images Sans contrainte à la paralysie; une transition vers quelque chose; d'inclinaison aviaire; avec une version énergique; presque perturbant; avec des hauts et des bas; d'euphorie; étonné; nous avons contemplé; paysages inimaginables; et fleurs violettes; nous sommes en paix. Unconstrained to palsy; a transition to something; of avian inclination; with an energetic release; almost disrupting; with ups and downs; of euphoria; astonished; we beheld; unimagined landscapes; and purple flowers; we are at peace.
17 | de hylémorphisme
AĂ desokan He is an abstract artist who expresses his abstract art mostly with digital media but is also skilled with the conventional mediums for expressing art. To him anything and everything is canvas, he paints mostly to express and understand his state of being and emotions, this is evident in his unique expressions and abstraction of forms which he aims to show that emotions can be transcended between forms of art and then brought forth towards reality from a vast subconscious. He has always had an eye for art, right from elementary years and would definitely be seen in attendance at children orchestras. He loves to ratiocinate and read non-fiction literary texts. His blend and synergy of emotional responses from other forms of art to his abstract is second to none. He resides in Lagos, Nigeria.
18 | de hylĂŠmorphisme
19 | de hylĂŠmorphisme