A random conversation with a smart canvas à the ground-self presentation of DAMILOLA OSHILAJA’s transmission of the flower of interpretation, Nôka Densho style

Art Grunge is recycled “white noise” as a dream projection of the ikebana mass energy of the cosmos. The artist, Damilola Oshilaja is a fundamental observer, a diviner that sets the rules for the creation of the universe as a metaphor of high-Ga erotic madness. With Damilola Oshilaja, colours are vibrating light values that appear in various frequencies on the canvas as tachyon metaphors of the elemental forces that transmute themselves into the smart matter of the flower of interpretation. Excellent well! From animal-raising nomads, to hunter nomads it is well known that the lanmirin grass is a friend to the palm-frond arrow, and that the langanran grass is a friend of the labelabe grass.

Indeed, a root growing from a tree on one bank of the river Thames and appearing on the other bank passes not through the river’s water. This is headline news for me, Ogun Moja, wearing agression’s palm-fronds round my waist; yeah, with a straw hat on my head, standing at a distance and brandishing a two-edged sword dazzlingly, I Ogun Moja, will unfailingly perform my entertainment till nightfall at the EMPIRE GALLERY in London. A holography master of the livingness of aesthetic illusions, nano-networkingly putting together method & wisdom, I am the observer and the observed. How come, since the map is not the territory, and occupying a space without being counted is an act of rebellion against the State; as much as that which is counted to be occupied, determines the limits of Her Majesty’s “marvelous possessions” & new world wonders. Yo! Vouchsafe to show the sunshine of your face, that we, like savages may worship it on a Magna Carta. With an infinite loop inversion of reality on the canvas, perfection is out of question, since a tortoise’s misbehaviour always brings trouble to an unskilled ijala. But the almost perfect ijala can always achieve enlightenment through the endless possibilities of amazement, despite the fact that many frogs know not that most frogs have brains. Thus I heard…

Jálajàlá àjàlá fa jálajàla ba Àjàlá

Òpòlopò opoló kò mo pé òpòlopó òpòló lopolo lopolopo

Damilola Oshilaja’s Sakaki brush, introduces to the audience pellets of mt-DNA snippets of conversational automorphisms, applied to the quantum space of our imaginary third brain. Hereunto, we fractally enter the pre-space twistor-like syber-nô superstring world of the canvas, with its multiple infinite loops of overlapping dimensionalities. The artist converses the space-level input of mt-brane REM-state news from the village where the KA is shouted as MU, into the spectrum-level output of an unprecedented yet familiar ordered miscellaneousness blueprint operator of “restructured matter” as “restructured imagination.” Damilola Oshilaja’s loop spaces make way for the manipulation of homotopic groups of mathematical “terton” entities by moving them from one dimension to the next. Hence, the permutative category input of the artist is shifted into a spectrum-level output in H-space, where H operates as the spirit of the obvious, and likely stands for Hopf’s work on the topology of Lie groups. Mark it well, a loop space on the canvas is worth an H-space, but an H-space can also be a double-loop space that violates causality through the automatic processing of infinitely higher homotopies. A pre-theorem in ART GRUNGE is a statement that is sufficiently useful to explain the general drift and intention of a result, but not necessarily sufficient to be pinned down before you can have a thoroughly established theorem on the origin of the universe. In fact, the torsion tensors of ART GRUNGE operate by introducing 4 orthonormal unit vectors at each point of the space-time continuum, and transporting them parallelly with the connection thereupon established: chreods, braids, links, knots, rings & strings are Zen-like fractally rotated with various degrees of freedom, depending on the direction of the parallel transport. Welcome to the EMPIRE GALLERY in London, where measure bears the ground for the emergence of the audience as the relatedness superstring force-field of seemingly unrelated events. The beauty and elegance of Damilola Oshilaja’s work enhances our intrinsic appreciation of the ikebana mass of the cosmos. Dôzo! Your honour did name me as One you thought fit to be a City-chromosome advisor to Ogun Moja.

Nemo.Accipit.Qui.Non.Legitime.Certaverit Yo! “White noise” rebellion & miscellanie of various memoirs, or royal collections on the domestication of the savage mind. Symbols! Divine mental languages! I admit that it makes me frightfully angry that this impertinent young man should call us animals, as if Darwin was ever right. Damilola Oshilaja’s Exhibition is above all, a matter of the transmission and dissemination of the flower of interpretation. Sceau mote it be. From fairest creatures we desire increase! Dômo arigatô gozaimashita.

Claude Philogène
Écrivain
Scientific Journalist

 

 

 

 
 
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