Mukazhanova’s photographs from her "Global Society" series, began in 2013 is a reflection on “mankurtism” and the loss of national identity. “Mankurtism” is a term coined by the Kyrgyz writer Chingiz Aytmatov, that denotes a conscious or unconscious loss of national identity, a departure from one’s roots and the loss of one's culture, with the replacement and introduction of the values of another culture.

Mukazhanova’s photographs from her "Global Society" series, began in 2013 is a reflection on “mankurtism” and the loss of national identity. “Mankurtism” is a term coined by the Kyrgyz writer Chingiz Aytmatov, that denotes a conscious or unconscious loss of national identity, a departure from one’s roots and the loss of one's culture, with the replacement and introduction of the values of another culture.

Mukazhanova’s photographs from her "Global Society" series, began in 2013 is a reflection on “mankurtism” and the loss of national identity. “Mankurtism” is a term coined by the Kyrgyz writer Chingiz Aytmatov, that denotes a conscious or unconscious loss of national identity, a departure from one’s roots and the loss of one's culture, with the replacement and introduction of the values of another culture.

The “False Hope or Moment of the Present” is a metaphor for the disjunction between the visible world, or presentable ideal and the reality. This is a reflection of our society, which interacts in invisible forms of communication. In this series, the bright patterns symbolize the “Dialogue”, producing as positive and negative information and a discourse. After that, they transforming through multiplications into an abstract form, the space of which is becoming as a self-evident, universal-natural behavior, of endless iterance, which leads us into delusion.

The works made up of very bright, shining fabrics from Central Asia. These types of fabrics are often used as gifts during weddings and other celebrations in Kazakhstan, but often just passed from hands to hands, because even though they are bright, they are not particularly practical. Therefore gifts, just like exchange of information in the modern world, often become superficial and illusionary.

The Compositions of works cut up from different fabrics, subsequently transform into a new shape and are fixed to each other only with pins. Needles symbolize instability, inconstancy, collapse, and shiny fabrics are the meaning of false hope. This is, for example, how beautiful facades of houses are built in Kazakhstan, but inside the quality is terrible.

The fabrics attracts with its brightness and brilliance, creating a special dazzling atmosphere in which it is difficult to pay attention to the fabric itself, that is, to "Reality" and to peer into each individual pattern, that is, to "Meaning."

The “False Hope or Moment of the Present” is a metaphor for the disjunction between the visible world, or presentable ideal and the reality. This is a reflection of our society, which interacts in invisible forms of communication. In this series, the bright patterns symbolize the “Dialogue”, producing as positive and negative information and a discourse. After that, they transforming through multiplications into an abstract form, the space of which is becoming as a self-evident, universal-natural behavior, of endless iterance, which leads us into delusion.

The works made up of very bright, shining fabrics from Central Asia. These types of fabrics are often used as gifts during weddings and other celebrations in Kazakhstan, but often just passed from hands to hands, because even though they are bright, they are not particularly practical. Therefore gifts, just like exchange of information in the modern world, often become superficial and illusionary.

The Compositions of works cut up from different fabrics, subsequently transform into a new shape and are fixed to each other only with pins. Needles symbolize instability, inconstancy, collapse, and shiny fabrics are the meaning of false hope. This is, for example, how beautiful facades of houses are built in Kazakhstan, but inside the quality is terrible.

The fabrics attracts with its brightness and brilliance, creating a special dazzling atmosphere in which it is difficult to pay attention to the fabric itself, that is, to "Reality" and to peer into each individual pattern, that is, to "Meaning."

The “False Hope or Moment of the Present” is a metaphor for the disjunction between the visible world, or presentable ideal and the reality. This is a reflection of our society, which interacts in invisible forms of communication. In this series, the bright patterns symbolize the “Dialogue”, producing as positive and negative information and a discourse. After that, they transforming through multiplications into an abstract form, the space of which is becoming as a self-evident, universal-natural behavior, of endless iterance, which leads us into delusion.

