QIDDUS: An Ancient Modern Introspective

Livicated 2008

28 x 51Acrylic on Wood

Price available upon request

All dimensions are ininches, width precedesheight which precedesdepth

This catalogue was prepared for the occasion of the exhibition:

Qiddus: A Ancient Modern Introspectiveselected works by JaSon E. AugusteDecember 18, 2011 - January 21, 2012At the Asali Yoga Studio and Galleryasaliyoga.com

Opening Reception 12 18 11

Gallery Hours/Viewings 01 02 1201 09 1201 16 12

Closing Reception01 21 12

Exhibition Curated by JaSon E. AugusteCo- Curated by Dominique Andriese & Boodakahn

Catalogue:Text by JaSon E. Auguste and Ras ESP McPhersonEdited by Crystal VoisinPrinted by Patane Press, Harlem, New York. patanepess.com

All rights reserved. No part of this publication may be reproduced or stored in a retrieval system, or transmitted in anyform of by any means electronic, mechanical, photocopying of oth-erwise, without prior written permission from the Wadada ArtsFoundation. Email [email protected]

For Pricing please call or email Artist.

Artist Contact: JaSon E. Auguste email: [email protected]

Commissions available

QIDDUS:

QIDDUSQIDDUS:QIDD

US:

Negus Negast2011

4 x 6 Engraved. Acrylic, Ink, Oil

Pastal on Wood

Price Available upon Request

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May the Most High bless this exhibit whichis a collection of past and current worksof creation by JaSon (Jah-Son) E. Auguste (b. 12.23.73)

Qiddus (kid-us) is the Ethiopian wordmeaning Holy, Sanctified, Sacred, of theMost High. This is where these works comefrom; that unseen seen consciousness.

Being of Ityopian decent, JaSon taps intothe secret, mystical chambers of his DNA’sancient code to reflect on the inner andouter mysteries of life, which he sees andfeels all around. These codes, patterns, se-quences and symbols are then consciouslyand subconsciously embedded and encodedin his works of art.

JaSon, a self taught “artist”, uses multipleart mediums and forms in his visual arts.From hand drawings to digital processes tothe use of various objects of symbolic andspiritual nature as well as paint (oil,acrylic, industrial, natural pigments) oncanvas, wood, paper or whatever else thatmay come across his path are used to ex-pand his artistic expression.

Inspired by the ancient eternity of existence...

“ I l i ve for the mos t h i gh . I c reate, I l ove, Iam here. . . so s imp le bu t complex . . . here i sa l i t t l e about who I am. . . I am a Ras taman,f rom creat i on , t rave l ing through ex i s t enceunt i l th i s moment in t ime. I l ove t o he lpo thers w i th the i r l i ves and works that up l i f t us a l l . I have been moved by a remembrance o f a t ime when we used thed i fferen t rea lms in the sphere o f l i fe t ohea l our bod i es , minds and sou l s . I t rave lin search o f these rea lms to br ing t o formthat can be seen ins ide. “ - JEA

The arching theme in thisshow is tri-natured. The firstis to highlight past worksthat touch and soothe thesoul. The second delves intothe deep spiritual and cosmicrelations between the mind’sinner eye and the life. Thethird is a experimentationwith binary and organicforms with codes and symbolism that taps into thevibratory healing frequenciesof the divine.

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Focus Qiddus Meskel (Hearts Breath) 2011

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 West135th Street, Harlem, New York (between AdamClayton Powell and Fredrick Douglass Boulevard).Here, the twenty-Seven+ art pieces viewed were as“soulful” as the accompanying music by the SoulfulSounds of DJ Boodakahn; and kosher (cultured) asthe live food and spirited beverages presented.

The very invitation title pointed us to a “theo-his-torical” exhibition that was too be revealed. QIDDUS, in the Ethiopian traditional Geez languagemeans “Holy.” It represents a befitting title for thisculturally 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 uponviewing these works of fine art. How could onepresent the “Ancient,” and the “Modern,” all atonce?

