BEFORE AND AFTER... THE DOLL

The term "doll" carries various connotations, but its Greek roots define it as a "figure" or "little man." Typically lifeless, if you stand it up, it remains upright; if you lay it down, it reclines. Yet, when the doll transcends into an art object, this changes. The creations of Parviz Huseynov, an Honoured Artist of Azerbaijan, are imbued with soul, mood, and, naturally, their own narrative. This narrative is co-authored with his life partner, Irina Gundorina. Engaged in the artful play of doll-making, the duo has dedicated years to crafting new pieces and aims to foster a passion for doll artistry in the next generation of artists.

"You and your wife, Irina Gundorina, are heralded as pioneers of the conceptual doll and the doll as an art object in Azerbaijani modern art. It's a prestigious title, but how did you become the first? What predated your work in doll artistry?"

"Before us was the saga of human evolution, replete with its terrors and ascents to the heavens and beyond. If one delves into the history of dolls in a specific region, it would likely extend back to the pre-Islamic era, even to the Stone Age. Dolls have existed well before the advent of modern borders and nations. Cave paintings, which came later, were preceded by three-dimensional representations, as early humans found it simpler to depict objects that cast shadows. Broadly speaking, the concept of dolls is deeply rooted in European tradition. Interestingly, one hadith recounts Aisha bint Abu Bakr, the third wife of Prophet Muhammad, stating that Muhammad married her while she was still engaged with dolls. Thus, dolls are acknowledged even in those times.

"What did we inherit? Primarily, the influence of German domestic culture—furniture, wall clocks, and, of course, dolls. These items, affordable and accessible, made their way to pre-revolutionary Baku, competing with the French tradition. Post-revolution, young women from affluent families, like elsewhere, crafted dolls as a means of sustenance. Post-war, we had Luiza Daghistanly, and Elmira Abbasly's contributions are undeniable. Their work gravitated towards ethnographic dolls, resonating with Soviet and post-Soviet sensibilities. Special recognition goes to puppeteer Tamilla Gurbanova, who steadfastly embraced the textile doll. This medium, a relic of our heritage, thrived even during the lean years of the noughties, when we all turned to the fabrics preserved by our forebears. It's regrettable that such artistry lacks representation in our Museum Centre.

"I refrain from discussing others due to rampant plagiarism, which is toxic to our craft. Some have ventured into articulated joints, which I personally abhor, given my understanding of doll history. Our approach to doll-making is introspective; we reveal the essence of the character, necessitating further elucidation. Our creations challenge visual interpretation, often incorporating an element of surprise, which perhaps contributes to their exclusion... Yet, paradoxically, our dolls grace private collections worldwide.

"Why choose doll-making over sculpture or ceramics, for instance?"

"Why not sculpture or ceramics? In ancient Greece, there were islands renowned for clay dolls, long before my time (laughs). Sculpture shares a closer affinity with dolls, and hence, with my craft."

"Last year, you received the Max Oscar Arnold International Prize for Contemporary Doll Art in the Best Fantastic Image category, often dubbed the Oscar for doll artists. You've also mentioned another accolade awarded this year. Could you share details about this recent honour?"

"There's a plethora of awards. So many, in fact, that they could adorn every inch of our modest studio apartment. However, accolades aren't our focus. The latest recognition came from Russia, the Pandora, bestowed for multifaceted talent in puppetry arts. It celebrates individuals who've distinguished themselves in various professional realms connected to puppetry. We were honoured for our 18-year dedication to puppetry arts. The most cherished commendation came from our President Ilham Aliyev, recognizing us as Honoured Artists of Azerbaijan! Our Oscar from Germany was particularly memorable. We dispatched our works via courier, incurring substantial shipping costs, which the prize money in euros just managed to cover. It's a poignant reflection on the realities faced by artists. Each artist has a singular life, a unique destiny. They're either celebrated globally or remain unrecognised."

"To the uninitiated observer, your work prompts curiosity: what inspires you to create a specific image? What's the journey from concept to realization for a doll?"

"It's essential to acknowledge that puppetry represents the pinnacle of fine arts. A puppeteer must embody the roles of a jeweller, fashion designer, designer, sculptor, and painter. In essence, the puppet maker acts as a conduit for divine inspiration. The selection of these hands is beyond our ken; we simply heed the call. For me, it begins with an infatuation with a form, its final manifestation often a mystery until completion."

