During the London literary festival “Open Eurasia and Central Asia book forum and literature festival,” which took place from November 6 to 9, a collection of poems by Kazakh poetess Raushan Burkitbaeva-Nukenova titled “Wormwood Wind” was presented. The book was published in English. The publication was illustrated by artist Kristina Glazunova from Kyrgyzstan.
A correspondent from the portal News-Asia tried to find out from the young and promising artist Kristina Glazunova how the work on the design of the poetry collection “Wormwood Wind” was carried out, as well as what painting and poetry are capable of.
Kristina, how did your collaboration with Kazakh poetess Raushan Burkitbaeva-Nukenova come about?
– I was scheduled to meet with a publisher who noticed my work. There, I was informed that I would be creating a cover for a new book, which would soon be sent to my email. At first, I was a bit confused. Although literature and painting are the most understandable things to me, I had never considered myself as an illustrator. Usually, in such situations, there is a great risk of losing recognition. As far as I know, the author of the collection was offered options from several artists. I never got to meet her; instead, a folder with my sketches was sent to her. And as it turned out later, she chose me.
Did you take the title of the collection into account when creating the design concept?
– The title became the main explanation of why I was so passionate about this work. I closed my eyes and saw the shimmering colors: shades of ochre, golden, cranberry, gray… And everything fell into place.
In Burkitbaeva-Nukenova's poems, olfactory sensations dominate over other senses. If a good poet can convey a smell to the reader in poetry, do you think this is possible in painting?
– It’s very hard for me to say. I’ve never thought about it. But I know for sure that Aivazovsky smells of salt, and Monet smells of freshly cut grass. My paintings, on the other hand, often smell of wet paint.
Speaking of Monet… In your works included in the book, is there a sense of attachment to Claude Monet's work? There is also a poem dedicated to Monet in the collection. Is that related?
– I revisited Monet's album. There is something similar – only in movement. It would be clearer to discuss by comparing his works with mine in color. After all, in the book, they are presented in black and white. In general, I have an attachment to everything related to visuality. I love Monet, but I can’t connect him with either him or the poem of the same name. But I like how you pointed that out. There is something to it.
The English editor of the collection writes in the preface that Burkitbaeva-Nukenova's poems are a kind of revival of expressionism. What do you think about that? Is there something of this artistic method in your works that were used for the design of the collection?
– Looking at the work formatted as a book, I can say that it turned out quite expressive. But I wouldn’t call it expressionism. That would create an illusory connection between my works and the author’s lines, which simply does not exist.
Do you plan to continue working on design projects in the future?
– What happens to me when I work is the biggest mystery to me. And as long as it exists, I will keep working. What it will be, for what purpose – I don’t know. What will lead me tomorrow – I also don’t know. But I will be able to realize any plans if, as I said earlier, I become passionate about it.