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

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

In the words of His Imperial Majesty “ModernEthiopianism,” represented not only a cultural ideological posture, but it was representative of adevelopmental-tool and Ethiopianist practice, thatprovided the, “...building upon the accumulated experiences of years, preserving those elements ofthe past which have proven useful and modifying,and improving those parts which call for change...”[my emphases.] JaSon’s artistic Ethiopianisthermeneutic reinterpretations, carefully buildsupon, preserve, modify, improve, and challenginglycall for introspective change. Viewing these workswill pose a challenge to all who are steeped into theancient regimes and mind-set of Greco-Roman,Euro-American civilization and there attendant val-ues and religions. This alien-ancient-regime hasbeing blasted into nothingness! JaSon assumes therole as an artistic Ethiopianist, to present a Rasta-fari theological and historical perspective of God:Christ: HIM: Rastafari and the Kushitic/Ethiopic

M O D E R N ETHIOPIANIST A R T I S T I CHERMENEUTICSA X I O L O G Y

QIDDUS:An Ancient ModernIntrospective;Selected works of Artby JaSon E. Auguste

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

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monogenetic beginning of Cre-ation, man and womankind!

The exhibition of these piecesrepresents a supra-nationalistartistic codification of Africanmotifs; and, a ultra-artistic acti-vation of ModernEthiopianism. This Qiddus /Holy exhibition has achieved a“harmonious alchemy of thepast and the present, uponwhich we confidently build forthe future.” As I listened thereasoned interpretation foreach piece: their names, sym-bols and colors utilized, I read-ily recognized that thisexhibition represented afacet of the heritage andbedrock of modernEthiopia. In it, eachviewer/Our People can “distilfrom the past that which is use-ful and enduring, to adapt thoseworthwhile attributes of ourpresent day world, and to fash-ion this modern Ethiopianism,”outlined by HIM andpracticed/lived by the Ethio-Rastafari International Commu-nity.

This Qiddus exhibition/theworks of Ras JaSon representan example of the “axiology,”i.e., ethics/values, within a Culture. This exhibition represents a redefinition of Ourown values, Our collective eth-nic consciousness and ethnic

solidarity, perquisite ingredientsfor the resurrection of Our Nation. We witnessed the codification in the arts – finearts – of prayers, songs, dances, paintings, pottery and craft. Ihad the introspective in-pier-ences of seeing art for “healing”; witnessing“colorful move-ment,” and “ a n c i e n t s y m b o l swith

a modern

mean ing ,”all interpreted

by the heart / TheAfrican Qiddus Spirit!

My favorite piece - that was pre-sented to us as a present fromthe many reprint pieces on saleentitled: Qiddus Meskel Bubble(p22), i.e. “Holy Cross Bub-ble.” Here, in a circular sea oftranquil blue, opaque glitteringsilvery water, one finds fire andwarmth, energy and serenity; atransformation of the Soul: TheEye/The Spirit of the Soul; andtwo golden Ancient EthiopianLalibela Crosses (“Meskel”) –

one of which is royally adornedwith the national rainbow colorsof red, gold and green. I brought to the attention ofJaSon, what I saw: in the center of/cosmic pupil of theInner Eye; a swirling Crown,within which there are twoLions hold up a Crown,and above which thereare two other Lionsholding up an openBook, from whichthere are an ef-fervescence of

golden bubbles. Hetoo was able to discern

these moving submarinesymbols.

The piece I dubbed “FourEye” isindeed a Spiritual one. The im-promptu name for it give byJaSon is Kiddus Wadada (p21),“Holy Love.” The eyes them-selves are in a colorful golden-mint; done in a three-di-mensional manner, with acrowning orb/ball. All of whichwas placed upon a pistachiomint background that possessedan hierarchy of colors withinthat became more intense asone focused on the center ofthis 19th century Ethiopicpiece.

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

represents a supra-nationalist

artistic codification of African

motifs; and a ultra-artistic

activation of Modern

Ethiopianism

...

