ASIA AVELI
ASIA AVELI
isa multidisciplinary artist born in 1980 in Kyrgyzstan
Asia Aveli, a multidisciplinary artist born in 1980 in Kyrgyzstan, enjoys not limiting herself when it comes to the use of materials and techniques. However, she tends to incorporate fiber art techniques into her paintings or integrate them into objects. The materials she often explores for her work involve “natural destruction” - changes in materials caused by nature, time, or biological organisms.
Asia finds interest in combining forms and materials that contrast and contradict each other, uniting them in a single piece. For her, this serves as a metaphor for the contrasts in culture and contexts. The central theme of her projects delves into the issue of cultural identity and the persistence of traditions and customs. She ponders on how fundamental social circumstances like place of birth and nationality shape our future. Can one embrace a foreign environment and culture as their own, and where do the boundaries for personal identity lie? ... read more
Asia finds interest in combining forms and materials that contrast and contradict each other, uniting them in a single piece. For her, this serves as a metaphor for the contrasts in culture and contexts. The central theme of her projects delves into the issue of cultural identity and the persistence of traditions and customs. She ponders on how fundamental social circumstances like place of birth and nationality shape our future. Can one embrace a foreign environment and culture as their own, and where do the boundaries for personal identity lie? ... read more
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BIO
Asia Aveli, a multidisciplinary artist born in 1980 in Kyrgyzstan, enjoys not limiting herself when it comes to the use of
materials and techniques. However, she tends to incorporate fiber art techniques into her paintings or integrate them
into objects. The materials she often explores for her work involve “natural destruction” - changes in materials caused
by nature, time, or biological organisms.
Asia finds interest in combining forms and materials that contrast and contradict each other, uniting them in a single piece. For her, this serves as a metaphor for the contrasts in culture and contexts. The central theme of her projects delves into the issue of cultural identity and the persistence of traditions and customs. She ponders on how fundamental social circumstances like place of birth and nationality shape our future. Can one embrace a foreign environment and culture as their own, and where do the boundaries for personal identity lie?
Furthermore, Asia Aveli reflects on her own experiences of being born and raised in Kyrgyzstan among a people, culture, and nationality to which she did not belong. At the age of 23, she moved to China for 12 years, immersing herself in a culture that was not her own. Now, she finds herself once again an immigrant, this time in her historical homeland, Russia.
Asia’s affinity for fiber art techniques is deeply rooted in the cultural heritage of Kyrgyzstan. Felt holds significant
cultural value for the Kyrgyz people and has played a pivotal role in their sustenance since ancient nomadic times.
Through the concept of shifting and expanding borders, Asia discovers a sense of continuity for herself. Her
experiences of living in diverse cultures have equipped her with a collection of contrasting materials and a myriad of
techniques that manifest in her artistic creations.
Asia Aveli, a multidisciplinary artist born in 1980 in Kyrgyzstan, enjoys not limiting herself when it comes to the use of
materials and techniques. However, she tends to incorporate fiber art techniques into her paintings or integrate them
into objects. The materials she often explores for her work involve “natural destruction” - changes in materials caused
by nature, time, or biological organisms.
Asia finds interest in combining forms and materials that contrast and contradict each other, uniting them in a single piece. For her, this serves as a metaphor for the contrasts in culture and contexts. The central theme of her projects delves into the issue of cultural identity and the persistence of traditions and customs. She ponders on how fundamental social circumstances like place of birth and nationality shape our future. Can one embrace a foreign environment and culture as their own, and where do the boundaries for personal identity lie?
Furthermore, Asia Aveli reflects on her own experiences of being born and raised in Kyrgyzstan among a people, culture, and nationality to which she did not belong. At the age of 23, she moved to China for 12 years, immersing herself in a culture that was not her own. Now, she finds herself once again an immigrant, this time in her historical homeland, Russia.
Asia’s affinity for fiber art techniques is deeply rooted in the cultural heritage of Kyrgyzstan. Felt holds significant
cultural value for the Kyrgyz people and has played a pivotal role in their sustenance since ancient nomadic times.
Through the concept of shifting and expanding borders, Asia discovers a sense of continuity for herself. Her
experiences of living in diverse cultures have equipped her with a collection of contrasting materials and a myriad of
techniques that manifest in her artistic creations.
ARTIST'S STATEMENT
I prefer not to limit myself when it comes to materials and techniques. Still, I often turn to fiber art — integrating it into sculptural objects or using it as a form of painting.
Much of my work explores the visual language of "non-human destruction" — materials altered by nature, time, or even biological organisms. I'm drawn to this quiet transformation, to the traces left behind without human intent.
It’s not unusual for me to combine conflicting, even opposing, forms and materials within a single piece. This tension becomes a metaphor for cultural contrast and contextual complexity — the friction and fusion between different worlds.
The core theme that runs through my work is the question of cultural identity and the inheritance of tradition. I’m interested in how our earliest social conditions — birthplace, nationality — shape who we become. Can a foreign culture become truly our own? Where is the boundary between what feels like home and what feels alien — and do those boundaries even exist?
