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On Vezhdi Rashidov’s practice

By November 29, 2018February 7th, 2019No Comments

Looking into Vezhdi Rashidov’s sculptural practice it immediately becomes evident that it tells the story of the evolvement of sculpture. Vashidov’s portrait practice reflects the artist’s theoretical interests and  influences and acts as a sculptural kaleidoscope. The study of his work covers a few thousand years of artistic progression: it might be shedding new light to the Roman artistic tradition and elements but at the same time other works might further develop the investigation of Giacometti’s distorted portaits of the 20th century. On the other hand, Rashidov’s ability to create portraits that depict not only the physical but also the spiritual, remind us of the mastery of Bernini’s baroque sculptural work of the 18th century. That’s only the begining of elements revisited in his work in a contemporary way. From Brancusi to Boccioni and from  Epstein’s use of volume to Raymond Duchamp’s futuristic influences, Rashidov’s deep knowledge of the traditions of sculpture, allow him to deepen his study and create unexpected contemporary works.

While Rashidov’s sculptures are widely exhibited, his drawings and watercolours are lesser known- but no less significant. These works with the qualities that they bring allow us to have a holistic understanding of Rashidov’s sensitivies and artistic practice and concerns.

His watercolour series, different in many obvious ways from his bold bronze sculptures, they too incorporate the feel and the distinctive artistic elements of Rashidov’s practice; They balance between the form, color and the expressive power of Rashidov while at the same time they challenge the boundaries of abstraction and the implied organic form.

Two separate watercolour categories can be traced. The first one, closer to his sculptural work, is watercolour paintings that have a dynamic, intense and dark feel. Bold gestures of colours, mixed media combined in an expressive manner, create a vibrating and engaging effect.

The second body of watercolour works depicts a very high level of sensitivity, an element which is striking; and that’s why it is this very element that gives a different kind of significance and meaning to the rest of Rashidov’s work. A sensitivity not related to the theme, but related to the artistic practice itself. A sense of preciousness, fragility and care vibrates from the works. At the same time the transparency of the materiality along with a subtle notion of movement of the organic forms create a vivid image of the process of creation.

Rashidov’s artistic practice brings together all these qualities that derive from his own personality: boldness, intensity, expression, but also sensitivity and subtleness.  The man and his works.

Aliki Tsirliagkou

Curator, Director Nitra Gallery (Greece – Thessaloniki / Athens)