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her tears are a mixture of pis-tachio and sand: a aqua combi-nation. There is a levitatingand moving Meskel coming outfrom the heavens from a cobaltsky blue. Hear Our Prayers (p19), is for the times we are livingin. The Angelic Wings guide ustowards a firm Creation – de-picted in gold, within whichthere are two eyes – ofsparkling colors – somewhatseen, and yet unseen. Meaning,we are always seen – via TheEyes/ ‘I’s of The Ancient ofDays’ [See The Bible, Daniel 7:9]. Without Prejudice (p19), isdone on a vibrant green andgold background; there are trav-eling and judging wings, eyesand the ancient symbol Meskelof Lalibela.

Ruby Dee, the renownedHarlemite artist literary/dra-matic concepts, influenced theDivine Discourses Series (p15)There are three main meskels,within which are twelve otherMeskels; representing our DNAcodes: our birth, and recyclesup into the womb – of move-ment: Life! Fire Purification ofthe Divine Descendent (p15),depicts a man coming out of thewomb of heaven – with wingsand a Meskel of protection. Hiseyes are of ruby/gold; against abackground of a mixture of red– fire – and crimson; behindwhich (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 DivideDescendent (p15), is a cobalt sil-very lighted three dimensional

Ethiopic mystic scroll matrix;with circular eyes. Malak Azula:Star of Drums/The Womb (p17) ,is a red and gold illusion combi-nation of our progenial begin-ning / past.

JMB Code (p16), is a maroon,purple, light green code motif inremembrance/crowning of theJean Michael, a renownedAfrican American pop musicartist of the 1970s, who lived inBrooklyn. This piece is truely ofthe modern age, where as theviewer is taken into the cyberworld to learn and gain infor-mation about JMB, via theembed qr (quick response)codes.

Pyramid (p18), is a colorful silvery and midnite blue, and isa pyramid grid shape, repre-senting patterns of our collec-tive ascension.

Righteous Pursuits (p26), is atype of flying-initiation – mov-ing art. There is a kind of equa-tion and preconception builtinto this mathematical vortex. Negus King Nebula (p27), is acosmic finding of us. Done inpurple, blue, gold and cobalt,and completed in one day, it de-picts H.H. Tafari Makonnen/Ne-gusa Nagast Tafari Makonnenin a mystical bubble arch rain-bow. It counterpart is found inH.I.M. Family Tribute (p28),coming out of the Sun, with aMeskel in hand and His Qid-dus/Holy Eyes protruding. Boththese piece are a mixture ofpainting and woodcarving, in-scribed.

Walking with Creation: Symbolswithin Key (p23), this metallicblue and silver with anEthiopian meskel afixed symbolizes the finite (Selahdoxology) Creation, Life, Eternity! Meskel Tree CreationTree (p24) ,” represents the mir-acles of Life. There is theLife/Soul – Circular travelinggoing in/out – into the sea ofLife ethos. This nucleus of Lifeis in burnt cyan orange, and agolden yellow; which, emits cos-mic patriarchal/matriarchalwarmth. Focus Qiddus Meskel(Hearts Breath) (p24), brings usto look within The Eye of a pul-sating and breathing heart. Thecolors of red, crimson and deep

... lighted three dimensional Ethiopic mystic scroll ma

trix...

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ruby seem to dance through-out. Nine Guardians (p25), is an-other mystical scroll, whichincludes the Meskel; Eye; Mov-ing Angel a top four GuardingAngels; against a green, limegreen, emerald green back-ground. This is further comple-mented by a similar piececalled, Ten Guardians (p25)

against a blue royal blue cobalt,sapphire background emitting ablue luminescent glow.

Livicated (p2-3), is JaSon’s “masterpiece,” salute to the an-cient Ethiopic heritage of Lalibela Churches; from whichthere is an outcry – collectiveshout of: “Such a joy! Oh whata sorrow”!

