Discover the contemporary work of Irfan Ajvazi
Irfan Ajvazi (born 2001) is a Kosovan painter he received a Diploma in Graphic Design from Great Learning Academy in 2022.
Ajvazi is, a figurative painter, crafts tender scenes that expose the intricate subtleties of life. Through his skillful compositions, he conjures a realm filled with unspoken narratives, intimate moments, and romantic gestures.
He is interested in creating work that frame the moments of our life in which this idea reveals itself to ourselves.
Ajvazi is best known for his interior and exterior scenes, Ajvazi also paints still lifes, landscapes, figures and interior scenes.
Alongside painting, Ajvazi makes incredibly detailed colored pencil drawings, in an all-consuming process of mark making. Unlike his paintings which transform throughout the making, the challenging medium calls for the compositions to be decided beforehand.
Ajvazi puts a modern spin on figurative painting traditions. As an autodidact, he draws inspiration mainly from the Dutch Old Masters, who have proven to be his most consistent teachers. Ajvazi’s distinctive style began to take shape as he spent more and more time in front of the canvas.
Ajvazi draws from personal photographs, film stills, and references to art history.
Ajvazi has also worked in collage and drawing, often using colouring pencils.
Ajvazi has presented work in solo and group exhibitions internationally.
Irfan Ajvazi’s artworks can be found in major international collections, including the Fundacion Maceta, PiecePiece, Apricus Art Collection, The New Rebellion Art, Public Art Exhibit, Edelina Gallery, Tree Art Gallery.
He has participated in more than 10 group exhibitions and some solo exhibitions worldwide since 2020, including at VB Contemporary, Circular Art Space, The Holy Art Gallery, Dodomu Gallery, Galerie Biesenbach, Pearview Gallery, V-Art Union, Sfumato Art Gallery, PiecePiece, Omnibus Gallery, Make Art Gallery, Apricus Art Collection.
I usually compare this to traditional sketches. I take snapshots, without looking for a special photo. I photograph a motif or figure that catches my eye and interests me. When I paint a picture, it is then that I compose—I find a figure interesting and search for something that goes together with it. At the end, the work is put together from different sources.
The medium of photography plays an important role of course, since it allows you to capture moments you could otherwise not capture—simply because of the speed of the camera. But at the same time, it is difficult to distinguish, since the artistic process is influenced by a number of things—things that have influenced me, such as film, commercials, media in general and art history.
One thing that interests me in Baudelaire‘s Essays, in his exploration of the painter of modern life, intriguingly highlights the idea that each historical era manifests its unique expressions across various aspects of existence – from attitudes, fashion, and discourse to architectural designs. This intricate aesthetic landscape essentially mirrors the essence of the period. However, amidst this transient surface, Baudelaire discerns another aspect – the timeless. Yet, he grapples with the elusive nature of capturing this eternal essence, acknowledging its complexity and the challenge in defining it. His essay predominantly revolves around the concept of beauty, which in itself remains elusive and multifaceted, characterized by its contingent nature, amalgamating various elements into a singular yet intricate concept.
