An Azerbaijani visual artist working across installation, painting, and stage design. She graduated from the Azerbaijan State Art Academy with a bachelor’s degree in 2015 and a master’s degree in 2021. Since 2018, she has been researching the “Visual Language of Carpets,” reinterpreting traditional patterns within a contemporary artistic framework.
Her work has been shown internationally in Lithuania, Germany, and Ireland, as well as in numerous exhibitions across Azerbaijan. She is a member of the Azerbaijan State Union of Artists and has received multiple awards, including the 1st Prize from the Union (2018) and the Luxmundi Gallery Prize dedicated to M. Mushviq (2024). In 2024, her kinetic installation Nature was exhibited at the National Qurama Festival in Baku. She has also participated in Erasmus+ artistic projects in Ireland and Germany.
Currently, Guliyeva works with Ritual Theatre, a local independent theatre dedicated to documentary performances. Within this framework, she has created several documentary installations, merging visual art and theatre to explore cultural memory, identity, and space. Her recent public-art installation “Architecture of İnvisibility” (2026) is currently being held at Yarat Contemporary Art Space.
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For me, this paper is a space where light and weight collide. I treat the tempera as a structural element—each block of color is a decision, a brick laid in an emotional landscape that doesn't rely on a horizon line. I’m fascinated by how a sudden patch of salmon pink or a deep, dark umber can shift the entire gravity of the composition.
In this work, I wanted to capture the feeling of looking through water or a sun-drenched window, where shapes are secondary to the pure pulse of the light. I work quickly, letting the brush dance across the surface, layering cool sky-blues against earthy oranges to create a visual friction. There is no hidden message or literal image to find here; the 'story' is simply the movement of the pigment and the joy of the mark. It is a record of a moment where I stopped trying to describe the world and started trying to feel it in color