CREATIVITY WITH MOODS

After bronze, Murad Sujaddinov regards silver as the ideal material for sculpture. His father encouraged him to work with this metal. It is no coincidence that the personal exhibition celebrating his 50th birthday was titled"Silver Autumn." The master explained why silver is a unique material.

Murad Sujaddinov is also the creator of the restored "Seven Swans" monument that have adorned the iconic fountain complex on the Baku Boulevard since 1960. He drew inspiration from Nizami Ganjavi's poem"Seven Beauties" and Gara Garayev's eponymous ballet.

"What is your definition of sculpture?"

"Sculpture is a means of communication with the viewer. These are concepts that the artist translates from clay into metal. The ideas and state of mind of the artist, or the task he sets for himself, must be comprehended by the viewer. In my estimation, silver evinces a sensual quality that serves to effectively convey the emotional aspect. I recall when my father proposed that I investigate the potential of working in the medium of sculpture in silver. I commenced an investigation of the relevant literature, which led me to the histories of celebrated sculptors and jewellers such as Benvenuto Cellini and Carl Fabergé. I came to understand that this was, in a positive sense, a completely unique art format, and I was truly inspired."

"Not the most malleable material..."

"Silver is a highly intricate material. In certain respects, it can be likened to a woman—capricious and demanding. It is not amenable to complacency; even the slightest misstep can result in irreparable consequences. From the outset of working with silver, it is imperative to maintain unwavering attention. I have attained expertise in and extensive experience of virtually all forms of casting. My father and I engaged in approximately five years of study and experimentation in this field, ultimately developing a unique casting method that optimizes the production of sculptures."

"Do you have a personal casting recipe?"

"I do. I have established a foundry within my workshop, which is equipped to facilitate the realisation of any artistic vision."

"Let us now go back to bronze..."

"First and foremost, bronze exhibits a distinct colour range. From a technical perspective, it is important to note that bronze is not significantly different from silver. Both metals melt in a similar manner, with the primary distinction being the temperature at which this occurs. Nevertheless, I have developed a greater familiarity and affinity for silver, which I perceive as a more accessible and comforting medium. I find it more straightforward to convey my ideas to the audience through the use of silver."

"Do these two vividly coloured metals conflict with one another?"

"That's the key point! A composition must be in harmony with the unity of these disparate metals. It might reveal the harmony between two distinct colours—yellow and white. The metals must be combined in a way that is conceptually coherent. Each piece is the result of a process of reflection and consideration. The question of how it will "fit" is addressed, as are the aesthetic implications of its appearance. The decision is made as to which parts will be polished and which will be treated with acid. I am already able to envisage the final iteration of the concept. In general, the process of merging these two metals is a complex one, presenting a number of significant technical challenges. Fortunately, the experience gained thus far allows us to overcome these hurdles, enabling the vibrant characteristics of both metals to communicate effectively."

"Would you consider yourself an engineer?"

"All sculptors are, in their own right, engineers. I possess a diverse array of expertise. A sculptor must possess a broad knowledge base."

"Does the sculptor act as a creator?"

"Undeniably. It is my contention that sculpture, as an ideologeme, can—and indeed should—be reinterpreted. In some cases, an artist may create not merely a specific commission, but an idea—a fantasy articulated solely in words or based on a person's profession or interests. It must be acknowledged that these are somewhat exceptional works, and it is not a realistic expectation that everyone can achieve this level of achievement; one must evolve into it."

"Before the creation of Adam and Eve?"

"Two of my works are based on the theme of "Leyli and Majnun." One is a classical sculpture, while the other is an improvisation—an artistic bookend included in the Silver Autumn exhibition. The notion of reinterpreting an artwork as a distinctive domestic feature with utilitarian applications proved intriguing. By separating the two components of the sculpture and allowing them to be moved apart by inserted books or brought together, the static quality of the original piece was effectively disrupted. Nevertheless, the underlying meaning of this sculptural composition remains intact."

"Did you decide to bring the art of sculpture closer to everyday life?"

"In some ways, that is indeed the case. How would you define it? It is one thing for a sculpture to exist as a static object of visual appreciation; it is another when an artwork engages with the dynamics of life through its practical functionality, retaining its artistic value and uniqueness. In considering the enduring significance of "Leyli and Majnun," it is evident that the fundamental essence of the narrative remains unchanged, regardless of the number of books that may be placed between the two characters. The story, in its essence, is a testament to their enduring love. Ultimately, the decision of whether to unite or separate them is at the discretion of the individual."

"A kind of philosophy?"

