Aida Mahmudova: A Visionary in Azerbaijani Art and Design

Aida Mahmudova is a leading figure in Azerbaijani art and design, known for her visionary role in founding the YARAT Contemporary Art Space in Baku and for creating the collectible design brand Chelebi. Her artistic practice spans a wide array of mediums, including painting, installation, textiles, sculpture, and ceramics, through which she explores themes of memory, place, and belonging.

Artistic Exploration of Memory, Place, and Belonging

Mahmudova’s work is deeply intertwined with the cultural and natural landscapes of Azerbaijan. She employs a nuanced approach to materials and object-making, layering her creations with context and meaning. As she explains, “I select and combine materials based on the emotions or narratives I aim to express. Traditional materials like paint help me explore familiar and intimate themes, while unconventional ones like epoxy resin and untreated marble add unique textures and depth. The choice of material often reflects the essence of the emotion or memory I am depicting, with each material bringing its own distinct language and resonance.”

Connecting to Azerbaijani Heritage Through an Earthy Palette

Her use of an earthy palette further reinforces this connection to place and history. Mahmudova notes, “Using an earthy palette harmonizes with the physical nature of my materials, grounding my work in a sense of place and history. These tones evoke the landscapes of Azerbaijan, infusing my art with nostalgia and a deep connection to my heritage. Earthy colors also resonate with universal human experiences, enhancing themes of love, desire, grief, and memory. The natural hues create a calming, immersive environment that invites viewers to engage more intimately with the emotions depicted.”

The Evolution of Materiality in Mahmudova’s Artistic Practice

Central to Mahmudova’s practice is her deep engagement with materiality, evident in her attention to texture and form. As her paintings have grown increasingly layered over time, her work has naturally evolved into the three-dimensional, with her sculptures and textiles reflecting the same depth and complexity as her canvases. Each textured piece acts as a repository of memory, with its layers unfolding like chapters in a personal narrative, echoing the artist’s nostalgia and longing for the landscapes of Baku and the broader Absheron Peninsula, deeply rooted in her ancestral heritage.

Recent Insights from .ART’s Interview with Aida Mahmudova

Recently, .ART (denoted by Staff Writer’s initials, DK) interviewed Mahmudova (AM), discussing her artistic practice, the concept of healing through art, and her latest exhibition, ‘A Room with a View,’ currently on display at Saatchi Gallery, London, until September 10th.

Defining the Essence of Artistic Practice

DK: How do you personally define the essence of your artistic practice, and how has it evolved over time? Are there particular themes, concepts, or techniques that consistently define your work?
AM: My artistic practice is fundamentally about exploring the core of human experience through a diverse array of materials and techniques. From traditional mediums like paper and clay to more unconventional ones, I aim to build connections and elicit universal emotions that transcend cultural barriers. My work is deeply connected to the materials and surroundings, and I often use a wide range of colors to delve into themes like love, desire, grief, and memory. Yes, my work consistently explores themes of love, desire, grief, and memory. I am deeply inspired by the untouched landscapes of Azerbaijan, which evoke a sense of nostalgia and connection to my heritage. My techniques often involve a diverse array of materials, vibrant colors, and semi-abstract compositions. I aim to create immersive, multi-sensory experiences by layering, contrasting, and manipulating different textures.

Influence of Light, Color, and Matter on Mahmudova’s Practice

DK: Can you describe how your early exploration with light, color, and matter influenced the evolution of your artistic practice, particularly in transitioning from landscapes to three-dimensional sculptures?
AM: My early exploration with light, color, and matter laid the foundation for my artistic practice, initially focusing on capturing the essence of landscapes. Experimenting with these elements taught me how to manipulate them to evoke specific emotions and atmospheres. As my understanding deepened, I began to see the potential for expanding beyond two-dimensional landscapes into three-dimensional sculptures. This transition allowed me to explore physical space and texture more dynamically, adding depth and complexity to my work. The evolution to sculpture was a natural progression, driven by my desire.