The works made up of very bright, shining fabrics from Central Asia. These types of fabrics are often used as gifts during weddings and other celebrations in Kazakhstan, but often just passed from hands to hands, because even though they are bright, they are not particularly practical. Therefore gifts, just like exchange of information in the modern world, often become superficial and illusionary.

The Compositions of works cut up from different fabrics, subsequently transform into a new shape and are fixed to each other only with pins. Needles symbolize instability, inconstancy, collapse, and shiny fabrics are the meaning of false hope. This is, for example, how beautiful facades of houses are built in Kazakhstan, but inside the quality is terrible.

The fabrics attracts with its brightness and brilliance, creating a special dazzling atmosphere in which it is difficult to pay attention to the fabric itself, that is, to "Reality" and to peer into each individual pattern, that is, to "Meaning."

The “False Hope or Moment of the Present” is a metaphor for the disjunction between the visible world, or presentable ideal and the reality. This is a reflection of our society, which interacts in invisible forms of communication. In this series, the bright patterns symbolize the “Dialogue”, producing as positive and negative information and a discourse. After that, they transforming through multiplications into an abstract form, the space of which is becoming as a self-evident, universal-natural behavior, of endless iterance, which leads us into delusion.

The works made up of very bright, shining fabrics from Central Asia. These types of fabrics are often used as gifts during weddings and other celebrations in Kazakhstan, but often just passed from hands to hands, because even though they are bright, they are not particularly practical. Therefore gifts, just like exchange of information in the modern world, often become superficial and illusionary.

The Compositions of works cut up from different fabrics, subsequently transform into a new shape and are fixed to each other only with pins. Needles symbolize instability, inconstancy, collapse, and shiny fabrics are the meaning of false hope. This is, for example, how beautiful facades of houses are built in Kazakhstan, but inside the quality is terrible.

The fabrics attracts with its brightness and brilliance, creating a special dazzling atmosphere in which it is difficult to pay attention to the fabric itself, that is, to "Reality" and to peer into each individual pattern, that is, to "Meaning."

The “False Hope or Moment of the Present” is a metaphor for the disjunction between the visible world, or presentable ideal and the reality. This is a reflection of our society, which interacts in invisible forms of communication. In this series, the bright patterns symbolize the “Dialogue”, producing as positive and negative information and a discourse. After that, they transforming through multiplications into an abstract form, the space of which is becoming as a self-evident, universal-natural behavior, of endless iterance, which leads us into delusion.

The works made up of very bright, shining fabrics from Central Asia. These types of fabrics are often used as gifts during weddings and other celebrations in Kazakhstan, but often just passed from hands to hands, because even though they are bright, they are not particularly practical. Therefore gifts, just like exchange of information in the modern world, often become superficial and illusionary.

The Compositions of works cut up from different fabrics, subsequently transform into a new shape and are fixed to each other only with pins. Needles symbolize instability, inconstancy, collapse, and shiny fabrics are the meaning of false hope. This is, for example, how beautiful facades of houses are built in Kazakhstan, but inside the quality is terrible.

The fabrics attracts with its brightness and brilliance, creating a special dazzling atmosphere in which it is difficult to pay attention to the fabric itself, that is, to "Reality" and to peer into each individual pattern, that is, to "Meaning."

Her paintings from the Post-Nomadic Reality series made of fine merino wool and silk, felted by hand were inspired by traditional Kazakh wall hangings Tuskyiz. "Tus" translates from Kazakh as "sleep", and "kyiz" - "felt". The rectangular blocks of colours resemble doors or portals that remain tightly shut or closed to our consciousness and can only be accessed through our dreams. The borders of the portals in Mukazhanova's works are not precise: the wool and silk fibers are layered in such a way that the boundaries of the rectangles blur creating a watercolour-like effect. We have an impression of facing a haze or an illusion. Reality seems to be collapsing before our eyes, but we are not certain if external factors are to blame - the properties of paint or atmospheric phenomena - or if it is our own vision that is letting us down. The paintings perfectly convey the state of anxiety and fragility.

