Aily Kesh, 2020
Gulnazym Omirzak
This is an example of the synthesis of traditional Kazakh textile art and contemporary artistic strategies of decorative-symbolic thinking. In this work, the decorative structure forms a complex semiotic system in which each element carries both a visual and a semantic meaning.The composition of the work is organised according to the principle of the traditional tuskiiz, where the ‘frame-within-a-frame’ structure plays a key role. The multi-layered border functions as the boundary of a sacred space, separating the inner centre of meaning from the outer field. This structure creates the effect of a visual ‘window’ through which the viewer is drawn into a world of love. The central symbolic element of the work is the image of the moon (ai), which serves as both a semantic and compositional focal point. In the traditional system of symbols, the moon is associated with the ideas of the cyclical nature of time and the sacred time of love in a timeless context.