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Aziza Shadenova




Shadenova received a set of 1920’s collars as a gift, from a friend who acquired them at an antique market in the UK. An interesting present for an artist with whom objects might acquire a new enigmatic form. The artist creates playful miniature objects when combining two or three collars together. 


In Collar Paintings, the collars are assembled on the painting into the shape of a star that is frequently seen in Islamic art and the embellishments on the architecture that Shadenova observed in Uzbekistan. The artist keeps the sculptural form of collars, yet they merge with the canvas, now being part of it as a bar - reliefs. 


Shadenova associates collars with the state of being organised, skilled and ready to work. Even though the common association with collars would probably be with a male figure, in the case of Shadenova, she brings in a female figure into it. Women in Uzbekistan, as well as many other countries in Central Asia, became more independent skilled workers during the Soviet period. The Soviet era accelerated the emancipation of women, but hardly for the sake of women and rather for the sake of extra hands to be used for communal work. 


There is another source of inspiration for Shadenova’s collars. Domenico Gnoli’s art, which she admires. According to Gnoli, he was isolating and representing some details: ‘I always employ simple, given elements, I don’t want either to add or take anything away. I have never even wanted to deform’. However, in Shadenova’s case, she is deforming objects from their initial physical functionality, recreating them into objects that have conceptual function and become artworks, space that holds the synthesis.

By Indira Dyussebayeva – Ziyabek  @ainalaiynspace

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