EBECHO MUSLIMOVA

Bringing together eight anecdotal images of the artist’s anti-heroine and alter ego, Fatebe (FAT-E-be), the exhibition is a playful conversation between two parallel shows, Rumours in Brazil one week and Whispers in Zurich the following week. The shows intertwine with each other, each painting having a counterpart in the other city, linked by a narrative thread akin to the game of Chinese whispers/telephone. In this game, a whispered word travels down a line of children, often distorting by the end. These connections reflect our ability to create, interpret, and conceal rumours, mirroring the changing ethos of painting throughout history.

Prior to appreciating Ebecho Muslimova’s painting qualities, one encounters a narrative quality, a cartoonish part of herself, often subjected to humiliation and exaltation, as she delves into the boundless realms of her desires and fears. The humour embedded in her figures and scenarios leads us into the depths of her psyche, serving as a mirror reflecting her inner self.

Her imagery suggests that we construct our sense of self through external images, be they reflections or caregivers, fostering an idealised ‘I’ that individuals continuously strive to achieve. This process establishes the ego’s reliance on external stimulation, which evolves within social and linguistic frameworks as individuals mature and engage with society, thereby shaping their personalities and wishes. In works like Farm to Table and Four Corners, the artist explores Fatebe’s body as a landscape, as a place of unrealistic possibilities. These acts of freedom in creating a figuration are also explicit in more sexual images like Kettle Vision and Clown Boudoir.

Moral prescriptions are irrelevant in Fatebe’s realm. There is no concept of madness or absurdity, either. She has discovered a universe utterly detached from our understanding of constraints, authority, and currency. This feral and unsocialised behaviour invert our notions of limits. She Is providing a liberating escape through her ingenious remedies.

Expanding beyond painting, Muslimova’s exhibition takes over the gallery walls with murals and drawings, immersing the viewer into the universe of the character created by the artist. A universe that encompasses sex, tragedy, and humorous witticisms. The critical qualities of these images engage in a delightful dance with liberty; they are an exercise in violent freedom. Her drawing style possesses an effortless quality, leading the viewer into a youthful exuberance of mature proportions.

Press release courtesy Mendes Wood DM