Azernews.Az

By Nigar Orujova

Young Azerbaijani artist Farid Rasulov is holding his first solo exhibition in Paris.

Starting from September 6, Rabouan Moussion Gallery is hosting visitors to the exhibition entitled "Dogs in the Living Room". It will be open until October 11.

After the success of Rasulov's "Carpet Interior" installation at the 55th Venice Biennale, the artist is presenting an initiatory journey, offering a discovery of the perception of a man faced with an aesthetic paradox: a total installation, carpeted with oriental motifs.

Rasulov transforms typical Western spaces with irrational and provocative designs, like a dialogue between East and West.

These traditional patterns motives means "what moves" in Latin - are the signs of a changing country: a region of Soviet Union dissolved, torn between tradition and modernity, East and West.

The work is based on a conceptual nakedness, yet neither rational nor useful. The total composition ornament multiplies the signs of an ancient tradition to transform the meaning and destination.

The space becomes an extreme variation of the present staked by an ancestral material composition, which is at the same time useful and symbolic.

The meaning escapes by the multiplicity and operates a cultural transfer: the extent of weaving causes alienation of the meaning. The sensory experience plunges the viewer into a particular universe, which remains to be discovered.

Graduator of the Azerbaijan State Medical University, Rasulov decided to step aside of the profession and actively engaged with contemporary art.

The energetic artist works actively in the various media including paint­ing, 3D graphics, animation, sculpture and installation. Rasulov's hardworking led him to successfully participation in the 53rd Venice Biennale.

Having worked in a variety of medium, the artist is perhaps most widely known for his large-scale, hyper-realistic still life paintings. These works depict objects against vividly colored backgrounds and seem to be layered with hidden meaning.

However, Rasulov denies that his work contains any symbolism or metaphor, and finding it amusing to see viewers seeking hidden messages. Instead, he wishes to convey that our everyday existence is deceptively simple, particularly when viewed through the objects we surround ourselves with.