QIDDUS: An Ancient Modern Introspective by Jason Auguste

Livicated 2008 28 x 51 Acrylic on Wood Price available upon request All di mensio ns are i n i nches, wi dt h precedes hei g ht which precedes dept h

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Qi ddus: A A ncient Mo dern I ntro specti ve sel ect ed works b y JaSon E. Aug uste D ecemb er 18 , 201 1 - Janua r y 21 , 201 2 At the As al i Yog a Stud io a nd G al lery as a l i yog a .c om Openi ng Reception 12 18 11 G al l er y Hours/ Vi ewi ng s 01 02 12 01 09 12 01 16 1 2 Cl o si ng Recepti on 01 21 12 Ex hi b i ti on Curated by Ja Son E. Augus te C o- C urated by Dominiq ue And ries e & B ood a ka hn Cat a l og ue: Text b y JaSon E. Augus te a nd Ras ES P M cP herson Ed i ted by Crysta l Voisin P ri nted b y Patan e Pr es s, H arlem, New York. pata nepess.c om

Al l ri ghts r eserved. No pa r t of this public ation may b e repr oduc ed or stor ed in a r etrieva l sys tem, or trans mitted in a ny for m of by a ny m ea ns electroni c, mech ani cal, photocopying of other wi s e, wi thout prior written per mis s ion from the Wa d ad a Arts Found ati on . E ma il wa dadaa r tsfoundat ion@gmai l .com

Fo r Pr i ci ng pl ea se cal l or ema il A rt ist. A rt i st Co nt a ct : JaSo n E . Aug uste ema i l : j aug u ste72 3@g mai l. com

Co mmi ssi o ns avai lab l e

: S U D D I Q

S DU QID

: S U D D I Q

Negus Negast 2011 4x6 Engraved. Acrylic, Ink, Oil Pastal on Wood Price Available upon Request

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May the Most High bless this exhibit which is a collection of past and current works of creation by JaSon (Jah-Son) E. Auguste (b. 12.23.73) Qiddus (kid-us) is the Ethiopian word meaning Holy, Sanctified, Sacred, of the Most High. This is where these works come from; that unseen seen consciousness. Being of Ityopian decent, JaSon taps into the secret, mystical chambers of his DNA’s ancient code to reflect on the inner and outer mysteries of life, which he sees and feels all around. These codes, patterns, sequences and symbols are then consciously and subconsciously embedded and encoded in his works of art. JaSon, a self taught “artist”, uses multiple art mediums and forms in his visual arts. From hand drawings to digital processes to the use of various objects of symbolic and spiritual nature as well as paint (oil, acrylic, industrial, natural pigments) on canvas, wood, paper or whatever else that may come across his path are used to expand his artistic expression.

The arching theme in this show is tri-natured. The first is to highlight past works that touch and soothe the soul. The second delves into the deep spiritual and cosmic relations between the mind’s inner eye and the life. The third is a experimentation with binary and organic forms with codes and symbolism that taps into the vibratory healing frequencies of the divine.

Inspired by the ancient eternity of existence... “ I l i v e fo r t h e m o s t h i g h . I c r e a t e , I l o v e , I a m h e r e. . . s o s i m p l e b u t c o m p l e x . . . h e r e i s a little about who I am... I am a Rastaman, f r o m c r e at i o n , t rave l i n g t h r o u g h e x i s t e n c e u n t i l t h i s m o m e n t i n t i m e. I l ove t o h e l p others with their lives and works that u p l i f t u s a l l . I h ave b e e n m ove d b y a remembrance of a time when we used the d i f fe r e n t r e a l m s i n t h e s p h e r e o f l i fe t o h e a l o u r b o d i e s, m i n d s a n d s o u l s. I t rave l i n s e a r c h o f t h e s e r e a l m s t o b r i n g t o fo r m t h at c a n b e s e e n i n s i d e. “ - J E A

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Focus Qiddus Meskel (Hearts Breath) 2011

M O D E R N

ETHIOPIANIST A R T I S T I C HERMENEUTICS

AXIOLOGY

QIDDUS: An Ancient Modern Introspective; Selected works of Art by JaSon E. Auguste

Review By: Ras E.S.P. Mc Pherson B.A. (Hons.), M.R.E., T.C.

