Faig Ahmed’s carpets melt and dissolve into blurs and puddles. The rug is a traditional household item; and it is this commonness that attracts the artist. By taking these rugs from the floor and to the gallery wall, Ahmed inevitably draws emphasis to the overlooked beauty of these everyday decorative items. Something ignored beneath our feet is now given a moment’s consideration. It’s not just the existing beauty of these rugs that Ahmed is working with. In fact, he completely disrupts the rugs. In some, like Door of Doors, he turns the carpet into a trompe l’oeil, or an optical illusion. In Pixel Series, the pattern breaks down into a series of pixelated distortions, as if it stopped loading midway through. Traditional iconography meets digital iconography. The rugs in Flood Series are covered in dripping paint. As much as he draws emphasis to this tradition and its beauty, he immediately subverts it.
It makes sense that Fakhriyya Mammadova comes from a background in ceramics and design. Her photographs are anything but two dimensional. In her exhibition and series, Dua*s, Mammadova uses her camera lens to tenderly capture quiet scenes of daily life. Two women walk down a mountain path, a group of men wade in shallow water, a young girl licks a popsicle, several stare off into the distance. Each of these photographs is overlaid with another image – a flock of birds, tree branches, a distant landscape. The photographs now feel like a memory box, a collection of moments that are working together but also challenging us to see one and both at the same time.