"There is no reason why not. It is entirely realistic. I considered this when I commenced work on the sculpture, designing it so that its future owner could choose to reunite or separate it at will. Furthermore, an individual's mood may also influence this choice."

"By the way, do you offer any suggestions regarding the harmonious arrangement of your work?"

"Such practices are conducted in a more discreet manner, particularly when unique sculptures are commissioned. Although I consider all my work to be exclusive, there are instances when I must account for working with silver, which is a precious metal. At the request of the owner, even photographs of my work are not taken, and the model is destroyed. This is an exclusive arrangement that does not allow for the transfer of ownership. In such instances, I assume the responsibility of providing guidance on the optimal placement of the sculpture. On occasion, the very location where the client desires to display my work provides the inspiration for the piece itself."

"How significant are the moments of parting with your work, the subsequent decision of where the sculpture is to be placed?"

"I feel as though I'm losing something. I always ask about where the sculpture has gone; I'm curious about which house or family it will now reside with. I do not express this sentiment in a dramatic manner but rather out of genuine interest in who has acquired it. Sculpture is perceived by many as an elitist art form, and so I am interested to know where it will be displayed. In comparison, painting tends to be perceived as a more "marketable commodity."

"From here on out..."

"Sculpture is hard to view in a positive, constructive way. Unfortunately, this cultural domain is not particularly prevalent in our country. Even painting is sometimes regarded in terms of its suitability for a given wall space. However, that is not the primary focus of this discussion. Sculpture requires space for itself; it cannot simply be placed in an empty area or tucked into a corner. It needs to be visible. It requires a certain amount of space to breathe. While a painting can be modified in some way, sculpture is a three-dimensional entity. Such a work must be appreciated from four angles, thus creating a sculpture with multiple realisations. The requirements differ; sculpture inherently captivates viewers from all angles. In sculpture, every detail is of consequence. Consequently, the artist must consider and work with this circular perspective, a responsibility that entails a significant time investment. Furthermore, there are material costs and the artist's own labour to consider. Indeed, there is currently a trend toward creating works from bronze-tinted polyester. If left untouched, they present a complete visual appeal. However, this is not the direction in which I am currently inclined to pursue."

"Do you not consider alternative, more cost-effective materials when working with expensive metals?"

"I create models directly in silver or bronze." One of my works has two versions: the first was cast in bronze, while the second was crafted in silver. While both pieces are aesthetically pleasing in isolation, the second one is particularly remarkable and was included in the Silver Autumn exhibition. I recall the process of sculpting this piece, during which I became aware, subconsciously, that it would eventually take shape in this version. In order to create this piece, it was essential for me to gain an understanding of how to sculpt silver."

"Is this your favourite piece?"

"The perception of silver is often limited to its use in jewellery, yet the metal possesses a far greater depth of quality than this narrow view allows. For example, a bracelet may be crafted from either 587- or 758-grade silver. The superior purity achieved during the casting process results in remarkable effects, as the metal retains its lustre. The darkening of silver is a phenomenon that is dependent on the grade of the silver. In general, lower grades darken more quickly than higher ones. While the darkening process cannot be entirely avoided, even in high-grade silver, the inherent colour of silver remains true to its original shade. Nevertheless, sulphurous darkening is an inherent characteristic of silver and should be accepted as a natural phenomenon. However, higher grades of silver exhibit a significantly slower rate of sulphurous darkening."

"In light of these considerations, is it possible to match the metal to the sculpture?"

"Sure! Bronze is susceptible to oxidation, which results in the acquisition of specific hues. Gradually, there has been a shift away from bronze. Not that I dislike it, rather I prefer working with silver these days."

"You have also demonstrated an interest in working with wood."

"Indeed, in Silver Autumn, I initially explored the integration of bronze, silver, and wood. The project was born when I encountered a piece of cut vine at a friend's dacha. From every angle, the piece held my attention. You may think that I was inspired to engage in profound reflection. And then I discovered COP29, which proved to be an ideal convergence of circumstances. The piece has been designated Awakening. This marked the inaugural public presentation of the work, which was a gratifying experience. I intend to continue exploring vine concepts, as I already have ideas in mind."

"By the way, how would you describe the genesis of ideas?"

"An internal mental dialogue occurs continuously; an artist constantly observes their surroundings, studying them and noting what unfolds around them. This process can result in the ignition of inspiration at any moment. I have experienced instances where ideas have been inspired by external stimuli, such as the recent instance where I awoke with the concept of utilizing the same vine as a metaphor for our meeting. One might characterise this as the conclusion of my holiday. Despite the lateness of the hour, I felt compelled to proceed to my workshop and create at least a rudimentary sketch. However, I chose not to hasten the process and instead opted to engage in further contemplation before developing additional sketches and storing them for future consideration.