I was invited to attend an art exhibition by JaSon E. Auguste, on Sunday, December 18, 2-7 pm, held at the Asali Yoga Studio/Gallery, at 243 West 135th Street, Harlem, New York (between Adam Clayton Powell and Fredrick Douglass Boulevard). Here, the twenty-Seven+ art pieces viewed were as “soulful” as the accompanying music by the Soulful Sounds of DJ Boodakahn; and kosher (cultured) as the live food and spirited beverages presented.

June 16, 1931, revised in 1955 and August 1974. This to Ethiopians and the Rastafari Community made manifest on earth the government of God (Theocracy) by means of further fulfilling the prophetic Davidic covenant of 2 Samuel, chapter 7 verses 16-17. The creative works of JaSon has struck a similar chord; he has brought to us Kushitic/Ethiopic Oriental Orthodoxy themes from a Rastafari theological perspective.

The very invitation title pointed us to a “theo-historical” exhibition that was too be revealed. QIDDUS, in the Ethiopian traditional Geez language means “Holy.” It represents a befitting title for this culturally rich artistic presentation. The subtitle of the exhibition: “An Ancient Modern Introspection,” is also befitting of the experience – or should I say “in-perience”- that one has upon viewing these works of fine art. How could one present the “Ancient,” and the “Modern,” all at once?

In the words of His Imperial Majesty “Modern Ethiopianism,” represented not only a cultural ideological posture, but it was representative of a developmental-tool and Ethiopianist practice, that provided the, “...building upon the accumulated experiences of years, preserving those elements of the past which have proven useful and modifying, and improving those parts which call for change...” [my emphases.] JaSon’s artistic Ethiopianist hermeneutic reinterpretations, carefully builds upon, preserve, modify, improve, and challengingly call for introspective change. Viewing these works will pose a challenge to all who are steeped into the ancient regimes and mind-set of Greco-Roman, Euro-American civilization and there attendant values and religions. This alien-ancient-regime has being blasted into nothingness! JaSon assumes the role as an artistic Ethiopianist, to present a Rastafari theological and historical perspective of God: Christ: HIM: Rastafari and the Kushitic/Ethiopic

The traditional and modern are presented all at once through the Ethio-Rastafari eyes of “Modern Ethiopianism.” “Modern Ethiopianism,” began with the Coronation of His Imperial Majesty (HIM) Qidamawi (First) Haile Selassie on November 2, 1930. “Modern Ethiopianism,” became an enacted legal cultural ideological weapon and option, with the Constitution presented to Ethiopia by H.I.M. on

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monogenetic beginning of Creation, man and womankind! The exhibition of these pieces represents a supra-nationalist artistic codification of African motifs; and, a ultra-artistic activation of Modern Ethiopianism. This Qiddus / Holy exhibition has achieved a “harmonious alchemy of the past and the present, upon which we confidently build for the future.” As I listened the reasoned interpretation for each piece: their names, symbols and colors utilized, I readily recognized that this exhibition represented a facet of the heritage and modern bedrock of In it, each Ethiopia. viewer/Our People can “distil from the past that which is useful and enduring, to adapt those worthwhile attributes of our present day world, and to fashion this modern Ethiopianism,” outlined by HIM and practiced/lived by the EthioRastafari International Community.