Art as a Vehicle for Self-Discovery and Expression

DK: In what ways does your artistic practice serve as a vehicle for self-discovery and self-expression? Can you elaborate on how your artwork reflects your own journey of self-searching and self-identification?
AM: My artistic practice is a profound vehicle for self-discovery and self-expression, allowing me to delve into my own emotions, memories, and identity. Each piece is a reflection of my inner journey, capturing the complexities of my emotions and the evolving sense of self.

Inspiration Behind Mahmudova’s Creative Endeavors

DK: Where do you draw inspiration from for your creative endeavors? Are there specific art movements, literature, or fellow artists who have had a profound impact on your work and artistic philosophy?
AM: I draw inspiration from a variety of sources for my creative endeavors, including the untouched landscapes of Azerbaijan, personal memories, and cultural heritage. The rich, natural beauty of my homeland deeply influences my work, evoking a sense of nostalgia and connection.

Recurring Symbols and Motifs in Mahmudova’s Work

DK: Do you find that certain symbols or forms recur throughout your various projects? If so, what significance do these recurring motifs hold for you, and how do they contribute to the overarching narrative of your body of work?
AM: Yes, recurring symbols like undulating landscapes and organic textures appear throughout my work, reflecting the fluidity of memory and identity. These motifs, inspired by the natural beauty of this planet, create a cohesive narrative exploring love, desire, grief, and nostalgia.

The Healing Power of Nature in Art

DK: How do you associate the feelings evoked by nature with the concept of healing in your art?
AM: I associate the feelings evoked by nature with healing in my art by using natural materials like corals, seashells, dried plants, stones, and crystals. These elements, rich with history and life, embody a regenerative power that transcends their physical form. By incorporating them into my work, I aim to create a sense of unity with the natural world, highlighting its role in emotional and spiritual recovery. The textures and organic forms of these materials evoke a sense of peace and continuity, promoting a deeper connection to the earth and a healing process rooted in nature’s cycles.

‘A Room with a View’: A Milestone in Artistic Freedom

DK: What does the exhibition ‘A Room with a View’ represent in terms of your journey towards personal, social, and artistic freedom?
AM: The exhibition “A Room with a View” represents a profound milestone in my journey toward personal, social, and artistic freedom. It captures the essence of inner turmoil and the yearning for freedom through vivid imagery and introspective narration, reflecting my turbulent period of reflection on artistic and social dimensions. By delving into themes of self-limitations, confinement, and the sensation of being encased within one’s physical form, the exhibition articulates universal emotions with precision and showcases my closest realization of harmony with my inner compulsions.

New Narratives in ‘A Room with a View’ at Saatchi Gallery

DK: With over 80 pieces on display, including newly commissioned works, what new narratives or perspectives are you presenting in this exhibition?
AM: With over 80 pieces on display, including newly commissioned works, “A Room with a View” presents new narratives and perspectives centered on themes of self-limitations, confinement, and the essence of solitude. By turning autobiographical memories into gypsum objects and sculptures, I explore how to bear witness to moments of liminality and transformation. The exhibition also emphasizes the regenerative power of natural materials, reflecting a profound sense of belonging and the healing associations evoked by nature.

The Metaphor of the Slide Projector in Mahmudova’s Work

DK: The uniform square format of the slide projector is described as a metaphorical window. Can you discuss the importance of this metaphor in your work?
AM: The uniform square format of the slide projector as a metaphorical window is significant because it symbolizes a portal into personal and introspective moments. This “window” invites viewers to peer into frozen moments of my life, emphasizing themes of confinement, solitude, and introspection. By standardizing the format, it creates a cohesive viewing experience that unifies diverse pieces while allowing the audience to connect deeply with each captured scene. This metaphor underscores the idea of looking inward and reflecting on one’s own experiences and emotions.

Hopes for Viewers of ‘A Room with a View’

DK: What do you hope viewers take away from experiencing the exhibition ‘A Room with a View’?
AM: I hope viewers take away a profound sense of introspection and connection from experiencing “A Room with a View.” Through the themes of solitude, confinement, and the yearning for freedom, I aim to evoke universal emotions that resonate deeply with each individual. By engaging with the personal narratives and natural elements within the works, I hope they find moments of reflection and a renewed appreciation for the delicate balance between self-autonomy and external influences.

Conclusion

To see more, head over to Mahmudova’s website: www.aidamahmudova.art