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sebastian - Writer

@write.sebastian

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Author of
1. DreamBook
2. Tales of Vision & Wonder
I am building a Dream because all Dreams come True...⚜️

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Writing in Truth, inking in Fantasy. Fain my desire to reveal in both...

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#Writer #Illustrator #Blackink #RestoreWonder #writesebastian by @write.sebastian

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7 months ago

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Wonder is a 🏡 of joy. Enter...

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#Poésie #Restorewonder #Naturespirits
#Poetry #Magick taken in Over the Hills & Far Away by @write.sebastian

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4 months ago

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This Artwork was not assisted by AI...

Takes of Vision & Wonder is an echo of the everlasting Magick yarn, the wonderous joys of childhood and the supreme delight in Nature. The Spirit of the timeless voice of The Ælves sing notes from over the hills of Dream and far away - ✍🏿🎨 sebastian

🫵🏿🫵🏻🫵🏽 can find 🫵🏿🫵🏻🫵🏽 eBook on Amazon.

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#Imagination #Fantasyreader #Goldleaf
#Goldkeafart #Writerscommunity by @write.sebastian

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3 months ago

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On Faëirie...

In some villages, in many towns, in some cities and countries there are no Faëirie at all. Fæge rejoice!

Let she let he who possess wisdom Augur🤙🏿

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#Magick #RestoreWonder #Writer #FourLeafClover #FairyGarden by @write.sebastian

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2 days ago

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Art Nouveau & The Africans

Part the 5th

Beyond Decoration: Egypt, Africa, and Art Nouveau

If we widen the lens beyond Europe, Egypt becomes impossible to ignore.

Long before Art Nouveau emerged, ancient Egyptian forms had already found their way into European art and design. Lotus flowers, papyrus stems, solar discs, winged motifs, and serpent imagery became part of a decorative vocabulary that artists returned to again and again. When we look at the radiant halos, floral designs, and sun-like ornament in the work of artists such as Alphonse Mucha, we may also be looking at echoes of visual traditions whose roots reach back to ancient Africa.

Another figure worth knowing is Charles Cordier. Working before the rise of Art Nouveau, he travelled through North Africa and created sculptures that treated African peoples as subjects worthy of artistic celebration rather than curiosity. His work introduced African clothing, ornament, materials, and features to influential circles in France, helping to familiarise audiences with forms that would later appear throughout European decorative culture.

There is an irony here. Art Nouveau celebrated nature, craftsmanship, authenticity, and spiritual symbolism, yet many artists encountered African art through colonial exhibitions and collections. African ideas and visual forms were often admired and absorbed, while their origins remained largely unacknowledged.

One artist who deserves more attention is Meta Vaux Warrick Fuller. Trained in Paris during the age of Symbolism and Art Nouveau, she combined flowing forms, spiritual themes, mythic subjects, and allegorical figures with a distinctly African diasporic perspective. In many ways, her work stands at a fascinating meeting point between African heritage and Art Nouveau aesthetics.

The deeper connection, however, may not be found in motifs alone. It may be found in worldview. Across many African traditions, nature is more than scenery. Trees, ancestors, and sacred objects are part of a living spiritual universe...

Continued in Comments by @write.sebastian

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3 days ago

Strange how we grudge to be ruled! Rather than be Divinely driven to happiness, we push back and fiercely try for wilful misery - spoken by Sylvan from Lascelles Abercrombe

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#PoetryIsNotDead #RestoreWonder
#Ancientwisdom by @write.sebastian

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5 days ago

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Wonder is most powerful, oft trampled upon as petals unseen underfoot as you walk.
- sebastian

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#RosePhotography #PoetryIsLife #RestoreWonder #sebastiansfotocraft by @write.sebastian

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6 days ago

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Art Nouveau 🎭 & The Africans

Part the 4th

Art Nouveau is usually presented as a uniquely European achievement. We learn the names of the architects, designers, and painters, and we are shown a movement supposedly born from Europe's reaction against industrialization.

Yet when we look closely, the story becomes more complicated.

The Akan of Ghana were creating highly sophisticated symbolic art long before Art Nouveau appeared. Their goldweights and regalia were not decorative objects alone. They carried proverbs, ideas, social values, and layers of meaning. Form and symbolism existed together. That sounds remarkably familiar to anyone who understands that Art Nouveau was never simply about decoration either.

The same can be said of Fang sculpture from Gabon, Cameroon, and Equatorial Guinea. The elongated anatomy, flowing contours, idealised forms, and spiritual presence found in many Fang works invite comparison with sculptures that later became celebrated within European artistic circles.

What I find even more compelling is the philosophical similarity.