solidarity, perquisite ingredients for the resurrection of Our Nation. We witnessed the codification in the arts – fine arts – of prayers, songs, dances, paintings, pottery and craft. I had the introspective in-pierences of seeing art for “healing”; witnessing “colorful movement,” and “ a n c i e n t symbols with

one of which is royally adorned with the national rainbow colors of red, gold and green. I brought to the attention of JaSon, what I saw: in the center of/cosmic pupil of the Inner Eye; a swirling Crown, within which there are two Lions hold up a Crown, and above which there are two other Lions holding up an open Book, from which there are an effervescence of golden bubbles. He too was able to discern these moving submarine symbols.

t is l na can o t i fri t i c a n f A tis ra n o -ar p s u t i o l t ra a a u s fic t rn i a e n d s e co d od e pr tic an of M .. e The piece I dubbed “Four Eye” is r tis s; n m. f indeed a Spiritual one. The ima o r s i a ot ati ni m o d e r n promptu name for it give by m tiv pia m e a n i n g , ” JaSon is Kiddus Wadada (p21), The eyes themall interpreted “Holy Love.” ac hio by the selves are in a colorful heart / The Et African Qiddus Spirit! golden-mint; done in a three-di-

Qiddus exhibition/the This works of Ras JaSon represent an example of the “axiology,” i.e., ethics/values, within a Culture. This exhibition represents a redefinition of Our own values, Our collective ethnic consciousness and ethnic 0 0 1 0

My favorite piece - that was presented to us as a present from the many reprint pieces on sale entitled: Qiddus Meskel Bubble (p22), i.e. “Holy Cross Bubble.” Here, in a circular sea of tranquil blue, opaque glittering silvery water, one finds fire and warmth, energy and serenity; a transformation of the Soul: The Eye/The Spirit of the Soul; and two golden Ancient Ethiopian Lalibela Crosses (“Meskel”) –

mensional manner, with a crowning orb/ball. All of which was placed upon a pistachio mint background that possessed an hierarchy of colors within that became more intense as one focused on the center of this 19th century Ethiopic piece.

At Rest (p20), is a vision of the Mother of Creation healing the Earth – from the womb; she is the Mediator of the Most High;

Ruby Dee, the renowned Harlemite artist literary/dramatic concepts, influenced the Divine Discourses Series (p15) There are three main meskels, within which are twelve other Meskels; representing our DNA codes: our birth, and recycles up into the womb – of movement: Life! Fire Purification of the Divine Descendent (p15), depicts a man coming out of the womb of heaven – with wings and a Meskel of protection. His eyes are of ruby/gold; against a background of a mixture of red – fire – and crimson; behind which (I discovered) is a hidden

Kabalistic sefirot/golden cones – representing the mind’s eye. Above, there is a raw sun at top – representing The Most High. Water Purification of the Divide Descendent (p15), is a cobalt silvery lighted three dimensional

... light dimens ed three Ethiopi ional scroll mc mystic at r i x . . .

her tears are a mixture of pistachio and sand: a aqua combination. There is a levitating and moving Meskel coming out from the heavens from a cobalt sky blue. Hear Our Prayers (p19) , is for the times we are living in. The Angelic Wings guide us towards a firm Creation – depicted in gold, within which there are two eyes – of sparkling colors – somewhat seen, and yet unseen. Meaning, we are always seen – via The Eyes/ ‘I’s of The Ancient of Days’ [See The Bible, Daniel 7: 9]. Without Prejudice (p19), is done on a vibrant green and gold background; there are traveling and judging wings, eyes and the ancient symbol Meskel of Lalibela.

Ethiopic mystic scroll matrix; with circular eyes. Malak Azula: Star of Drums/The Womb (p17) , is a red and gold illusion combination of our progenial beginning / past. JMB Code (p16), is a maroon, purple, light green code motif in remembrance/crowning of the Jean Michael, a renowned African American pop music artist of the 1970s, who lived in Brooklyn. This piece is truely of the modern age, where as the viewer is taken into the cyber world to learn and gain information about JMB, via the embed qr (quick response) codes. Pyramid (p18), is a colorful silvery and midnite blue, and is a pyramid grid shape, representing patterns of our collective ascension.

