THIS FREE WHITE WORLD

Contemporary art. A notion one hears quite often in the art world and sometimes wants to know what it's about—people, time, place, or era? Perhaps that’s the reason why it is difficult to describe it universally. Does it really need such a description at all? However, it’s quite appropriate to note that art in general is an existential concept, which means that one should only rely on his own perception on the basis of previous perceptions, leaving the right to it to the artist himself.

Arif Aziz is an active member of the World Academy of Arts, People's Artist of Azerbaijan, holder of the Shohrat Order, professor at the Azerbaijan State University of Culture and Arts, and internationally renowned artist. He made one of the most challenging colours, white, his signature feature and has recently presented it in the title of his anniversary solo exhibition Bəyaz (White) held at the Museum of Modern Art.

"What is the role of an exhibition in artist’s life?"

"Exhibition is important for each of us. And even if someone thinks the opposite, it's not entirely true. What’s the purpose of creating a piece of art? For whom do we do it? Creativity is fundamentally about people. It should be a product of a ‘conventional’ workshop. My real exhibition Bəyaz was the first in this format held in Baku. Before that I held exhibitions at the Museum Centre with my students, some of whom have long since graduated. Here the exhibition is structured according to the ‘life cycle principle’: from young works to those I created in recent years. You can call it my biography."

"What is empathy and sensory perception for an artist?"

"I think art would be impossible without these concepts in the first place. I am always interested in interacting with people. My interest in nature is quite understandable. An artist absorbs everything that surrounds him. One of my main protagonists has always been sea. It has given me a feeling completely absent in urban areas. Going back to empathy, every human being is a huge pool of emotions, attitudes, inner filling, characters… His education isn’t important in this case at all. Moreover, social position is absolutely irrelevant when communicating with people. Believe me, my experience shows that the people without university education can express their thoughts much more purely and sincerely. Maybe it's because they are free from the pressure created by his social status or position."

"You mentioned the sea, which is a specific category of freedom..."

“It's impossible to be an artist without freedom! It is impossible to create works that breathe! Creativity knows no bounds! Yes, there was a period when art was under ideological pressure due to the political orientation of the ruling state system, which has now gone down in history. Back then, the exhibitions were organised according to circular orders coming from above. That is why they did not differ from each other. Today, society is free of such pressure, and this is reflected in art. There are so many new names and creative expressions in various forms! Today Azerbaijan is a full-fledged member of the world's creative elite. I assert this thanks to my own experience. I have held many exhibitions in different parts of the world, so I can make comparisons. My studio and gallery in Baku are my personal world, where I feel the most free. And this feeling gives me unimaginable flight of creativity, which transform to subjects of my paintings.”

"What colour is your freedom?"

"Definitely WHITE!!! I love this colour. It started showing up in my works after the nineties. I have learned it step by step by communicating with it. It's like we were looking at each other asking question. Today white is a fundamental colour on my palette. At the same time, I think the other colours, thanks to white’s dominant position, have acquired something extra, something that gives them a kind of volume..."

"Perhaps because of the features of white?"

“Physics proved long ago that white contains the entire colour spectrum. The main thing is to get the prism right. Apparently, at some point, I found that very prism. I think white is part of the human soul. My soul. It is not that I decided to use this colour to get associated as a ‘white artist’ (bəyəz). It is just my inner state. My soul. Even life itself. Embracing every aspect of family relationships and understanding. Therefore colour plays an instrumental role in my personal world: white is my personal measure of life as far as I am concerned.”

"Artists see people in the colours of their palette. Is this true?"

"I am no exception. We reflect people through the colour palette. Whether they notice it or not is not a question for me. But! Rather, colour can change over the course of a life cycle. And it is not quite right to categorically define someone through a single colour. After all, you cannot deny a category of people playing like on a theatre stage in their everyday life, can you? What colour should we use to describe them? There are also moments of disappointment when one realises that they only have an image and a total lack of white in their soul. In such cases I simply leave, interrupting the communication which I no longer see the point in. It is better to be alone with myself."

"Loneliness as an escape from disappointment?"

"Not so categorically! I like silence and being alone with my canvas when I work. And believe me, these are very productive periods of my time: conversations with myself. I also like listening to music. If you could watch my dialogues with my works!.. They sometimes suggest dissonances in a series of images. I can go back to a painting I started a dozen or two decades ago, feeling the lack of white in it..."

"Do you always contact with your works? What is the starting point?"

"Speaking of myself, I have to admit that it is a difficult process. Holding a brush in front of a completely white canvas, I feel myself a pioneer. There is no sketching stage in my practice. I start working straight on the canvas. So the first stroke or the first line gives me an understanding of how to develop my future relationship with the next picture. And this intuitive feeling has already been confirmed in practice. So I can simply put the canvas away until a better time in case of times of inner resistance. I have such works. But then the moment comes and I return to them more matured to feel the overall composition... A canvas has magic and is able to talk. It is important to hear it on time. My works are far from an academic format. You should remember the times when we sometimes used cheat sheets when we were students. In the fine arts there is no such thing as a cheat sheet. Only what comes from your soul. You should rely on something inner and far from words. You need a years-long experience and consistent practice. Your personal creative arsenal."

“Our conversation takes place at the Museum of Modern Art. And we can see how different the works are on display here. Each one of them is interesting. They are like reflections of people with different destinies. You can't say that I get up in front of a canvas and put the finishing touches to it. I confess that I rarely manage to complete a painting in one go. So there are plenty of challenges...”

