BORN TO BE A SCULPTOR

Zamiq Rzaev, a young sculptor who previously taught at the Azerbaijan State Academy of Arts, has crafted numerous monuments and busts in tribute to the valiant soldiers of the Azerbaijani army. "Patriotism has been my lifelong companion," he revealed during our conversation. This is no mere boast. His creations include a bust of the Hero of the Patriotic War, Special Forces Commander Lieutenant General Hikmet Mirzayev, a monument to Azerbaijan's National Hero Albert Agarunov, a bas-relief of Samir Gachayev, an AGAH alumnus who perished in the Garabagh conflict, and monuments to the martyrs of the First Garabagh War, Natig and Sakit Taghiyevs, as well as busts of the Patriotic War's martyrs Javid Safarli and Nijat Shukurlu. Rzayev's artistic journey extends beyond martial themes—he also sculpts pieces that reflect our tranquil existence.

"Alongside your artistic pursuits, you once taught at the Academy of Arts. Did teaching somehow impede your creative performance, prompting your departure from the academia?"

"Indeed, there were additional factors, but chiefly, I lacked sufficient time for artistic endeavours. Daily, I devoted six hours to the Academy of Arts, and upon returning to my studio, I found myself drained of energy to create. Departing from teaching was no trivial decision. It demanded considerable contemplation on how to balance studio work with pedagogical duties. Ultimately, I elected to prioritize my primary vocation—creativity—and embraced the freedom of an independent artist."

"Do you miss working at the academy?"

"I miss my students, as they are my dear friends. Although I no longer do teaching, they frequently visit my studio to collaborate on projects, crafting sculptures of their own. Perhaps, once my aspirations are fulfilled, I'll revisit the academy to resume my instructional role."

"What did you teach to your students? Do you implement a unique pedagogical approach, diverging from conventional methods?"

"The cornerstone of student engagement is not to assume the role of a teacher but to strive for camaraderie. Despite a hierarchical dynamic, my workshop attendees and I share laughter and jests, fostering a relaxed atmosphere conducive to creativity. Freedom is essential for imaginative minds; without it, fantasy and creation are stifled. Should a student lack inspiration, I never compel labour; instead, I suggest sitting and watching how their peers work. Inspiring oneself is a skill to be mastered."

"What is your current focus in sculpture?"

"Presently, I'm restoring a damaged industrial monument. Concurrently, I'm sculpting a personal piece titled 'Biker.' My passion for motorcycles has long inspired me to undertake this project. A copper motorcycle, nearly complete, will feature in 'Landing,' an attempt to capture the essence of a bike in motion."

"Is inspiration a necessity for you, or can you adhere to a disciplined routine?"

"Creation is unattainable without inspiration. Artists fall into two categories: those who commence work upon waking and those who require perpetual inspiration, a compelling urge to create."

"So, you say that without profound insight, creation is impossible..."

"Yes, constant inspiration is vital. When I don't want to create, I lose touch with my knowledge and abilities. During the creative process, I operate subconsciously, only conscious of the inception and culmination. Nighttime is my preferred work period; it's when my mind is most alert, free from interruptions, allowing for undivided focus. Creativity demands solitude—it thrives when given undisturbed attention."

"Your sculptures predominantly feature our fallen soldiers and officers, and war heroes. What draws you to these subjects?"

"The prolonged military tensions in our nation have undoubtedly influenced me. Initially, I was reluctant to explore themes of martyrdom and conflict. The first and second Garabagh wars have left indelible marks on our hearts, as well as on the collective psyche of the creative community. No one desires to dwell on such sombre topics. Yet, the sacrifices made by our soldiers for the liberation of our territories cannot be ignored. My personal history is intertwined with both Garabagh wars, inspiring numerous works dedicated to our warriors and their triumphs. The journey of the Azerbaijani people has been arduous, but it brings joy to commemorate our victories and reclaimed lands through art. My profound patriotism fuels my artistic dedication to military subjects. Reflecting on my youth, I recall competing in various contests. While my ecological-themed entries seldom triumphed, my Garabagh-focused pieces consistently garnered top honours."

"After finishing the monument to Albert Agarunov, hero of the First Garabagh War, you declined your rightful fee. Does this reflect a personal stance or an impulsive act of the heart?"

"Indeed, Raghib Garayev and I collaborated on that monument. The honorarium was secondary to us. The privilege of crafting a tribute to the hero was our primary motivation, and we embarked on the project pro bono. After all, not all aspects of life can be quantified monetarily. Agarunov sacrificed his life; we offered our time, a modest contribution in comparison. It was, in fact, a profound honour for us."

"Going back to the heroes of Garabagh wars, I must mention your late friend and fellow sculptor Samir Gachayev, who fell during the April skirmishes. His brief yet luminous career yielded numerous sculptures and exhibition participations. Can you describe the artist he was and the magnitude of talent we've lost?"