Righteous Pursuits (p26), is a type of flying-initiation – moving art. There is a kind of equation and preconception built into this mathematical vortex. Negus King Nebula (p27), is a cosmic finding of us. Done in purple, blue, gold and cobalt, and completed in one day, it depicts H.H. Tafari Makonnen/Negusa Nagast Tafari Makonnen in a mystical bubble arch rainbow. It counterpart is found in H.I.M. Family Tribute (p28), coming out of the Sun, with a Meskel in hand and His Qiddus/Holy Eyes protruding. Both these piece are a mixture of painting and woodcarving, inscribed. Walking with Creation: Symbols within Key (p23), this metallic blue and silver with an Ethiopian meskel afixed symbolizes the finite (Selah doxology) Creation, Life, Eternity! Meskel Tree Creation Tree (p24) ,” represents the miracles of Life. There is the Life/Soul – Circular traveling going in/out – into the sea of Life ethos. This nucleus of Life is in burnt cyan orange, and a golden yellow; which, emits cosmic patriarchal/matriarchal warmth. Focus Qiddus Meskel (Hearts Breath) (p24), brings us to look within The Eye of a pulsating and breathing heart. The colors of red, crimson and deep 0 0 1 1

ruby seem to dance throughout. Nine Guardians (p25), is another mystical scroll, which includes the Meskel; Eye; Moving Angel a top four Guarding Angels; against a green, lime green, emerald green background. This is further complemented by a similar piece called, Ten Guardians (p25) against a blue royal blue cobalt, sapphire background emitting a blue luminescent glow.

Livicated (p2-3), is JaSon’s “masterpiece,” salute to the ancient Ethiopic heritage of Lalibela Churches; from which there is an outcry – collective shout of: “Such a joy! Oh what a sorrow”! Kingly Character (p31), is an artistic fulfillment of the prophetic – Isaiah prophecies of the coming of Christ: Rastafari: H.I.M. First Haile Selassie! This presentation visually says He is alive; while revealing His Head: Eyes! Fire Malaka (p31), i.e. Fire Angel,” represents the spreading of the blessing. Moa Anbessa (p29), i.e. “The Conquering Lion,” shows a Royal Brave, and Courageous Lion – “L.I.O.N. – Liberty In Our Nation” attained. The Lion is also bloody, and is enthroned by the historic stele erected by H.I.M. 0 0 1 2

in memory of Ethiopia’s victory at the Battle of Adowa/Adwa, March 1, 1892. Kingly Character, Fire Malika, and Moa Anbessa, are what i consider modern art pieces.

Puzzle Malak (p28), depicts an Angelic Being, in which the view is challenge to put the pieces together. The Building of Lalibela (p17), is a central piece revealing seven Angels coming out of the heavens – with Meskels in hand – Meskels that are tools used to build the historic Churches of Lalibela. (This reminds us of Cosmo genetic Ancestors that came from the Sun to build the Pyramids in Kemet/KMT: Egypt, often erroneously called by Europeans as, ‘aliens.’) The colors throughout this heavenly piece are gold, dark brown and graphic blue. Negusa Nagast (p6), is ‘livicated’ [dedicated] to the ‘Livity’ [Life] of H.I.M.: given to Us! This work depicts the engraving techniques of the artist done on organic wood. The most profound characteristic of all the pieces are the healing colors and movements. Ras JaSon describes his works as “natural abstracts.” Notwithstanding, viewing these highly creative works allows the Spirit-

Mind to “decode/encode” them; and while the maxim of life is “Each is Self,” one will be allowed to have their own critical introspective. This is a movement from the heavens to the earth; a journey through water, air, and fire; an intra-relationship between man, woman and children. Pay your homage by visiting the exhibit; there will be inner joy (“Dassata”), and a feeling of wonder (“Adnaqot”); you will meet God (“Amlak” / “Agzi’abaher”) and Goddess (“Ta’ot”) – St. Mary of Mount Zion – the Judeo-Apostolic Mother of God. This is the challenge open to all, inviting others to attend, see, and purchase the exhibition of works that continue. “Salam”/Peace! My earliest impressions of the exhibit, which was stated in the guest book provided by our host, still rings out; Qiddus…, represents:

CELESTIAL ‘ROYAL HEALING’ FROM ‘THE HEAVEN’S. Give Thanks Ras Jah Son. From: Ras E.S.P. Mc Pherson.”