I was born and raised in Kyrgyzstan, among a people whose culture and nationality are not my own. At twenty-three, I moved to China and lived within an unfamiliar culture for twelve years. Now, I’m once again an immigrant — this time in what is supposed to be my ancestral homeland: Russia.
That’s why fiber art often finds its way into my work. Felt is a deep part of Kyrgyz cultural heritage — it played a vital role in daily life during the era of nomadism. For me, it carries a sense of continuity, of movement across time and geography. My immersion in multiple cultures has naturally led to a contrast-rich material language and a wide range of techniques in my practice.
I prefer not to limit myself when it comes to materials and techniques. Still, I often turn to fiber art — integrating it into sculptural objects or using it as a form of painting.
Much of my work explores the visual language of "non-human destruction" — materials altered by nature, time, or even biological organisms. I'm drawn to this quiet transformation, to the traces left behind without human intent.
It’s not unusual for me to combine conflicting, even opposing, forms and materials within a single piece. This tension becomes a metaphor for cultural contrast and contextual complexity — the friction and fusion between different worlds.
The core theme that runs through my work is the question of cultural identity and the inheritance of tradition. I’m interested in how our earliest social conditions — birthplace, nationality — shape who we become. Can a foreign culture become truly our own? Where is the boundary between what feels like home and what feels alien — and do those boundaries even exist?
I was born and raised in Kyrgyzstan, among a people whose culture and nationality are not my own. At twenty-three, I moved to China and lived within an unfamiliar culture for twelve years. Now, I’m once again an immigrant — this time in what is supposed to be my ancestral homeland: Russia.
That’s why fiber art often finds its way into my work. Felt is a deep part of Kyrgyz cultural heritage — it played a vital role in daily life during the era of nomadism. For me, it carries a sense of continuity, of movement across time and geography. My immersion in multiple cultures has naturally led to a contrast-rich material language and a wide range of techniques in my practice.
CV
EDUCATION:
2023 — Moscow School of Contemporary Art (MSCA), course: How to Make Contemporary Painting, Moscow, Russia
2023 — International School of Contemporary Creativity, online course: Successful Artist in the Field of Textured Painting
2023 — Online Art Communication School, Institute of Mediterranean Culture, Greece
2023 — Profotik School, course: Professional Photographer, St. Petersburg, Russia
2014–2015 — T.K. Zhurgenov Kazakh National Academy of Arts, Faculty of Decorative and Applied Arts, Almaty, Kazakhstan
1998–2003 — Bishkek Choreographic School, specialization: Ballet Artist, Bishkek, Kyrgyzstan
EXHIBITIONS:
2023 — I Will Live, Art Maison Gallery, Moscow, Russia
2024 — Spectrum Gestalt, bG Gallery, Santa Monica, California, USA
2024 — Art Market San Francisco with Perseus Gallery, San Francisco, USA
2024 — Unlocked Identities, Perseus Gallery, New York, USA
2024 — Solo Exhibition with Art4nature, Bad Tölz, Germany
PUBLICATIONS:
2024 — Art Muse Magazine, Issue 17, p. 117, Russia
2024 — Suboart Magazine, Issue 23, pp. 94–95, International
2024 — Artist Talk Magazine, Issue 32, pp. 26–27, United Kingdom
2024 — Modern Renaissance Magazine, Summer Issue, USA
2024 — 100 Emerging Artists: Women’s Edition 2024, Arts To Hearts Project
EDUCATION:
2023 — Moscow School of Contemporary Art (MSCA), course: How to Make Contemporary Painting, Moscow, Russia
2023 — International School of Contemporary Creativity, online course: Successful Artist in the Field of Textured Painting
2023 — Online Art Communication School, Institute of Mediterranean Culture, Greece
2023 — Profotik School, course: Professional Photographer, St. Petersburg, Russia
2014–2015 — T.K. Zhurgenov Kazakh National Academy of Arts, Faculty of Decorative and Applied Arts, Almaty, Kazakhstan
1998–2003 — Bishkek Choreographic School, specialization: Ballet Artist, Bishkek, Kyrgyzstan
EXHIBITIONS:
2023 — I Will Live, Art Maison Gallery, Moscow, Russia
2024 — Spectrum Gestalt, bG Gallery, Santa Monica, California, USA
2024 — Art Market San Francisco with Perseus Gallery, San Francisco, USA
2024 — Unlocked Identities, Perseus Gallery, New York, USA
2024 — Solo Exhibition with Art4nature, Bad Tölz, Germany
PUBLICATIONS:
2024 — Art Muse Magazine, Issue 17, p. 117, Russia
2024 — Suboart Magazine, Issue 23, pp. 94–95, International
2024 — Artist Talk Magazine, Issue 32, pp. 26–27, United Kingdom
2024 — Modern Renaissance Magazine, Summer Issue, USA
2024 — 100 Emerging Artists: Women’s Edition 2024, Arts To Hearts Project