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CV

Farangiz Yusupova

Born in Samarkand, Uzbekistan

Based in Brooklyn, NY

yusupova.fara@gmail.com

 

Education

Fashion Institute of Technology, BFA, 2021

Hunter College, MFA, expected graduation 2026

Selected group exhibitions and art festivals

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         Mono, Mi-Sul Virtual Gallery, Virtual Exhibit

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         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

Press

2022         Khôra Online Arts Space, Issue 13Issue 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.

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