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Ташкент, Узбекистан,ул. Садык Азимова-20,тупик-3

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Akmal Nur

He was born in1959 in Namangan, Uzbekistan. In 1978 graduated from the Republican Art College. P.Benkova, and in 1984. - Tashkent State Institute of Arts. M.Uygura.

In the years 1985-1989. studied at the Creative Studio of the Academy of Arts of the USSR in Tashkent. Lives and works in Tashkent. Since 1990 he is a member of the Creative Association of the Academy of Arts of Uzbekistan. In 1997 he was elected an Academician - Full Member of the Academy of Arts of Uzbekistan. In 2005, he was awarded the honorary title "People's Artist of Uzbekistan" and in 2011 Akmal Nur won the State Prize of Uzbekistan. Since March 2012, he has been appointed Chairman of the Academy of Arts of Uzbekistan.

The works are in Uzbekistan - in Tashkent: in the State Museum of Arts of Uzbekistan, the Directorate of Exhibitions of the Academy of Arts of Uzbekistan, the National Bank of the Republic of Uzbekistan, the Investbank of Uzbekistan; Samarkand state historical and architectural museum-reserve them. A.Ikramov, Urgench Art Gallery; abroad - in the Museum of Modern Art (Yugoslavia), the Davidson Gallery in Seattle (USA), the Art Heritage Gallery and the Lalit Kala Academy in Delhi (India), the Swiss Bank Collection (Switzerland), as well as in the private collections of Holland, Germany, Belgium, Australia, USA, Israel, Canada, Morocco, India, Turkey, Switzerland. For his years he managed to do a lot - the artist's entry into art was quite fast. After completing his studies at the art faculty of the Art Institute in Tashkent in 1984, he already occupies a leading place in the new generation of painters of Uzbekistan by the end of the 1980s. Over the past decade, several major personal exhibitions of the artist, including those abroad, were held. The originality of plastic solutions, the non-standard character of the figurative language allowed to distinguish Akmal Nur from a group of even close-to-ton artists. In 1997 A.Hyp became the youngest academician - Full Member of the Academy of Arts of Uzbekistan. This dynamic assumes the type of a very temperamental and somewhat odious nugget artist. Meanwhile A.Nur is far from shocking actions, he is more characteristic of a calm and thoughtful manner. He is not a rebel, not an apologist for academic or, on the contrary, modernist trends, not avant-garde and not an advocate of alternative creativity, although elements of all the listed phenomena can be found to some extent in his works.

The initial stage of the artist's work is in 1988-89. At this time he creates landscapes in grisaille technique ("The Last Snow", "Saplings") or pictures of protocol-fixing meaning with not very successful attempts at philosophical analysis ("Old Town - My Cradle", "Old Age", "At the Threshold"). .

Almost at the same time, A.Nur creates another series of paintings in which the professionalism and ability of posing serious imagery-emotional and plastic tasks are felt. Stylistics of this painting was associated both with the state of emotional and psychological breakdown of the artist, and the impact of the social climate of those memorable years of perestroika. The grim, marshy gray color of the paintings "Cemetery", "Teshik-tash", "Keepers of the soul" causes a sense of despair, bordering on post-shock syndrome. Self-defeating social criticism and inner spiritual depression are expressively expressed in the picture "The Sacrifice" with the image of a ram tied to slaughter. The stage of creative searches, full of social dystopia and internal psychological breakdown, is completed by the picture "Bearing the bull", executed in 1990. But in its style, new approaches are clearly palpable - tragedy and apocalyptic motives do not suppress the artist's aspirations for the development of pictorial and plastic tasks.

In general, the theme of love in its universal meaning becomes leading in the artist's work. Symptomatic names of works - "Apple of Love", "Garden of Love", "River of Love" (1995), "Love Island" (1998). The artist uses in them various symbolic and allegorical images - the moon, the horns of a bull, a fish, a boat. However, the general plastic and semantic dominance of these pictures is the apple motif - in the form of a huge cut half, inside which the lovers sit, then in the form of fruits flying from the sky. The sacral meaning of the motif eventually goes to the background, the image of the apple turns into a successfully found and skillfully varied plastic reception. Evolution in the works of this period is obvious - the canvas "Love Island", written in 1998, differs markedly from the 1995 paintings with the ease and virtuosity of the figurative solution.

Close to the refinement of the decorative style of this cycle of a series of paintings by the artist, performed in 1998 - "Girl playing on a tambourine", "Contact", "Rishtan Still Life", "Muse". In general, these pictures define a new direction in the work of A.Nur - the desire to formalize pictorial problems, the search for more concise and abstracted plastic formulas.

In the early 1990s, at exhibitions and in the press, the artist's works on the unusual and closed.

At that time, the Muslim theme was "Angel", "Prayer", "The Way to Mecca", etc. There is no intrusion in the essence of Muslim theosophy or apocryphal revelations. The task of the author is more modest - focusing on the picturesque and plastic tasks, touching the topic previously forbidden before and its philosophical and ethical aspects (the idea of ​​obedience to destiny and its predetermination, the search for purity and vital meaning in the higher transcendent spheres, etc.). This series gave impetus to the development of interesting color-plastic tasks, but did not receive further development. It was important to turn the artist to traditional images of puppeteers - maskharobozov ("Marionettes", "Sleeping puppeteer", etc. -1995). This theme is a kind of refrain of his whole philosophy of life. "Everything and everything is managed by someone. I wanted to convey this idea in my works, "says A.Hyp. The artist tried to express the philosophical idea of ​​the general conditioning of phenomena in its social context, but the picturesque-plastic effect in this small series of paintings prevailed. As a result, the socio-philosophical analysis has acquired the value of a picturesque-colorful pantomime, where the plasticity of the movement simultaneously expresses both imaginative meaning and the author's idea. A. Nur translates into the language of picturesquely plastic allegories a rich texture of stones in the transparent rivers of the foothills of Humsan, studied by him as a result of long observations . Close and lengthy contemplation led to the appearance of such plastic receptions-images, like scattered granules of stones, against which background silhouettes of animals, birds, images of mysterious fish, etc. are seen. The range of moods and picturesque problems in each of the paintings has its own peculiarities. In this cycle, the idea of ​​transformation is considered in two ways: both in the semantic field of the picture, and as the actual plastic problem. The style of his last series of paintings, in which the aesthetics of white space occupies a special place, is distinguished by elegance and eastern elegance. The artist was enveloped in a peculiar spiritual state, as he himself says: "The desire of white to write white." In this series, one should mention his paintings "White Poems", "Malika", "Melody", "Bukhara Bride", performed in 1998, the search for aesthetics of "white style" which were started by the artist back in the mid-1990s. It is well felt in the plastic of such paintings as "Bukhara Bride" (1995) and "Flight of Thought" (1996). In this cycle, the artist tries to synthesize the traditions of Eastern philosophy based on the multivalued character and their transcendental significance and the principles of aesthetics of postmodernism with its adherence to monochrome and abstracted pictorial and plastic solutions. The diversity of stylistic decisions in A.Nur's works does not deny the integrity of his artistic worldview , but only confirms the idea of ​​the dynamism of his search, the master's focus on philosophical reflection and plastic expressiveness.