Wadada = Love Seeing the Seen Unseen has always healed... with colors movements ancients symbols with modern meanings. All interpreted by the Heart, Felt by the Soul and moved by Emotions. These works are for those who see feel and heal beyond what is seen. Qiddus = Sanctified Selah Qiddus Wadada

Divine Discouse Series: Fire Purification of Divine Descendent 2011 14 x 35 Wood Plank Acrylic - Gold Metallic - Oil Pastal Price Available upon Request

Divine Discouse Series: Water Purification of Divine Descendent 2011 14 x 35 Wood Plank Acrylic - Silver Metallic Oil Pastal Price Available upon Request

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JMB Code 2011(Interactive) 52 x 52 Acrylic on High Resolution Laser Output on Vinyl encoded. qr reader necessary for full capacity Created for the Historic John Micheal Basquiat Tribute Show. Harlem. NY August 2011. QR codes live Price available upon request Editon of 7

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Malak Azala 2011 13 x 17 Gold Oil Based Red Paint Marker on Archival Water Color Paper Price Available upon Request

Building of Lalibela 2010 27 x 27 Metallic based Acrylic on Wood Price Available upon Request

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Intricate Eye 2011 12 x 12 x 1.5 Siver Metallic Paint on Canvas. Embedded with Amethyst Price Available upon Request

Primary Pryamids 2011 12 x 12 x 1.5 Siver Metallic Paint Sharpie on Canvas.

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Price Available upon Request

Without Prejudice 2011 18.5 x 22.5 inches Gold Oil Based and Red Paint Marker on Archival Water Color Paper Price Available upon Request

Hear our Prayers 2011 13.5 x 16.5 inches Gold Oil Based, Metallic Paint, Acrylic on Archival Water Color Paper Price Available upon Request

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At Rest 2011 20 x 24 Oil Pastal on recycled card board with Ethiopian Meskel circa. 18th Century Price Available upon Request

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Qiddus Wadada Creation 2011 48 x 36 Gold Oil Based Metallic Paintâ&#x20AC;˘ Acrylic on canvas Price available upon request

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Qiddus Meskel Bubbles 2008 14 x 35 Acrylic on Canvas overlaid silkscreen of hand sketch Ethiopian meskels c. 19th Century & Cotton on Canvas Price available upon request

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Walking with Creation 2009 10.5 x 14 Liquid Acrylic Silver Paint Ethiopian Meskel C .19th Century on Wood Price available upon request

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Qiddus Meskel Tree (Creations Tree) 2011

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Focus Qiddus Meskel (Hearts Breath) 2011

21.5 x 36.5 High Resolution Laser Print On Recycled Vinyl

Price available upon request

Nine Qiddus Guardians 2011

Ten Qiddus Guardians 2011

21.5 x 36.5 High Resolution Laser Print On Recycled Vinyl

Price available upon request

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...righteous persuits... 2011 14 x 16 Antique Gold Paint. Acrylic. Sharpie on archival water color paper Price Available upon Request

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(1a) Negus (King) Nebula 2010

(2a)...earth walkers... 2010

(1b) Qiddus Garnett 2010

(2b)...Create Creator Creation... 2010

14 x 10.5 Acrylic - Acetate on Wood

10.5 x 14 Wood stain - Gold Paint Oil Pastel Sharpie on Wood

10.5 x 14 Acrylic - Sharpie on Wood

14 x 10.5 Acrylic - Gold Pain Oil Pastel Acetate on Wood

Price Available upon Request

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Royal Family 2009 10.5 x 14 Acrylic - Oil Pastel, Pen with Acetate on Wood Equation for Life 2009 10.5 x 14 Sharpie on Wood