Kingly Character (p31), is anartistic fulfillment of theprophetic – Isaiah prophecies ofthe coming of Christ: Rastafari:H.I.M. First Haile Selassie! Thispresentation visually says He isalive; while revealing His Head:Eyes!

Fire Malaka (p31), i.e. FireAngel,” represents the spread-ing of the blessing. MoaAnbessa (p29), i.e. “The Con-quering Lion,” shows a RoyalBrave, and Courageous Lion –“L.I.O.N. – Liberty In Our Na-tion” attained. The Lion is alsobloody, and is enthroned by thehistoric stele erected by H.I.M.

in memory of Ethiopia’s victoryat the Battle of Adowa/Adwa,March 1, 1892. Kingly Char-acter, Fire Malika, and MoaAnbessa, are what i considermodern art pieces.

Puzzle Malak (p28), depicts an Angelic Being, in which theview is challenge to put thepieces together. The Building of Lalibela (p17), is a central piecerevealing seven Angels comingout of the heavens – withMeskels in hand – Meskels thatare tools used to build the his-toric Churches of Lalibela.(This reminds us of Cosmo ge-netic Ancestors that came fromthe Sun to build the Pyramidsin Kemet/KMT: Egypt, often erroneously called by Euro-peans as, ‘aliens.’) The colorsthroughout this heavenly pieceare gold, dark brown andgraphic blue.

Negusa Nagast (p6), is ‘livicated’ [dedicated] to the‘Livity’ [Life] of H.I.M.: given toUs! This work depicts the en-graving techniques of the artistdone on organic wood.

The most profound characteris-tic of all the pieces are the heal-ing colors and movements. RasJaSon describes his works as“natural abstracts.” Notwith-standing, viewing these highlycreative works allows the Spirit-

Mind to “decode/encode” them;and while the maxim of life is“Each is Self,” one will be al-lowed to have their own criticalintrospective. This is a move-ment from the heavens to theearth; a journey through water,air, and fire; an intra-relation-ship between man, woman andchildren. Pay your homage byvisiting the exhibit; there willbe inner joy (“Dassata”), and afeeling of wonder (“Adnaqot”);you will meet God (“Amlak” /“Agzi’abaher”) and Goddess(“Ta’ot”) – St. Mary of MountZion – the Judeo-ApostolicMother of God. This is the chal-lenge open to all, inviting othersto attend, see, and purchase theexhibition of works that continue. “Salam”/Peace!

My earliest impressions of theexhibit, which was stated in theguest book provided by ourhost, still rings out; Qiddus…, represents:

Give Thanks Ras Jah Son.From: Ras E.S.P. Mc Pherson.”

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CELESTIAL ‘ROYALHEALING’ FROM ‘THE HEAVEN’S.

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. Theseworks 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 - GoldMetallic - Oil

Pastal

Price Availableupon Request

Divine Discouse Series:Water Purification of Divine Descendent 2011

14 x 35Wood PlankAcrylic - Sil-ver Metallic -Oil Pastal

Price Availableupon Request

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JMB Code2011(Interactive)

52 x 52 Acrylic on High Resolution Laser Output on Vinyl encoded. qr reader necessary for full capacityCreated for the Historic John Micheal Basquiat Tribute Show. Harlem. NY August 2011. QR codes live


Editon of 7

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Malak Azala2011

13 x 17Gold Oil Based Red Paint Marker on Archival Water Color Paper


Building of Lalibela2010

27 x 27Metallic based Acrylic onWood


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Intricate Eye2011

12 x 12 x 1.5 Siver Metallic Paint on Canvas.Embedded with Amethyst


Primary Pryamids2011

12 x 12 x 1.5 Siver Metallic Paint Sharpie onCanvas.