"I plan to dive back into my workshop soon to sketch ideas and thoughts further—figuring out how best to realize them—I have many small plasticine sketches in my workshop about the size of a cigarette packet! Ideas can strike you anytime and anywhere—you have to be ready to capture them immediately or set them aside later! The latter aspect is perhaps most crucial—I have this tendency to discard sketches if they don’t align with my personal preferences upon reflection! My spouse often comments on this habit—arguing that later perspectives may reveal nuances overlooked initially! Ultimately, these sketches could constitute an entire exhibition on their own—that’s why I keep them hidden from view—to prevent them from clouding my judgment! When completing work on sculptural embodiments of thoughts later on—sometimes comparing them against sketches—I catch myself thinking they weren't half bad after all!"

"I remember your involvement in restoring the famous swans at the Baku Boulevard."

"Engaging with a legend carries immense responsibility; my approach toward this task was serious from the outset! Everything began with casual conversation but evolved into an understanding that there was something deeper behind the intentions of renowned architects Hasanagha Majidov and Vadim Shulgin—something hidden from average observers! I vividly recall seeing those dismantled swan sculptures stored away in an abandoned warehouse—their height astounded me! Noticing discrepancies prompted me to search for archival documents—painstaking work indeed! Based on old sketches and photographs, I recreated new swan figures so that today’s renowned Swans have been restored precisely as they were originally intended! I'm proud that Ilham Aliyev and Mehriban Aliyeva personally attended their grand reopening—an initiative spearheaded by them! Just like in the 1960s, today’s swans vary in size yet remain graceful—those seven stone birds now once again stretch their long necks toward the sky! Such care for culturally significant city landmarks at state levels proves essential—it reflects attitudes toward heritage preservation—and it's both honourable and fulfilling being involved!"

"So what is the attitude toward sculpture in Azerbaijan?"

"To my deep regret, few individuals today grasp this art form fully—I won’t dispute that people do enjoy it—but sadly living solely dedicated lives toward such pursuits proves challenging! Consequently, sculptors often find themselves dividing their time between various endeavours—thankfully I've avoided such pitfalls due largely to having accumulated experience over more than half my life! However, young artists face significant difficulties navigating these waters! In my case alone—my name and reputation already carry weight—but growing into those aspects takes time! Ethical concerns arise as well: once someone informed me about works being sold resembling mine—I couldn't believe it until investigating personally! Ultimately discovering one client sought parting ways with pieces previously acquired from me—the unpleasant surprise revealed they had attributed authorship wrongly—claiming an Italian sculptor exclusively crafted those works for sale at their boutique! A simple showing of my stamp cleared things up promptly—a detail unknown by that seller! While I'm not opposed if someone chooses selling pieces purchased from me—circumstances vary—but downplaying original authorship seems farcical!"

"Is that why you employ seals—to protect your name? Or perhaps to create history?"

"I'll respond allegorically: A poor man desires becoming a millionaire; a millionaire wishes for billions; whilst billionaires aspire creating history. An artist seeks leaving behind an imprint—a legacy! Consider Sattar Bahlulzade. During his lifetime, his magnificent paintings went unappreciated. But now his works command incredible value! Such is often an artist's fate—recognition tends arriving posthumously! Crafting history remains arduous, particularly within today’s fast-paced climate, where financial realities shape many decisions impacting others differently, like owning workshops—a personal space allowing quiet reflection proves rare luxury affording uninterrupted creativity!"

"A corner for silence?"

"Yes, to be alone with myself, to simply sit quietly, perhaps sketch something or read. An opportunity to gain new insights, even in the absence of sculpting activities. It is essential for artists to engage in relaxation, which can be achieved through the simple act of sitting in a chair with a cup of freshly brewed tea in silence. On occasion, I embark on impromptu journeys to locales where the nuances of nature prompt introspection. I have recently discovered such leisure activities, which engage the senses through observation alone, facilitate the generation of novel concepts. To illustrate, I was once captivated by the intricate patterns of seashells and the destructive capabilities of tree parasites, which led to the formation of ideas about their existence and lifestyle. Ideas are ubiquitous; the challenge is in managing the myriad of daily distractions that consume precious time and energy. Parasitic distractions impede the flow of creativity. However, when artists find solitude, they are able to engage in contemplative reasoning, exploring questions such as how, why, and what if. Life can be likened to navigating a small vessel adrift in an expansive ocean. To maintain stability and direction, one must exert a firm and sustained grip. This can be a challenging endeavour."