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They say that beauty is in the eye of the beholder. In most cases, the concept of beauty is held to ridiculous and unattainable standards of perfection. But I think most people will agree that perfection is rather boring. Faig Ahmed certainly thinks so if his works of art are any indication.

The artist is responsible for creating textile rugs that resemble a messy canvass of dripping paint bleeding into a lovely and aesthetically pleasing pattern. While Ahmed’s rugs might make those perfectionists itchy with how abstract and psychedelic the finished product comes off, it’s hard to deny how surprisingly mesmerizing his rugs are.

Using traditional Azerbaijani textiles, Ahmed flips the script and stops following the structured patterns of many of these rugs, instead distorting and deconstructing the patterns into a beautiful disaster that makes it look as if the rugs are melting, particularly when positioned vertically on a wall. At the top, it’s your typical, Azerbaijani rug, but the bottom resembles a bleeding mess of color.

By breaking free of the mold that governs the original designs of these rugs, Ahmed’s rugs are contemporary works of art that look like happy little accidents. In reality, they are woven tapestries of artistic brilliance, embodying a mosaic of both the composed and chaotic to represent a strange and remarkable dichotomy.

Clearly inspired by the culture and design of his home country, Ahmed continues to live and work in Azerbaijan having graduated from Azerbaijan State Academy of Art with a focus on sculpture. In a way, his rugs are sculptures themselves – a creation that goes far beyond the trappings of its normal function of décor to become truly show stopping art.

His love and fascination with textiles was born from their historical value, due to the fact that throughout most of human history, fabric has been utilized in some shape and form for wide-reaching purposes. Textiles are also a perfect host for ornate and eye-popping patterns. “Patterns and ornaments can be found in all cultures, sometimes similar, sometimes very different,” Ahmed said. “I consider them words and phrases that can be read and translated to a language we understand.”

If Ahmed’s patterns are to be interpreted as language, then what they convey is both an affinity and rebellion against the traditional textile art. By seamlessly merging the two together to honor and shatter the historical conventions of textile, Ahmed’s work represents art at its purest, most primal form.

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