Price Available upon Request0081

Hear our Prayers2011

13.5 x 16.5 inchesGold Oil Based, Metallic Paint, Acrylic on Archival Water Color Paper


Without Prejudice2011

18.5 x 22.5 inchesGold Oil Based and Red Paint Marker on Archival Water Color Paper


0091

At Rest2011

20 x 24 Oil Pastal on recycled card board with Ethiopian Meskel circa. 18th Century


0002

Qiddus Wadada Creation2011

48 x 36 Gold Oil Based Metallic Paint• Acrylic on canvas


0012

Qiddus Meskel Bubbles2008

14 x 35 Acrylic on Canvas overlaid silkscreen of hand sketchEthiopian meskels c. 19th Century & Cotton on Canvas


0022

Walking with Creation2009

10.5 x 14Liquid Acrylic -Silver Paint Ethiopian Meskel C .19th Centuryon Wood


0032

Qiddus Meskel Tree (Creations Tree)2011

21.5 x 36.5High Resolution Laser Print

On Recycled Vinyl


Focus Qiddus Meskel (Hearts Breath) 2011

21.5 x 36.5High Resolution Laser Print On Recycled Vinyl


0042

Nine Qiddus Guardians2011

21.5 x 36.5High Resolution Laser Print

On Recycled Vinyl


Ten Qiddus Guardians2011

21.5 x 36.5High Resolution Laser Print On Recycled Vinyl


0052

...righteous persuits...

2011

14 x 16 Antique Gold Paint.

Acrylic. Sharpieon archival

water color paper


0062

(1a) Negus (King) Nebula 2010

14 x 10.5Acrylic - Acetate on Wood


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

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


(1b) Qiddus Garnett2010

10.5 x 14Acrylic - Sharpie on Wood


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

14 x 10.5Acrylic - Gold Pain Oil PastelAcetate on Wood


1b

1a 2a

2b

0072

Royal Family2009

10.5 x 14Acrylic - Oil Pastel,Pen with Acetate on

Wood

Equation for Life2009

10.5 x 14Sharpie on Wood


Puzzle Malak2009

28 x26Acrylic Oil Pastels

on Wood


0082

Moa Anbessa2010

48 x 36Acrylic - Oil based on canvas


0092

iModernAncientune2008

10 x 18 x 6Skullcandy Rasta

Headphones and Original WoodCarved Mask


0003

0013

Qiddus Malak Hael (Sanctified Immense Angel)2008

30 x 10.5Acrylic - Oil Pastal on wood


Kingly Character2010

32 x 12.5 Oil Pastel - on wood


0023

Special Thanks and Acknowledgements:

The Most High of All Creation Creater of Creation His Imperial Majesty QidamawiQademawi (Before the First After the Last) Haile Selassie for your divine, grace, guid-ance and love.

Life for the opportunity to live. Maxine Joy Smith my mother who I love so muchfor the love and support of a lifetime and beyond. To Stephanie you make yourbrother so proud. Dominique Andriese your friendship and love is eternal, thankyou for all the hours up motivating me forward with your presence, energy andlove, for this to come to existence, you are and malak sent form the heavens.My bredren BK give thanks I-yah for the strength especially with securing andhanging the works in the Gallery with you technical expertise and knowledgeAlso the music for the people. Mahkeddah amessaganahalu konjo-yea.

Erica Robinson and Asali Yoga Studio & Gallery thank you for warm and invitingspace to create and share good vibes that will reverbrate into existence. ReginaldIdlett of 57 Main Street the beverages were splendid and delightful. Monica Birtfor your gracious hospitality especially being places i could not be, i am so grate-ful.Ras Korby - Selected Sounds that blessed the atmosphere, lovely.Marella ElizaB thank for your musical talents and drive elizabart.com. Nicole Henry thankyou for your true friendship over time and space. I-Love, Jolo, Negus and Hon-est.. .Rastafari Love is Eternal and so is the bond with my good bredren. Wadada Suu Waah.

& All family, friends, and persons far and near who supported this exhibit withlove, positve energy and uplifting vibrations thank you, I humbly thank you all.

WadadaArts Foundation: 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 life’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.

646 707 2485 [email protected]

QIDDUS: An Ancient Modern Introspective

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