THE TRUE MASTER

As one of the oldest forms of human representation, the doll, much like sculpture, has its roots in ancient history. It is intrinsically linked to the narrative of civilization—the oldest doll known today is approximately 35,000 years old. Across all cultures, artists have crafted dolls for various purposes. However, one aspect remains constant: dolls represent a significant phenomenon that, like any work of art, is created by a master under the influence of emotions, inspiration, and moods. Over time, the doll has developed elitist characteristics, earning the right to be seen not merely as a plaything but as an object for contemplation. Created as unique pieces, they enter the realm of art to which special exhibition projects are dedicated. The names of their creators gain international fame, and collectors and museums closely monitor the outcomes of their work.

Azerbaijani artist and master puppeteer Farah Aliyeva is a member of the Union of Artists of Azerbaijan as well as the International Organisation of Author's Puppets. She has participated in international biennales and the Moscow international exhibitions of author’s dolls. At the 4th International Exhibition "Art of Doll," organized by the Dolls of the World Foundation, Farah Aliyeva was recognized as "the emerging talented doll maker." More than a hundred of her works "live" in various countries. Farah ALIYEVA shares her expertise in creating author’s dolls with her pupils, imparting not only skills but also a passion for this art. This is where our conversation began...

"The art of doll making truly entered my life in 2011, and I have been immersed in it ever since. I could say that it has become my way of life at this moment. Even more so, dolls serve as my outlet! They are my antidepressants. During a particularly challenging period in my life, dolls guided me toward discovering where I should direct the unspoken feelings that somewhat overshadowed my existence. They have restored my inner energy... and brought me back to myself."

"A puppet master—who is he?"

"A big child! I can speak for myself. I believe that through dolls, I uncovered a certain form of sublimation that allowed my inner energy, suppressed for years by life’s challenges, to burst forth. It is about not being afraid to let out the child hidden within each of us. That’s why puppet masters’ eyes seem to radiate an inexplicable light. They don’t just play with dolls; there exists a philosophical subtext that reflects a deep understanding of the world devoid of the excesses we accumulate as we grow up. Puppet masters perceive their surroundings with different senses, closer to the purity of perception typical of children, where everything is much simpler. When a person could be represented as a stick figure. What is not a blueprint for constructing a doll?"

"In that case, which comes first? The doll or the drawing?"

"For as long as I can remember, I have been drawing, modelling, and sewing without regard for the differences in how I realize my fantasies. By the way, I was an excellent cutter. I had a passion for embroidery, including beads. In general, I was intrigued by any expressive medium. I can confidently say that I explored nearly everything. However, I ultimately focused on dolls, although I continue to engage in painting today. I do graphic works and have discovered fluid art (a popular trend in painting) as an extension of neurography, a style in which I have created many pieces. By the way, I specifically attended courses to study the nuances of this creative method and am already considering trying my hand as an instructor in this area. This drawing technique significantly aids me in my life."

"Can we suppose that each of your creative endeavours finds expression in your dolls?"

"Absolutely! I'll share a secret with you—I currently have a project idea burning within me. Today it has become fashionable to select a theme and present it as broadly as possible to resonate with people. So I’m interested in one. I am still contemplating its realization—whether it should be realistic or avant-garde."

"You emphasize that your dolls are like your children. But inevitably, there comes a moment of separation..."

"That is unavoidable. Yet I have no reason to worry about it. To be frank... It is a fundamental law of creativity—artistic works must "go" to people or to individuals. Yes, each doll carries a portion of my soul, my warmth, my energy... I have learned to part with my creations: out of 250 that I have made, I currently hold onto 34. I admit that I am somewhat shocked by this result. But it is a pleasant shock."

"Are there any criteria for selecting future owners?"

- Puppetry art possesses specific characteristics. Those who acquire them typically understand its intellectual value and unique culture. There are no casual buyers here. Throughout all the years my dolls have found new homes, there has never been an individual who did not align with my preferences. This also indicates that my work will end up in good hands. By the way, among those who come to learn from me, the same criteria apply; there are no "walk-ins from the street."

"Elitist art?"

"Rather, it is art for those who think critically. From my experience with my students, I can say that they are gifted and talented individuals. They possess some form of inner substance supported by intelligence."

"Do the dolls resemble their creators?"

"If not visually, then they possess some emphasized characteristic traits. They carry elements of their creators’ personalities as well. I have often noticed that students frequently base their creations on themselves without concealment. After all, dolls are akin to children and embody their creator's traits quite justifiably."

"What material do you feel most comfortable working with?"

"Clay is my favourite medium. I also enjoy working with papier-mâché; the process of creating it brings me great pleasure. Often, I synthesize both materials together. The techniques for creating dolls are limitless; experimentation is fascinating here. For example, I want to explore working on articulated dolls; it intrigues me to add dynamics to my creations. In truth, there is nothing I cannot achieve! There is nothing more thrilling than when your hands are "sick" with creativity."

"Where does your strength originate?"

"It comes from inner energy. Although there was a year-long break when I felt unmotivated to create anything at all. During that time, neurography emerged and helped fill the void that had formed within me; this led to the June exhibition at the Russian House."

"So puppetry is an energy-consuming art form?"

"The doll derives from the author's personal energy; thus, it is reasonable to suggest that there exists a form of “soft vampirism” within it. While working on a doll, my thoughts are absorbed by it—from envisioning its image and what it will wear to selecting fabrics for its outfit and considering countless other details. I can even sketch ideas at night. But that’s beneficial! The small worries of life fade away against these thoughts."

"Yet in any case, everything has its cost."

