The centerpiece of the exhibition consists of carpet samples from the Elysium series (2024–2025). This series comprises three handwoven carpets (each measuring 150 x 200 cm), created in collaboration with female artisans working in the Nardaran settlement of Baku, as well as in the regions of Shamkir and Guba, Azerbaijan. The exposition is complemented by a series of ceramic vessels titled Beyond Utility (2024–2026).
The art of Azerbaijani carpet weaving is rooted in a rich tradition that has flowed through the depths of centuries and is recognized worldwide for its refined craftsmanship and distinctive aesthetic language. These carpets are distinguished by their flat, pictorial compositional structure; the measured rhythm of ornaments, the harmony between the central field and the border, and the remarkable clarity of geometric motifs create a unified visual balance. Despite their technical complexity, these works remain the principle of flatness, favoring surface and pattern while distancing themselves from the illusion of depth.
Aida Mahmudova’s long-standing, bold experiments with materials infuse these deeply rooted traditions with a vibrant sculptural vitality. By exploring layering techniques, variations in texture, and interaction with space, she expands both the formal and conceptual boundaries of textile art. In the artist’s practice, the carpet transforms from a merely functional object for floor or wall into a tactile, spatially engaged sculptural entity with profound conceptual meaning.
The ceramic works included in the Beyond Utility series are presented as the logical culmination of the artist’s experimental explorations in pottery and decorative glass-applied arts. These ceramic vessels, grounded in traditional craftsmanship, take shape as everyday utilitarian objects and are transformed by the artist into unique, refined design pieces. The works are coated with handcrafted glazes made from oil, ash, sand, clay, and stones sourced from the native Azerbaijani land. Such a material approach organically connects the works to the physical environment while producing distinctive, dynamic, and unexpected visual effects on their surfaces. At the same time, engaging with the poetics of matter and memory, the series establishes a delicate, poetic dialogue between ancient traditions and the artist’s contemporary expression. Drawing on her extensive photographic archive dedicated to Azerbaijani landscapes, Aida Mahmudova transfers images she has personally captured onto ceramic surfaces using the decal technique, thereby embedding her personal memories and intimate narratives into the works. As a result, the ritualistic forms of these vessels are reborn as inner sanctuaries that hold the most sensitive memories. These simple yet distinctive forms embody the flow of time as silent witnesses to symbolic turning points on the private, intimate, and reflective map of the human soul.