"You have visited so many different countries. Have you ever had failed acquaintances with any of them?"

"There have been a few moments like that. I graduated from the famous Stroganovka School in Moscow: wall house, design, graphics. Of course, studying there gave me a lot. Occasionally, we could get tickets to the Bolshoi Theatre. The environment affects people. Despite our differences, our works as students looked similar. Many artists had quite a familiar life experience. It is after graduation that each of us begins the search for our own artistic self. In January I will reach 80. During this period I have had numerous exhibitions in different countries, with very few exceptions: France, Britain, Turkey, Germany, Senegal, India, Sri Lanka, etc. Audiences everywhere found my works interesting and liked them thanks to obvious dissimilarities. This is important for me—to find something that reflects my personal sense of the world. And I still continue this search, hoping that creativity will accompany me for many years to come."

"While looking for your artistic signature, have you ever been influenced by a recognised master of the brush?"

"This is quite a normal stage, especially as an apprentice. At the Azim Azimzade Art School, I was strongly influenced by Vrubel and the Bauhaus school. I remember how Boyukaga Mirzazade always defended my self-expression in response to my fellow students' criticism of my imitating the great symbolist. He used to say that I was the only one who could use such a peculiar chopped-up strokes, which impressed me immensely. Then there were books, art albums and catalogues. Learning about the lives of artists whose works have become part of my classical heritage is one of my great passions. More than that, they influence contemporary art. The wind has the same effect on people, doesn't it? So does the sun or snow. That's why classics, perhaps a little primitively, I'm generalising now, carry a certain spirit in the context of artistic explorations by contemporary artists. You can imitate Marc Chagall or Rasim Babayev, but these artists have already had their say in art. It is simply vital that young artists find their own way. Even if it's a negative experience, it's also a result, after which you just have to move on."

"To prove others your talent?"

"Only time can judge the value of artworks. Time is the only unbiased phenomenon. History is teeming with examples of artists recognised only after they deceased. But it is important for every creative person to feel the value of their work, regardless of their place of residence or nationality. In the Soviet period, which is known for strong distribution order of titles and awards, those who were not in line with the general system were not recognised and openly criticised with derogatory assessments. But those who were quite good at art knew that this was a blatantly biased approach. Now, over time, many of the persecuted artists have gained recognition, and their names have become part of the history of modern times."

"Yet you have a degree from the very advanced department of applied graphics and design."

"The term 'design' was not even used in those days. We were called artist-constructor or applied artist. It was only after independence that art began developing intensively. Design entered our everyday life together with interior design and so on. Going back to the notion of appreciation by time and history: good art, or rather real art, is eternal. After all, any creative work is bound to meet a professional art historian or critic, who can present it competently in the public domain."

"Do you think that other persons can say more about a work of fiction than the author himself?"

"It's hard to say... After all, there are times when the author has already left this world and the work continues to live on. Like, for example, many of the paintings you can find at our Museum of Modern Art. When we look at them, we remember the names of these artists. The pictures are also arranged smoothly, without rare transitions. When you look at them, you start realising how many genius painters lived and worked in Azerbaijan. Both our museum and the amazing works of these amazing artists stored here confirm the value of the path which they have taken or are taking in search of their distinctive features. I wish there were more venues like this..."

"Industrial graphics brings to mind some austere and even monumental forms of art. Whereas your works look tenderer and are filled with air."

"We were taught painting and composition, sculpting, a whole set of visual arts, which is part of my art as well. We had amazing teachers and no time for idleness. As students, we were mostly busy with classes from nine in the morning until six in the evening. But we still could squeeze some time for fun. We did not close ourselves off. We explored the world, tried to learn new trends under strict control... But is it possible to limit the inquisitive mind of a creative person?"

"When you become a teacher, do you use any tips and tools from your own teachers' arsenal?"

“It is important for a student to feel the teacher's message. To recognise and accept that the teacher is opening up a path for them. A student needs food for thought and a creative spark. They need to know that the knowledge from the teacher is communicated to them from the bottom of his heart! I have to admit that, unfortunately, not all mentors use this approach. In fact, I used a harsher approach to my daughters, who were also my students, than to my other students. This is one of my characteristics, if you want to know. It is unacceptable to treat art in a relaxed way. It is unacceptable to work on a composition half-heartedly!”

"How are your compositions born?"

"They start from a point, from a line. And the scary moment is touching the white surface of the canvas with a brush. The responsibility is profound! And it doesn't matter what size it is, what kind of art one has chosen for it. What matters is why, what for, what you touch the canvas for. It is a reflection of your thoughts. You give life to it. This is what is important to teach students to remember. Which I try to do, including through unique books from my own library, which they simply cannot find on the Internet. In general, I firmly believe that books are the essence of self-discovery. I cannot imagine my life without them. They are the infinite universe of knowledge. How many times I myself, fascinated by the next interesting publication, lost the sense of time. The sense of touch enables me feel the subject or individual moments in time. Because no digital image can capture the inexpressible, when your fingers follow your eyes and thoughts. You can't just work on a canvas. But an artist must not become a robot. He must be a composer, not a mere performer. This is how the best paintings are born..."

"Are you a happy person?"

"Absolutely! The Almighty gave me a family, children and eight grandchildren. I'm still working. I can move. I can see the world. I can socialise with my friends. What else do I need? That's why I admit that I'm a happy man!"