Biography
Aysel Annagi and Balance in her Art
Recent works of Aysel Annagieva are crossroads where exist numerous directions, genres and cultures. It is not a quiet place, area or calm lake but magmatic gully where flows of several rivers mix loudly.
Today there are three major monotheistic religions in this territory, despite the fact that the majority of the population are Muslim Shiites, and in terms of culture, due to dogmatic reasons, decoration prevails image: decoration presented in the tradition of stained glass mosaic made without using nails and glue by the ancient technique of "shebeke" or carpet motifs "sumakh" and more valuable carpets "Shirvan".
However, dichotomy inherent in the West (the result of practices in Europe and Italy) between image and abstraction from the time when the avant-garde styles of the early twentieth century, which is the basis of our time, finally left last mimetic tension antique painting is embodied in the works of Annagieva. It can be explained by the fact that the image relates mostly to the artist than the audience (either in impressionism or expressionism), the desire to divide the form into parts (Futurism and Cubism), or an attempt to evoke emotion, abandoning the reality which is peculiar to abstract artists.
Aysel's works embody this very lyrical abstractionism, and especially the genius of Paul Klee, the most outstanding representative of this intense style that characterized by the expression of sentimental world of the artist (including by means of figures), maintaining creative freedom, and unique, even infantile aspects but not by abstractionism simplified to simple geometric bases.
In this respect we can mention the main work of Klee "Senecio", 1922, in which the Swiss artist painted a human face, dividing it into the simplest forms: squares and circles, and as a result, surreal element exceeded the image, and a playful children's feature (inherent in Modigliani) which refers to primitive art not relating to European (in the style of Picasso) had raised the image of a human face to the highest peaks of contemporary portraiture painting and to the heights of modern strained styles.
Recent works of Annagieva have been painted in the same style, starting with the self- expression painting (portrait between the styles of Fauvism and neo-primitivism) to control over the forms in which the coloristic element is maintained and regulated by the system of small square shapes.
Painting the human figure, especially a woman face is carried out through its division into parts in the style of cubism, in a certain sense, in the style of abstractionism and fauvism pertaining to palette but at the same time in the style of pop pertaining to the use of acrylic paints. Thus, it makes the impression that feeling persists in the spiritual and meditative dimension: in the end, decoration is the repetition of forms, and a prayer to God.
Certainly, youth and experience of Annagieva allow maximum focus to find the point of "equilibrium" between abstractionism and image, the veneration of icons and iconoclasm, symbolic representation and decoration, and we are sure that it will appear in her work in a short time.
Angelo Lorenzo Crespi