"Your creative and marital partnership is a rarity in contemporary life, merging not just a couple but two artists. In any collaboration, especially a creative one, differences can arise. Do you sidestep these conflicts, or do they give birth to truth?"

"Irina and I hail from distinct educational backgrounds. She's an alumna of the former Azimzade Art School and the Mukhinka Art School in St. Petersburg (now the A. L. Stieglitz State Academy of Art and Industry). My alma mater is the 84th school, followed by architectural studies. Our diverse training complements each other seamlessly.

"The common belief is that artists prefer solitary creation. Yet, Irina and I collaborate harmoniously, initially challenging, marked by tears and flung brushes, but love triumphed. Now, each of us contributes our strengths to the dolls. Such artistic partnerships are scarce globally, and in Baku, we're unparalleled, especially as both husband and wife are Honoured Artists of Azerbaijan. Our union transcends disputes, grounded in a shared cultural ethos."

"What's the state of your exhibitions in Azerbaijan? After all, artists don't create solely for themselves..."

"Exhibitions in Baku? They are numerous. As you may recall, I curated the International Fusion Doll Biennale, biennially inviting the world's premier doll artisans to Baku. They showcased their masterpieces alongside Azerbaijani artists. These exhibitions took place at the Museum Centre, and our journeys have taken us across the globe to various doll exhibitions. I was at the helm of the sole puppet gallery during that era. The exhibition was masterfully curated by the remarkable Liana Vezirova, a connoisseur in this domain, who now presides over the Museum Centre of Azerbaijan. To excel in this field is akin to a divine endowment, merging the acumen of a conductor with the precision of a mathematician. Collaborating with individuals of such calibre marked the zenith of my career. Yet, those days are now reminiscences of the past..."

"Dolls often evoke mystical connotations, inspiring cinematic portrayals and ancient rites. What's your stance on such mythologies?"

"I regard mythology with profound seriousness and respect. While I can't dispel superstitions, it's evident that voodoo dolls and the like were birthed from human despair. There was a time when dolls transitioned from playthings to sacred objects. For instance, a Roman patrician's newborn daughter would receive a doll resembling today's Barbie, albeit with traditionally wider hips. Upon her marriage, the doll would ascend to the family altar, acquiring a sacred status. Archaeologists have unearthed such dolls in graves, signifying the deceased maiden's unwed status. These ancient rites and symbols predate literacy, embodying the energy and intent woven into their creation."

"For an actor, it's the unportrayed role; for a writer, the unwritten book. Is there a dream doll for you, an epitome of artisanship you yearn to craft?"

"Indeed, there is. But first, a reflection on life itself. I sense the winds of change, not heralding better days. Amidst the echoes of vendors reminiscent of bygone times, the world seems to be grappling with its ultimate trial—materialism. And I, too, am part of this epoch. Devoid of luxuries, my modest abode is all I possess, rendering me relatively unencumbered. What more is there to lose? Hence, my aspiration is to garner acclaim within my homeland, though international recognition has already graced me."

"Have you contemplated establishing an academy where aspiring artists could master puppetry, among other arts? Is such a craft teachable?"

"Such a vision did cross our minds. My wife and I received an invitation from Natig Aliyev, the Rector of the Azerbaijan State Academy of Arts, to deliberate on an educational syllabus. We anticipate initiating this endeavour with second-year students. Yet, the essence of puppetry, like capturing the essence of rain or the patter of droplets, seems elusive to pedagogy. Puppetry is an art matured with age, steeped in life's experiences."

"Does creativity spawn joy, infusing life with purpose? Is the quest for artistic success and acclaim paramount, or does the creative journey itself suffice?"

"Creativity, success, and happiness are intricately woven threads of the same tapestry. If one dedicates their existence to an art form without achieving renown, introspection is inevitable—what was the purpose of such a life? Our names are known across the globe, and I am acquainted with every puppet master within the international fraternity. As for happiness, it's an inherently fragile notion. Regarding the creative process, it's paradoxical; with age comes mastery, enabling effortless creation. Yet, the fervour that once fuelled our craft gradually dissipates, leaving us yearning for the passion that ignited our initial forays into artistry."