"Talking about Samir Gachayev always hits hard. But it's important to keep his story alive. He was a standout artist, really one of a kind. In just two years, he churned out about 30 pieces, which is mind-blowing. He started cranking out art left and right from his second year in school, and by the time he was a senior, he had a whole collection to show off. I don't know any other artist who's done so much in so little time. It's almost like he knew he didn't have long and wanted to make every moment count. We tried to get him to chill and take a break, but he was always deep into his work, never wasting a minute. I always knew what it meant for a soldier to lay down their life for their country, but it wasn't until we lost Samir that I truly felt the weight of such a loss."

"Has the passing of your friend influenced your artistry?"

"For sure, Samir was just 22 when he passed—a true example of what it means to be a good person. He was all about being fair, kind, and cultured. Thinking about him, you can't help but wonder how someone so gentle could end up in the harshness of war. There's this one story that really shows who he was: our workshop had this big hole in the floor because of a mouse. But instead of trying to get rid of it, Samir would leave food out for it every day. He didn't want the little guy to go hungry. That's just how caring he was. It's a real loss not having him around anymore. He was like that character from the movie "On Conscience"—just as brave and good-hearted. Rest in peace, Samir."

"Our families have been through a lot, from World War II to the Garabagh struggles. Should we carve out all that pain and sorrow into stone and paint it for everyone to see, especially when it's all still so raw?"

"If we want the memory of someone or something to endure, we must not forget the past. We must immerse ourselves in the pain and sacrifices that led us to victory. Yes, we emerged as victors, reclaiming our lands, but not everyone comprehends the price we paid to restore our territorial integrity. This truth should never fade from our collective consciousness. Moreover, let us not overlook that we live in the 21st century, yet our soldiers engaged in hand-to-hand combat on treacherous mountain slopes. This battle deserves a place in world history—a testament to our resilience and determination. Personally, I was deeply moved by a sculpture depicting a soldier clinging to a steep cliff with one hand while holding a khary-bulbul flower in the other. This poignant work secured second place during the Days of Shusha event. Now, let us celebrate our Victory; it is a holiday for our entire nation."

"Is it true that your works are held in private collections around the world? And what about solo exhibitions?"

"Regarding my works, I cannot confirm their presence in private collections worldwide. Our creations typically find their way to galleries, where fans and art enthusiasts acquire them. Notably, a bust of Gara Garayev resides in Moscow, and some pieces are housed in Azerbaijan’s Ministry of Culture and other museums. As for personal exhibitions, I believe they should be as unique as fingerprints—each distinct and memorable. Quality matters more than quantity. I plan to organise my own exhibition soon, ensuring it reflects my artistic vision."

"Who do you create your works for: yourself or the people?"

"An artist’s purpose extends beyond personal expression; it encompasses society. When embarking on a new work, I ponder its impact on people. Will it inspire or harm? I view my art as both a weapon and an atomic bomb—capable of either uplifting or devastating. Creativity mirrors life’s complexities, sometimes revealing dangerous truths. Consider the abundance of artists and musicians in Azerbaijan. Our childhood memories of carpets—patterns, rhythms, and ornamentation—connect us to our roots. These generational codes of creativity bind us together, echoing the heartbeat of our collective heritage."

"Is this a positive or negative phenomenon?"

"Undoubtedly positive. Creative individuals bear a responsibility to leave behind beauty—a legacy for future generations. Through our works, those who follow can learn, be inspired, and appreciate the intricate tapestry of human expression."

"What else do you want to create? Themes, images, events, impressions?"

"As mentioned earlier, patriotic themes resonate strongly in my reflections. Each individual should cultivate their own life philosophy, understanding their purpose in this world. Nowadays, with an increasing presence of salon sculptures, people often acquire our artworks not merely for their collections but to enhance the ambiance of their living spaces. For instance, paintings by renowned artists like Salvador Dali, traditionally sought for private collections, are now sought for home décor. These acquisitions sometimes hinge solely on the artist's fame.

"Take, for instance, my sculpture 'Home Alone', depicting a stand adorned with a coat, hat, umbrella, and a parrot. This artwork portrays the solitude of an elderly gentleman, capturing a singular episode among many life stories. My aim is not merely aesthetic beauty; rather, I strive to narrate the essence of our fates through my creations. Each piece represents a frozen moment, akin to a photographer's lens capturing a specific scene.

"Upon reflecting on this sculpture, I realized my aversion to loneliness; the concept feels foreign and unsettling. Through my art, I aim to convey the importance of living a life that avoids ending in isolation and neglect. Hence, I envision building a family in the future, with hopes of welcoming children. This aspiration aligns with my desire to comprehend and appreciate every emotion and experience encountered along my journey. I believe I am progressing along the right path towards this goal..."