Exclusive with the artist Aigana Gali
We are proudly announcing that Gali will be joining forces with Wall Street Luxury Europe and Vivid Events for the forthcoming Dubai, Porte Montenegro, Monaco and Singapore 2022 events. She brings her exceptional creative talent and decades of professional experience as the artist in residence and art-visionary of this exciting collaboration.
”Our personal lives, our struggles are not important - what is important is what we leave behind, what we bring forth whilst we are here. That is why I believe art is the most valuable thing in the world - it is a human thing, condensed with information, made to be discovered.Aigana Gali
2021 was a landmark year for the artist Aigana Gali. A star on the ascent, this year alone she has participated in numerous major exhibitions: Light Works, premiering her new series Tengri; Blue Minds, showcasing works that highlight themes of ocean conservation for the Blue Marine Foundation; a solo show for Kazakhstan’s 30 Years of Independence celebrations; and chosen by Yinka Shonibare MBE, to participate in the Royal Academy’s Summer Exhibition, 2021. Currently based in London, working between her atelier in Knightsbridge and studio in Kensington, Gali was born on the ancient crossing of the Great Silk Road in Almaty, Kazakhstan, to a Georgian mother and Kazakhstani father. Her formative years were spent in the wild, open cradle of the Eurasian Steppe, and her work is deeply inspired by the atmospheric emptiness and ancient philosophies of the region. This is why in 2015 Gali was invited to consult the legendary architect Ricardo Bofil on translating the essence of Kazakhstan’s art, aesthetics, and heritage to be correctly reflected in Bofil’s proposal for renovation of the iconic Soviet era landmark hotel “Kazakhstan” in Almaty.
Tell us about your childhood?
How has this influenced your work?
Where did you train to be an artist?
Until I was ten, we were still a part of the Soviet Union, and I was first trained as a dancer, which fine tuned my senses to the rhythmic character of place, in particular the vibrational quality of light. I went on to study fine art and when I did my masters degree, I wrote my thesis on “The influence of Russian Academic school of Painting to Kazakh school”. I was interested in how we had evolved culturally, from a shamanic tribe who once only painted symbols for decorative art, mostly in textiles. I learnt about Aiganym – the wife of the tribal leader Wali – who invited painters from Russia to teach her children and grandchildren. In a way she was the root of Kazakh fine art. I was given her name, and I am a direct beneficiary of this – the importation of a very strict Soviet academic school. It gave me so much, I can travel from one technique to the next, (the medium is the message) my hand is so well practiced, but at the same time the root of my practice lies underneath this in the Scythian tradition – in shamanic ritual.