Fuad Khaligov is quite classic at the State University of Arts and Culture and at the State Academy of Azerbaijan founded in Baku in 2000 graduated with a Masters. painting, drawing, sculpture, theatre, film, Cultural studies and design, but also unusual decorative arts and Carpet weaving were taught. As you can see from his portrait commissions, he can do that Spectrum of different painting styles from impressionism to photorealism technically cope, because the very basic training gives him this tool next to his imparted talent. He can use different painting techniques on a wide variety of subjects Use substrates inside and outside.
In this respect, it is not difficult for him to capture local themes such as the Aachen Cathedral  to be recorded correctly. However, he comes from a cultural area in which others Animals and plants and landscape spaces are common, as well as a color temperament and a ornamental, decorative small parts and forms are a matter of course in our Habits of ‚Äčmodernity and the world of advertising initially irritate. There are camels in front of him Aachen Cathedral is unusual, but also in the global mix of cultures entitled, like the film characters, advertising mascots or  surrealistic alienations. There is also a mischievous joke in this one justified mixing, for example in the variant of a camel riding Statue of Liberty in the New York area. Our values ‚Äčand imagery are not the only ones valid in the world.
In many of Fuad Khaligov's free works you can feel a lively energy in the Colourfulness, which is definitely based on the primary colors yellow, blue and red, but strongly permeated shimmering with violet and turquoise tones and dealing with them in variants. parrots, a A bouquet of flowers or the metal surface of vessels in still lifes may still be Be model-oriented, integrate and translate them into a small-scale model abstract brushstrokes, however, frees itself from it. Also the implementation of a Due to the carpet underlay, the fruit still life differs from French pictures of the 19th century. Century by forming bright surfaces with increased color balance. Occasionally, backgrounds made up of brush strokes break out of superimposed ones silhouettes of houses. The color shimmers around motifs like a plumage of lines Cores such as bodies with flat more realistic skin or representational in flat or contour, which seems to give rise to a distribution pattern of color rather than object of imitation. Overall, the safe and little color-mixed become monochromatic Brush settings brought to an optical mixture by overlays, the one colorful sensuality in the thoroughly classic pictorial themes that despite plastic The representation emphasizes the surface rather than the spatial depth. Color and structure are the Building materials for Fuad Khaligov's lively imagery, which consists of kaleidoscopic and impulsive virtuosity draws its energy.

Dr. Dirk Tolke