Appealing to the viewer’s senses in her Post-Nomadic Reality series Gulnur Mukazhanova continues the tradition of Abstract Expressionists like Jackson Pollock, Mark Rothko and Clyfford Still, who directly engaged with the viewer’s eyesight. Using warm felt material, Mukazhanova adds an element of tactility to her works: looking at her paintings, we involuntarily imagine how it feels to touch felt. This way, her abstract works acquire a human and bodily aspect.

Her paintings from the Post-Nomadic Reality series made of fine merino wool and silk, felted by hand were inspired by traditional Kazakh wall hangings Tuskyiz. "Tus" translates from Kazakh as "sleep", and "kyiz" - "felt". The rectangular blocks of colours resemble doors or portals that remain tightly shut or closed to our consciousness and can only be accessed through our dreams. The borders of the portals in Mukazhanova's works are not precise: the wool and silk fibers are layered in such a way that the boundaries of the rectangles blur creating a watercolour-like effect. We have an impression of facing a haze or an illusion. Reality seems to be collapsing before our eyes, but we are not certain if external factors are to blame - the properties of paint or atmospheric phenomena - or if it is our own vision that is letting us down. The paintings perfectly convey the state of anxiety and fragility.

Appealing to the viewer’s senses in her Post-Nomadic Reality series Gulnur Mukazhanova continues the tradition of Abstract Expressionists like Jackson Pollock, Mark Rothko and Clyfford Still, who directly engaged with the viewer’s eyesight. Using warm felt material, Mukazhanova adds an element of tactility to her works: looking at her paintings, we involuntarily imagine how it feels to touch felt. This way, her abstract works acquire a human and bodily aspect.

Her paintings from the Post-Nomadic Reality series made of fine merino wool and silk, felted by hand were inspired by traditional Kazakh wall hangings Tuskyiz. "Tus" translates from Kazakh as "sleep", and "kyiz" - "felt". The rectangular blocks of colours resemble doors or portals that remain tightly shut or closed to our consciousness and can only be accessed through our dreams. The borders of the portals in Mukazhanova's works are not precise: the wool and silk fibers are layered in such a way that the boundaries of the rectangles blur creating a watercolour-like effect. We have an impression of facing a haze or an illusion. Reality seems to be collapsing before our eyes, but we are not certain if external factors are to blame - the properties of paint or atmospheric phenomena - or if it is our own vision that is letting us down. The paintings perfectly convey the state of anxiety and fragility.

Appealing to the viewer’s senses in her Post-Nomadic Reality series Gulnur Mukazhanova continues the tradition of Abstract Expressionists like Jackson Pollock, Mark Rothko and Clyfford Still, who directly engaged with the viewer’s eyesight. Using warm felt material, Mukazhanova adds an element of tactility to her works: looking at her paintings, we involuntarily imagine how it feels to touch felt. This way, her abstract works acquire a human and bodily aspect.

Her paintings from the Post-Nomadic Reality series made of fine merino wool and silk, felted by hand were inspired by traditional Kazakh wall hangings Tuskyiz. "Tus" translates from Kazakh as "sleep", and "kyiz" - "felt". The rectangular blocks of colours resemble doors or portals that remain tightly shut or closed to our consciousness and can only be accessed through our dreams. The borders of the portals in Mukazhanova's works are not precise: the wool and silk fibers are layered in such a way that the boundaries of the rectangles blur creating a watercolour-like effect. We have an impression of facing a haze or an illusion. Reality seems to be collapsing before our eyes, but we are not certain if external factors are to blame - the properties of paint or atmospheric phenomena - or if it is our own vision that is letting us down. The paintings perfectly convey the state of anxiety and fragility.