Price available upon request

Puzzle Malak 2009 28 x26 Acrylic Oil Pastels on Wood Price available upon request

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Moa Anbessa 2010 48 x 36 Acrylic - Oil based on canvas Price Available upon Request

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iModernAncientune 2008 10 x 18 x 6 Skullcandy Rasta Headphones and Original Wood Carved Mask Price Available upon Request

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Qiddus Malak Hael (Sanctified Immense Angel) 2008 30 x 10.5 Acrylic - Oil Pastal on wood Price Available upon Request

Kingly Character 2010 32 x 12.5 Oil Pastel - on wood Price Available upon Request

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Specia l Thanks and Acknowledgements: Th e M o s t H i g h o f A l l C r e at i o n C r e at e r o f C r e at i o n His Imperial Majesty Qidamawi Qademawi (Before the First After the Last) Haile Selassie for your d i vi n e, gra c e, gui d an c e an d love. Life for the opportunity to live. Maxine Joy Smith my mother who I love so much for th e l ove a nd s uppor t of a l i feti m e an d b eyon d . To S teph a n i e you m a ke your brother so proud. Dominique Andriese your friendship and love is eternal, thank you for all the hours up m oti vati n g m e forwa rd wi th your presen c e, en erg y a n d love, for thi s to come to ex i s ten c e, you a r e an d m a la k sen t form th e h eaven s. My b r edr en B K gi ve th an ks I- ya h for th e s tr en gth espec i a l l y wi th sec uri n g a n d h a n g i n g t h e wo rk s i n t h e G a l l e ry w i t h yo u t e ch n i c a l e x p e r t i s e a n d k n ow l e d g e Al s o the m us ic for th e peopl e. M a h keddah amess ag a n a h a l u kon jo- yea . Erica Robinson and Asali Yog a Studio & Gallery thank you for warm and inviting space to create and share good vibes that will reverbrate into existence. Reginald Idl ett of 5 7 M ain Str eet th e b everages wer e s pl en di d a n d d el i gh tful . M on i c a B i rt for your gracious hospitality especiall y being places i could not be, i am so grateful.Ras Korby - Selected Sounds that blessed the atmosphere, lovel y.Marella Eliza B th a n k for your m us i c a l ta l en ts a n d d ri ve el i zab a r t.c om . Ni c ol e H en ry th a n k you for your tr ue friends hi p over ti m e an d spac e. I - Love, Jol o, Negus a n d H one s t . . . R a s t a fa r i L ove i s E t e r n a l a n d s o i s t h e b o n d w i t h my g o o d b r e d r e n . Wa dada S uu Waa h. & Al l fa mil y, fri en ds, an d person s far an d n ea r wh o supported th i s ex h i b i t wi th love, posi tve en erg y an d upl i fti n g vi b rati on s th a n k you, I h um bl y th a n k you a l l .

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Purpose: Use *creative arts (life arts) as a way to help individuals and organizations enhance their over all well being. *Creative arts being defined but not limited to: Use of lifeâ&#x20AC;&#x2122;s seen and unseen objects to express ones own individual creativity. Service: To provide professional graphic, visual, creative, artistic as well spiritual design services but not limited to for organizations and individuals whose primary focus is helping and aiding others and furthering the human experience through innovative, nurturing and healing ways. Projects: Wadada Arts Foundation (WAF) collaborates as producer/curator with selected artists/ organizations from the diaspora who focus on nurturing and uplifting art forms. WAF endeavors to assist with projects that extend the physical, financial, or typical boundaries of i nstitutions and organizations. With the intention of incorporating critical works of art into various public arenas, while simultaneously expanding and supporting the greater vision. 0 0 3 2

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