CV
Farangiz Yusupova
Born in Samarkand, Uzbekistan
Based in Brooklyn, NY
Education
Fashion Institute of Technology, BFA, 2021
Hunter College, MFA, expected graduation 2026
Selected group exhibitions and art festivals
2024 Dirty Work, 205 Hudson Gallery, New York, NY
2024 Tones Shaking Out, Chashama Presentation Space, New York, NY
2023 Pattern, the Grid, and Other Systems, The Art and Design Gallery at FIT, New York, NY
2023 Not as a Likeness of Anything on Earth, The Line Hotel, Austin, TX
2022 Everywhere and Nowhere, Chashama Presentation Space, New York, NY
2022 CICA Art Festival 2022, CICA Museum, Gimpo, South Korea
2022 Liminality: 2022 Visual Art Exhibition of Asian Artists in America, Liminality Art Space, Long Island City, NY
2022 In/Between 2022-Transcendental Coordinates, New York Live Arts, New York, NY
2021 I Hope This Finds You Well, M. David and Co. Gallery, Brooklyn, NY
2021 Structured Spaces, Dodomu Gallery, Virtual Exhibit
2017 Printfest 2017, IPCNY, New York, NY
2017 Diverse Abstractions, Yonkers Arts Weekend, Yonkers, NY
2017 SUNY Student Art Exhibition, Albany, NY
Awards and Residencies
2023 Ruth Stanton Scholarship, Hunter College MFA, New York, NY
2023 The LINE Residency, Austin, TX
2022 Virtual Residency with Mira Schor, NYC Crit Club, Virtual
2022 NYFA Immigrant Artist Mentoring Program, New York, NY
2021 AqTushetii Residency, Omalo, Georgia
2018 Anderson Ranch Arts Center, Aspen, CO
Artist Talks
2023 Central Asia Futures Conference, Macaulay Honors College, New York, NY
Press & Publication
2023 Pocket Samovar, Issue 3
2022 Khôra Online Arts Space, Issue 13, Issue 14, Issue 15 and Issue 16
Artist Statement
My work is deeply informed by my experience of growing up in Samarkand, Uzbekistan, immigrating to New York with my family, and the difficulties of cultural dissonance. My practice initially involves extensive research for reference images that vary from photographs of my childhood home, Indo-Persian miniature paintings, Soviet Brutalist architecture, and Islamic art, which are then processed through many preliminary drawings and digital collages. While painting, I pay close attention to how I interact with the materials I use. I’m interested in telling a story of physical and psychological space through mark-making. There are no figures in my compositions, only the traces of human existence.
The second half of my practice consists of examining the socio-political circumstances that gave rise to unique Central Asian aesthetics. This understudied region was shaped by many forces such as Islam, communism, and nomadism. Ultimately, I want to investigate the intersection of personal experiences and historical context through painting.