Appealing to the viewer’s senses in her Post-Nomadic Reality series Gulnur Mukazhanova continues the tradition of Abstract Expressionists like Jackson Pollock, Mark Rothko and Clyfford Still, who directly engaged with the viewer’s eyesight. Using warm felt material, Mukazhanova adds an element of tactility to her works: looking at her paintings, we involuntarily imagine how it feels to touch felt. This way, her abstract works acquire a human and bodily aspect.

Her paintings from the Post-Nomadic Reality series made of fine merino wool and silk, felted by hand were inspired by traditional Kazakh wall hangings Tuskyiz. "Tus" translates from Kazakh as "sleep", and "kyiz" - "felt". The rectangular blocks of colours resemble doors or portals that remain tightly shut or closed to our consciousness and can only be accessed through our dreams. The borders of the portals in Mukazhanova's works are not precise: the wool and silk fibers are layered in such a way that the boundaries of the rectangles blur creating a watercolour-like effect. We have an impression of facing a haze or an illusion. Reality seems to be collapsing before our eyes, but we are not certain if external factors are to blame - the properties of paint or atmospheric phenomena - or if it is our own vision that is letting us down. The paintings perfectly convey the state of anxiety and fragility.

Appealing to the viewer’s senses in her Post-Nomadic Reality series Gulnur Mukazhanova continues the tradition of Abstract Expressionists like Jackson Pollock, Mark Rothko and Clyfford Still, who directly engaged with the viewer’s eyesight. Using warm felt material, Mukazhanova adds an element of tactility to her works: looking at her paintings, we involuntarily imagine how it feels to touch felt. This way, her abstract works acquire a human and bodily aspect.

Her paintings from the Post-Nomadic Reality series made of fine merino wool and silk, felted by hand were inspired by traditional Kazakh wall hangings Tuskyiz. "Tus" translates from Kazakh as "sleep", and "kyiz" - "felt". The rectangular blocks of colours resemble doors or portals that remain tightly shut or closed to our consciousness and can only be accessed through our dreams. The borders of the portals in Mukazhanova's works are not precise: the wool and silk fibers are layered in such a way that the boundaries of the rectangles blur creating a watercolour-like effect. We have an impression of facing a haze or an illusion. Reality seems to be collapsing before our eyes, but we are not certain if external factors are to blame - the properties of paint or atmospheric phenomena - or if it is our own vision that is letting us down. The paintings perfectly convey the state of anxiety and fragility.

Appealing to the viewer’s senses in her Post-Nomadic Reality series Gulnur Mukazhanova continues the tradition of Abstract Expressionists like Jackson Pollock, Mark Rothko and Clyfford Still, who directly engaged with the viewer’s eyesight. Using warm felt material, Mukazhanova adds an element of tactility to her works: looking at her paintings, we involuntarily imagine how it feels to touch felt. This way, her abstract works acquire a human and bodily aspect.

Her paintings from the Post-Nomadic Reality series made of fine merino wool and silk, felted by hand were inspired by traditional Kazakh wall hangings Tuskyiz. "Tus" translates from Kazakh as "sleep", and "kyiz" - "felt". The rectangular blocks of colours resemble doors or portals that remain tightly shut or closed to our consciousness and can only be accessed through our dreams. The borders of the portals in Mukazhanova's works are not precise: the wool and silk fibers are layered in such a way that the boundaries of the rectangles blur creating a watercolour-like effect. We have an impression of facing a haze or an illusion. Reality seems to be collapsing before our eyes, but we are not certain if external factors are to blame - the properties of paint or atmospheric phenomena - or if it is our own vision that is letting us down. The paintings perfectly convey the state of anxiety and fragility.

Appealing to the viewer’s senses in her Post-Nomadic Reality series Gulnur Mukazhanova continues the tradition of Abstract Expressionists like Jackson Pollock, Mark Rothko and Clyfford Still, who directly engaged with the viewer’s eyesight. Using warm felt material, Mukazhanova adds an element of tactility to her works: looking at her paintings, we involuntarily imagine how it feels to touch felt. This way, her abstract works acquire a human and bodily aspect.