Many African traditions viewed nature as alive, interconnected, and spiritually significant. Trees, animals, ancestors, and ritual objects were understood as participating in a living universe. European artists searching for an escape from industrial modernity became fascinated by similar ideas of sacred nature, organic growth, and spiritual unity.

Am I suggesting that Art Nouveau was simply copied from Africa? No.

What I am suggesting is that the standard version of art history may be too narrow. African artists were developing sophisticated visual and philosophical systems while Europe was still defining its own modern identity. Perhaps it is time to stop treating African creativity as a footnote to European achievement and start recognising it as part of the wider story that helped shape modern art itself.

1st Image: Figurine Autumn
2nd Image: Thomas Blackshear
3rd Image: I am Still Thinking by Charles Cordier
4th Image: Charles Cordier

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#Sculpture #ArtNouveau #1900s
#Secession #Organicforms by @write.sebastian

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7 days ago

The Passage

BEFORE YOU, my mother Idoto,
Naked I stand;
Before your weary presence,
A prodigal

Leaning on an oilbean,
Lost in your legend
Under your power wait I
On barefoot,
Watchman for the watchword
At Heavensgate;

Out of the depth my cry:
Give ear and hearken…

DARK WATERS of the beginning.

Ray, violet, and short, piercing the gloom,
Foreshadow the fire that is dreamed of.

Rainbow on far side, arched like boa bent to kill,
Foreshadow the fire that is dreamed of.

Me to the orangery
Solitude invites,
A wagtail, to tell
The tangled-wood-tale;
A sunbird, to mourn
A mother on spray.

Rain and sun in single combat;
On one leg standing,
In silence at the passage
The young bird at the passage

SILENCE FACES at crossroads:
Festivity in black…

Faces of black like black
Column of ants,

Behind the bell tower,
Into the hot garden
Where all roads meet:
Festivity in black…

O Anan at the knob of the panel oblong,
Hear us at crossroads at the great hinges

Where the players of loft organ
Rehearse old lovely fragment, alone-

Strains of pressed orange leaves on pages
Bleach of the light of years held in leather:

For we are listening in cornfields
Among the windplayers,
Listening to the wind leaning over
Its loveliest fragment….

By Christopher Okigbo

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#Poetry #Solitude #NigerianPoets #FollowForMore #Writerstext by @write.sebastian

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7 days ago

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We are near 'awakening' when we dream that we dream - Novalis

The Dream is real...

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#Dream #Restorewonder #Blueflowers #photography #magick by @write.sebastian

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13 days ago

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Why I love Art Nouveau...

Herewith my 3rd instalment of
Art Nouveau & The Africans:

Avail yourself to the two previous posts below.

Artists worth studying through an African‑influence lens

Instead of asking “Which Black artists were part of Art Nouveau?”, a more useful question is: Which Art Nouveau artists were drawing on visual traditions that had African roots?

Some artists worth looking at include: • Alphonse Mucha – ornamental symbolism and flowing natural forms • René Lalique – jewellery design and stylised organic motifs • Eugène Grasset – decorative pattern and structure • Georges de Feure – elongated symbolic figures • Victor Horta – organic architectural rhythm

Then place their work alongside African traditions such as: • Akan goldweights • Kuba textiles • Fang sculpture • Kongo power figures • Tuareg silverwork • Ancient Egyptian ornament

When you compare them, the connections become surprisingly clear. One of the ironies of Art Nouveau is that it set out to create a “new” art for modern Europe, yet it quietly drew from artistic traditions that African cultures had been developing for centuries. The influence wasn’t always direct or acknowledged, but it’s definitely part of the movement’s visual DNA.

And once you look beyond the familiar posters and architecture, you start to see Art Nouveau as a meeting point of European, Japanese, Islamic, and African visual traditions.

African forms that most closely echo Art Nouveau

Not every #African tradition aligns with Art Nouveau, but a few show strong visual parallels.

Kuba (Democratic Republic of Congo) Kuba textiles are astonishing when viewed next to #Art Nouveau ornament. They share: • rhythmic patterning • asymmetrical balance • flowing geometric repetition • organic abstraction • richly decorated surfaces

Art #Nouveau artists believed every surface could become ornament — something Kuba designers had already mastered for generations.

Tuareg (Sahara) Tuareg silverwork features: • curvilinear motifs • vegetal abstractions • symbolic geometry • elegant linear flow...

Continued in comments
Images: Aaron Douglas - Koloman Moser & Victor Horta by @write.sebastian

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15 days ago

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Is Poetry a balm in a world that be a-waning...

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#poetrycommunity #beautifull
#writersoﬁnstagram #followformore
#restorewonder by @write.sebastian

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25 days ago