FORBES
Written by Alena Timofeeva for Forbes Kazakhstan
AI-Translated Content Disclaimer: Possible Errors
Elevating the Steppe: An Artist from Kazakhstan Finds Success in London
© Daniel Roberts Mah
Aigana Gali has been living in London for a long time, but even a cursory glance at her paintings is enough to notice subtle Eastern notes. The names of her collections, "Tengri" and "Steppe," reveal a sense of nostalgia for her homeland. Her unique canvases are in high demand abroad; for example, her paintings adorn the walls of iconic hotels such as Woodward, Geneva, Royal Mansour, Casablanca, St. Regis Hotels & Resorts, Marriott Hotels, and The Ritz-Carlton in the United Kingdom. Aigana shared her thoughts on the influence of her art, her clothing line, and her love for Almaty in our conversation.
F: Aigana, please tell us about your childhood. Where are you from, and what were your activities besides school?
My hometown is Almaty, and I've always had a strong connection to it. Despite living outside of Kazakhstan for most of my life, this connection has only deepened over time. My childhood memories are linked to the history of my land and art. I was involved in ballet, music, and painting, and at some point, it all came together in a profound passion for the theatre. I worked as a set designer in the theatre and played several roles in film. This doesn't mean I was searching for myself – I always knew that, above all, I am an artist.
SHANKOBYZ , 108 x 82 cm, acrylic, oil on canvas, ESMB & STEMS, Dubai
F: Where does your love for art come from?
My grandfather was an excellent artist, and my mother is an exceptionally creative person who has had a profound influence on my perception of life. Her ability to see beauty in everything and direct my attention to the beauty in nature is still the source of my inexhaustible inspiration. Drawing and later painting are my natural state, the primary experience of living life. I have a very keen sense of light, color, sounds, and smells. I was born with synesthesia, and my perception of the world has always been very vivid, leading to beautiful visions that sought to manifest as paintings. Canvas and paint are my primary materials, even though I work in almost all available directions. I'm constantly amazed by the simplicity and complexity of creating multi-layered worlds on a single plane of canvas.
F: Who are your favorite artists?
I admire every artist. I believe that every creator serves an important function in society – that of a guide, even a shaman. So, I approach my work with a tremendous sense of responsibility to the public. Through a work of art, anyone can find their door that leads to spiritual growth and unity. I have found such works in the art of Mark Rothko, Marc Chagall, Georgia O'Keeffe, Frida Kahlo, and among contemporary artists, Anish Kapoor.
F: What was your first success in the field of art? Your first exhibition?
My first exhibition happened when I was just twenty years old at the wonderful Nurlan Smagulov Art Center in Alma-Ata. It was an incredible and very sincere experience! I didn't have an agent or a gallery, but all 40 paintings from that exhibition were sold. I think this experience gave me the courage to build my career independently and made me very strong.
F: What prompted you to move to another country?
I wanted to complete my creative master's degree and decided to take the risk of doing it in the capital of the contemporary art world, London. I have always been hungry for knowledge and dreamed of being where the energy of creativity is overflowing. Honestly, I felt constrained in Kazakhstan at that time.
© Daniel Roberts Mah
F: How difficult is it for a person in a creative profession to establish themselves in London? What are the advantages for artists in England?
In London, there is intense competition in everything, including the art world. I believe it's impossible to work half-heartedly here; it's all or nothing. My life is fully dedicated to my work, and it's my top priority. But under these conditions, London is the best place for progress. It's so rich in opportunities and knowledge that, in terms of the breadth of perspective, it can only be compared to New York. Of course, many things are changing now, and new players are entering the scene. Innovation in art and a highly educated, well-informed audience are still the best conditions for professional growth.
On the other hand, success in the art world can disrupt an artist's creative process. The more recognisable your art becomes, the more it takes on the characteristics of a commodity. You need to be wise and physically and morally strong so as not to harm your creative path while succeeding in your career.
SUALE, 160 x 120 cm, acrylic, oil on canvas, ESMB & STEMS, Dubai
F: How has your work been received in England?
I have been very fortunate, not just once. First and foremost, I'm grateful for the unwavering support of my family, even my children understand the complexity and importance of my practice. Secondly, it's the people in the profession whom I've met and continue to work with. They are the best professionals from whom I learn a lot, and they assist me in the exhibition process. And, of course, the response from the international audience is a tremendous motivation. My works are in private and museum collections around the world, and it's fantastic that the message I convey through my work has such a broad impact.
F: Do you take commissions? Have you had to turn down any enticing offers?
In the past, commissions were a challenging task for me. With experience, I've learned to set aside my ego entirely and allow important information for the client or a specific place to flow through me. Unfortunately, more often than not, I have to decline due to a lack of time. In such cases, the client goes on a waiting list, and I complete the work later.
Tobe" from the "Art Cologne 2023" exhibition. Provided by the artist and SETAREH Düsseldorf gallery
F: Has the move affected your art?
My attitude toward work has changed, but in my creative process, I am still a singer of my culture and the stories of my homeland. Being far away, longing for my homeland, I feel my connection even more keenly.
F: Do you consider yourself a Kazakh artist, or not anymore?
I wouldn't want to be defined and limited. I represent my country and take full responsibility for the image it presents to the global audience through me. But I would like to be seen as a world artist with a unique Central Asian voice.
© Daniel Roberts Mah
F: Do you visit Kazakhstan? Are your works successful here?
I have completed several very successful projects in Kazakhstan, one of them being the St. Regis hotel in Astana, for which seven large panels were created under the collective title "Baikonur." I would be happy if there were more such projects. I dream of creating several public sculpture installations for Kazakhstan, and I hope this will happen in the near future.
F: In your opinion, does art speak a universal language? Or do sometimes explanations, such as whether the English understand the full meaning of "Tengri," become necessary?
Art transcends words, residing at the tips of nerves, between sounds and colours, feelings and associations. People often need an invitation, a key to enter, but once they connect with the work, they need to step back and allow the viewer to have their unique experience. I am constantly amazed at how advanced and timeless our ancient worldview of Tengri is and how symbols that are distinctly Tengrian for me are archetypal in different ancient religious teachings from around the world. So, no translation is required; through art, meanings reach people of different cultures, bypassing language limitations. As an example, I will have a solo exhibition in March-April next year at SETAREH Gallery in Düsseldorf.