"It is evident that there also exists a material aspect here. By selling their creations, puppet masters acquire funds to purchase materials for new works. Unfortunately, our art market lacks vibrancy. The art of author’s dolls continues to be perceived ambiguously; we still face challenges fitting into the global market. I remain in constant contact with foreign masters as though a two-way road has been established between us. My works have been showcased in France, Colombia, South America, Türkiye, Great Britain, Georgia, Russia, Argentina, and the Netherlands. However, these achievements are quite isolated; I would like Azerbaijani puppeteers’ names to become familiar among a broader range of collectors and art managers."

"Perhaps there’s an element of not taking puppetry seriously here?"

"It’s not that it’s viewed as insubstantial; I have students who show genuine interest and actually learn how to create puppets. However, not everyone continues down this path because it demands considerable time and patience. Initially fuelled by curiosity, many individuals ultimately abandon this laborious journey over time; sadly, not everyone can persevere through this process. For instance, it takes me anywhere from two months to six months to complete one doll. To endure such duration requires an incredible passion for this craft. That’s why the number of puppeteers is significantly less than that of other artists among us; after all, creating a doll necessitates being a sculptor, carpenter, artist, designer, stylist, tailor, and even a bit of a chemist..."

"Then it's about continuous self-improvement."

"An undeniable fact! Each discipline represents a distinct layer of knowledge applied toward one goal: creating an author's doll—requiring immense dedication. Yes, at first glance it may seem like "I will conquer all stages." However, I have witnessed individuals who were once filled with enthusiasm begin to falter after completing just one or two dolls because they became overwhelmed by the labour involved in their creation. Only those who are continuously embraced by love for this art remain committed—and they are few."

"It's no secret that many perceive doll making as unserious work."

"How many times have I encountered such feedback? But when you hear the price associated with a "toy," disbelief knows no bounds. Only recently have I begun to help people understand that author’s dolls cannot be compared to those found in stores. Life itself has prompted me to clarify these distinctions. Social networks are integral to our lives today; consequently, I showcase my work there which generates various comments requiring me to educate others. Through masterclasses that illustrate the seriousness of this art form, attitudes gradually shift—albeit slowly—but even these small advancements bring joy."

"Does such neglect offend you?"

"No! The author’s doll represents a new kind of art for the general populace; I perceive some misunderstanding stemming from a lack of literacy in this field. Nonetheless, the doll has carved out its niche and is gradually amassing an audience—even if not actively yet—people engage with each other under my posts discussing it with valid points. This reaffirms my belief that we must cultivate people’s tastes. A simple example: an interior can be adorned not only with conventional vases bearing serious value but sometimes an author’s doll can infuse unconventionality and individuality into it as well. As a gift, it holds immeasurable value because it is bound to evoke emotions; someone might see themselves reflected in it or perhaps reminisce about their childhood or dreams... Dolls embody mood! They are timeless heirlooms."

"An investment of sorts?"

"Yes! This practice dates back hundreds of years. Gradually and quietly, we are beginning to understand that author’s dolls are not merely items locked away in cupboards or for amusement; they tell individual family histories and express love while witnessing significant events throughout time. It is essential to explain and share this perspective. This necessity for exhibitions arises—they stimulate interest not only among the public but also encourage aspiring puppeteers to emerge—a number we should increase! Still, much relies on practice; professionalism develops through experience. Establishing a puppetry school could serve as an excellent extension within the broader context of national art—especially given that I retain vivid memories from three puppet biennales which attracted numerous world-renowned artists to our country and garnered high praise from acknowledged masters toward our puppeteers’ works—it was invaluable when practically all facets of this incredible art were represented within one space."

"Many "participants and winners" from those biennales gained permanent residence in Baku..."

"It was indeed a favourable decision! Currently, we proudly host an exquisite permanent exhibition titled "Doll in Art" at the Heydar Aliyev Centre—its opening was graced by Leyla Aliyeva’s presence. Collected over ten years by the Heydar Aliyev Foundation, it elevates this art form while highlighting ongoing interest within Azerbaijan concerning it. The unique collection of author’s dolls displayed at the centre captivates audiences across all ages; I personally observed how visitors’ moods shift upon entering this enchanting realm infused with childhood charm—a peculiar excursion through time interwoven with literature as well as cultural traditions and fashion among many other elements—it is gratifying that alongside internationally renowned masters' works stand those created by Azerbaijani puppet artists in deserving prominence. The fact that one can trace doll making's history within such notable locations in our capital instils vigour and hope for further development regarding author’s dolls within Azerbaijan—we may simply need patience as interest strengthens."

"So what does an exhibition represent?"

"Above all else: immense motivation—for growth, development, and new projects! My first exhibition focused primarily on showcasing myself as a puppet artist—my capabilities along with my vision for this art form—over time though my perspective shifted away from mere hype; even during the recent exhibition at Russian House I announced on social networks merely an hour prior to its opening! For me now this component holds deeper significance within creativity—the aforementioned exhibition featured works spanning various years alongside differing styles while next time will exclusively showcase new pieces—a reflection on past endeavours leading into future opportunities—a continuous momentum for creative individuals."

"Another aspect of exhibitions lies in tracking people's reactions toward dolls; do you monitor such feedback?"

"Certainly! As an artist receiving public responses sheds light on directions worth pursuing moving forward! It delights me immensely when encounters with my dolls result in pure elation among attendees; almost every visitor expresses fondness toward specific works—which brings great joy knowing they resonate positively! As an artist myself it was especially rewarding witnessing recognition directed toward my pieces among others displayed."

"Have you developed an author signature style?"

"Initially remarks regarding imitating certain puppet masters surfaced; while unpleasant hearing such critiques at first today those concerns have long dissipated! According to external evaluations my dolls possess distinct recognition—many associate them directly with Farah Aliyeva's unique authorship... This marks achievement worthy enough!"