Elay Li

1985, Azerbaijan

After some sculptural experimentation, his main artistic destination becomes painting, through which he manages to maintain figurative forms on the border of the invisible on monochromatic canvases. He deepens his research on materic painting, color distribution and light reflection.

Elay Li.
La critica GART.

Elay Li
Francesca Carbone

Elay paints people absorbed in performing common actions, such as having a drink in this case, in an almost a-temporal condition that gives them a certain sacredness; they seem to define themselves as contemporary symbologies.

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Elay Li does not paint in terms of transparencies and shades, but controls the exact density of color and intensity of brushstroke. 

He represents fragments of experience torn out from context. Too many details of specific circumstances or situations are never given, so his works preserve the profound power to influence the imagination of the viewer. 

Elay’s painting is fulfilled by painting the canvas with a single color, it may be blue, magenta, yellow, orange or gray, which is delicately combed to achieve a visual resonance on the surface. Light highlights the textures and thicknesses of matter, creating volumetric perceptions that configure characters, sometimes objects or animals. 

He reworks the theories that gave birth to monochrome drafting last century, looks at Malevich, Rothko, then Klein, Castellani, and finds an evolution: “the huge void” has finally been filled. The figurative soul finds space in the monochrome.

Francesca Carbone

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